Gian Paolo Treccani
Tra revoca e conservazione: le ragioni del restauro del restauro.
ABSTRACT. The essay proposes some general remarks referring to the
methodological and practical difficulties of those interventions which had to
modify restorations performed in more or less recent times. It also seeks to outline the reasons which should allowed the
‘restoration of restoration’.
The theme of "restoration of restoration" refers to concepts
such as authenticity, practice of construction, relative perception of beauty. At the same time it
is necessary to refer to modern technology, to behaviour of new materials that
in recent decades have experienced in restoration and especially to
their unpredictability that proposes new, unprecedented challenges.
KEY-WORD. Restoration, conservation, reversibility, authenticity, maintenance
Stefania Bertano, Franco Biondi, Federica Bosi, Emma Ibba, Alessandra Lenti
Palazzo Ottolini Balbani a Lucca: Percorsi dialettici in occasione del nuovo restauro
ABSTRACT: The aim of this paper is not to present the outcomes of a restoration project in an uncritical manner, that would become part of a –more or less- exemplar and wide stock of restoration case-studies. Instead it aims to focus our attention on the problematic aspects that characterize the project genesis in itself, especially when facing an already renovated building.In this way the project brings up critical nodes, doubts, and sometimes contradictions that lead to certain design choices, following a path, not always linear. Common thread in this research path is the application of knowledge as an interpretative tool of the dynamic and complex reality and finally as the main purpose of restoring act.
KEY-WORDS: restoration, conservation, knowledge, historical awareness, re-programming
Restauri della La Loggia dei Papi a Viterbo (1902 e 1984)
ABSTRACT
The Papal Loggia of Viterbo can be
considered the first monument restored using reinforced concrete. The historical importance of the building had fostered the use of
the most "innovative” technologies of the time. All
this thanks to the School of Engineering of Turin (its Laboratory for testing
construction materials had examined the strength of the peperino of
Viterbo), in contact with France where they were testing the use of the “new
material”. The “lamellar” beam (length
KEY-WORD:Papal Loggia of Viterbo, The first Italian monument restored using reinforced concrete;Effects of restoration;New restorations with bars and epoxy resins; Loss of the original static equilibrium
Maria Grazia Vinardi
Il restauro dei restauri di Umberto Chierici nel Novarese
ABSTRACT:
Umberto Chierici,
superintendent of the Piedmont monuments from the second postwar period, was
involved in important architectural restoration works, as those carried out in
KEY-WORD:Umberto Chierici, Architecture,
Conservation,
178D. Benedetti , L. Depero , M. Fasser, P.Schirolli , L.Signorini, G.P. Treccani
Problemi di conservazione dei restauri ottocenteschi ai paramenti marmorei di Palazzo Loggia a Brescia
ABSTRACT. The Palazzo della Loggia in Brescia was the subject of a recent intervention of restoration that has concerned the marble fronts. On this occasion have emerged serious problems of degradation of stone materials that can be largely attributed to a radical restoration conducted in the second half of 800th. This intervention, as well as many patches and integration, has led to the replacement of several slabs of coating. The study here wants to reconstruct the events of that yard. In addition, through various surveys and investigations, it wants to recognize the materials that were used, their petrographic characteristics and damages that in recent years have enabled. Finally it poses some remaining issues related to the "restoration of restoration."
KEY-WORD. Brescia, Palazzo Loggia, restoration, conservation, chemical analysis, petrography
041Corradi Massimo
Oggi come allora: ricostruzione e decostruzione.
Abstract
The aim of this paper is propose a critical analysis of the principles of structural rehabilitation with an overview of the strengthening structure and systems used in the second post war compared with the new tendencies of the construction technique in this field. Another purpose of this paper is open a debate of evaluate the propriety of introduce new materials in structural rehabilitation in spite of ancient technical mastery and conflicting with a sum of knowledge of the history of construction.
Key-word: structural rehabilitation, construction technique, history of construction.
Paolo Gasparoli
Gestire il costruito tra “restauro” e regolazione del mutamento: il contributo disciplinare delle tecnologie dell’architettura.
ABSTRACT:
“Restorations restoring” issue requires, first of all, a consideration about the possibility that an intervention on cultural building should be, or in any cases ought to be, followed by another one which, by removing additions or reconstructing removals, could get back the object to an original material and aesthetical condition. In this paper some paradigmatic cases are considered.
