In January 2024, the European Centre for Byzantine and Post-Byzantine Monuments (EKBMМ) undertook, with great pleasure and a strong sense of responsibility, the conservation of the woodcarved iconostasis and twelve shrines (proskynitaria) of the Patriarchal Church of St. George in the Phanar. At the beginning of 2024, a delegation of the Centre traveled to Istanbul, where on-site measurements and analyses were carried out in order to document in detail the condition and pathology of the iconostasis of the Patriarchal Church. The data collected were used to prepare a study for the consolidation and conservation of the iconostasis, proposing methods for stabilization, cleaning, and restoration of its damages. It should be noted that the study also took into account the long-standing practice of ascending to the upper part of the iconostasis in order to retrieve the icon of the honored saint, proposing solutions that would allow this practice to continue without placing additional strain on the structure. After approval by the Administrative Board of EKBMM, the study was submitted, presented, and subsequently approved by the competent Committee for the Restoration, Maintenance, and Preservation of the Patriarchal Church and Buildings.

Following the approval of the study, the planning of the works in the Patriarchal Church began immediately. One of the major challenges was that all works had to be completed within the strict time frame of 1–30 July 2024. The conservation work on the iconostasis was divided into two sections, which were carried out simultaneously. The first section concerned the conservation of the wooden structural support of the iconostasis, including disinfestation and structural reinforcement. The works included cleaning and strengthening of the wooden support on the rear side, reinforcement of the upper section of the iconostasis through the installation of additional wooden supports, the opening of access doors to the rear side of the structure, cleaning of the internal upper wooden framework, installation of ventilation openings at the lower rear section, aesthetic restoration of the painted rear surface, and disinfestation treatments of the wooden support.

The second section involved the conservation and restoration of the carved and gilded decorative surface of the front side of the iconostasis. The works included the simultaneous cleaning of the painted surface and consolidation of detached preparatory layers, paint layers, and gilded decoration using an acrylic consolidant emulsion; stabilization of decorative wooden elements; reproduction and completion of missing plastic decorative elements; filling of surface losses in the preparatory layer of the gilded decoration and holes across the surfaces using putty (Polifylla-type); preparation of surfaces with bole before gilding; application of gold leaf; and finally the aesthetic restoration of the painted surfaces using water-soluble pigments, followed by the application of a protective coating.

Following a new request from the Ecumenical Patriarch, EKBMM also undertook the conservation of twelve shrines located within the Patriarchal Church. An initial on-site inspection was conducted to identify the condition and deterioration of these liturgical furnishings, after which a work schedule and conservation plan were prepared. A crucial factor at this stage was that the shrines had undergone numerous past interventions, which led to the selection of low-risk conservation approaches in order to avoid strong visual differences in their appearance. The plan was approved both by the Board of Directors of EKBMM and by the Beautification Committee of the Patriarchal House and Church. The conservation work was carried out by a team of specialized conservators between 4–18 November 2024. The works included thorough cleaning of the gilded surfaces and painted layers, revealing their original brilliance and artistic detail. Particular emphasis was placed on the consolidation of detached preparatory layers of the painted and gilded decoration, ensuring their stability, as well as the re-adhesion of cracked elements to restore structural integrity. In addition, relief decorative elements and gilded areas that had flaked or been lost were carefully completed, restoring the artistic integrity of the shrines.

The project concluded with aesthetic restoration, carried out with full respect for the original style and aesthetic of the objects. In December 2024, after the completion of all works, EKBMM carried out comprehensive photographic documentation of the carved iconostasis and the twelve shrines of the Patriarchal Church.

In the summer of 2025, EKBMM undertook the conservation of the three main entrances (two lateral stone-built and one central marble entrance) leading from the narthex to the nave of the Patriarchal Church of St. George in Phanar, as well as the painted compositions located above them. An initial macroscopic diagnosis of the stone-built entrances identified deposits of dirt, soot, and limited biological alterations. Cleaning was carried out using a low-pressure steam cleaner with adjustable temperature (70–90°C) without chemicals, supplemented by mechanical methods in order to gently reveal the original texture of the stone without loss of authentic material. At the central marble entrance, deteriorated previous fillings and heavy surface deposits were identified. The fragile fillings were carefully removed using manual tools and gentle scraping. This was followed by cleaning with a special sepiolite paste, and then a final cleaning with steam and soft brushes, particularly around the inscriptions. At the southern entrance, the inscription was cleaned from deposits and later repaintings using micro-scalpels and mild solvents. The discovery of traces of original gilding led to careful re-gilding with 24-carat gold leaf, applied exclusively to the documented areas. The painted compositions above the doors exhibited flaking, repaintings, and dirt deposits. The pigments were consolidated locally using aqueous or organic consolidants. Later repaintings were removed using a mixture of acetone and white spirit, and a protective varnish film was applied. The aesthetic restoration was completed using the tratteggio technique, applied only in the necessary areas to improve the legibility of the compositions.