It concludes that to guarantee the effective performance of historic buildings, it is necessary to reconsider projects on existing buildings as an activity which is able to manage evolutionary and compatible processes.
These processes should be able to ensure an ongoing and gradual adaptation of that building in relation to modification of use and living requirements.
A trustworthy method of project is the 'technological performance approach” to evaluate the performance on exiting buildings and determine what is possible maintain and what is necessary to modify in relation to the characteristic of ongoing or future work.
KEY-WORD: reutilization, restoration, maintenance, project, existing building, technological performance approach.
Stefano F. Musso
Il restauro dei restauri ovvero: “di un possibile cortocircuito”
Il contributo cerca di offrire un quadro di riferimento problematico per ogni nostra ulteriore discussione sul tema proposto dal convegno. Sembra, infatti, che l’idea di “restaurare un edificio restaurato” non sia principalmente o esclusivamente materia di discussione tecnica. Più ancora, essa rappresenta una questione cruciale che pone ancora una volta in evidenza la ricchezza ma anche la fragilità di ogni sistematica teoria o concezione del restauro sviluppate almeno a partire dal XIX secolo. Ci confrontiamo ormai con nuove sfide in questo campo e, forse, è utile salvare ciò che è ormai stato elaborato e accettato di quella lunga tradizione di studi e di esperienze. Nello stesso tempo, è necessario sviluppare una nuova consapevolezza di ciò che la cura del patrimonio può essere e significare nel mondo di oggi e costruire nuovi strumenti concettuali per superare le sue esplosive contraddizioni bene espresse dal tema del convegno. Il saggio propone, per questo, alcune riflessioni sull’uso dell’espressione proposta dal suo titolo: può essa essere utile e significativa? Ci aiuterà a decidere come comportarci di fronte a un edificio “restaurato” che mostra di nuovo problemi di conservazione o confonderà le nostre idee e le nostre capacità progettuali?
The paper tries to offer a sort of problematic framework for any our further discussion about the theme proposed by the congress. It seems, in fact, that the idea “to restore a restored building” it is not only, or mainly, a matter of technical discussions. More over, it is a question that put again in evidence the richness, but also the fragility, of any systematic theory or conception about restoration developed starting at least form the XIX century. We are now facing new challenges in this field and, perhaps, it is useful to save what has already been assessed and accepted of that long tradition of studies and experiences. In the mean time, it is necessary to develop a new consciousness of what the care of our heritage can be in the present world and to build new intellectual tools to over pass its exploding contradictions well expressed by the theme of the congress. The paper, for these reasons, will propose some reflections about the use of the expression proposed by its title: could it be useful and meaningful? Will it help us in deciding how to act facing a “restored” building that shows again conservation problems or will it confuse our ideas and designing capabilities?
KEY-WORDS: restoration, conservation, maintenance, documentation, management
Rita Fabbri, Fabiana Raco
Conservare i moderni restauri.
Nuovi indirizzi di ricerca per la conservazione dei materiali in cemento-amianto
ABSTRACT:
The present paper is a critical reflection on the asbestos products preservation. In this context, the restoration of the concert hall annexed to conservatoire “Girolamo Frescobaldi” in Ferrara, it’s the first step of a research, which aim to produce methodologies first of hall, but also technologies and materials for the preservation of asbestos handmade, used in XXth century historical heritage. Engineering manuals on modern constructions, some recent papers and studies emphasized many different uses of asbestos as material for structural elements, surfaces finishing touch, supported boards for paintings, because of its mechanical and physical properties. The most important of these properties are thermal and acoustic insulation, fireproofing, bent to be weave. The following case shows the impossibility to made the preservation of these materials, with the actual normative and technical instruments.
KEY-WORD: asbestos-boards, asbestos-cement, preservation, modern heritage, concert hall
Giulia Massaglia,
La direttiva europea e le norme cen nei casi di restauri architettonici quando nei cantieri possano essere presenti sostanze anche nocive alla salute degli utenti.
CPD/EUROPEAN CONSTRUCTION PRODUCTES DIRECTIVE N. 89/106/EEC AND CEN ETS/ EUROPEAN TECHNICAL SPECIFICATIONS AND TESTS UNDER THE CPD, IN RESTORATIONS IN THE PRESENCE OF POTENTIALLY DANGEROUS SINCE HARMFULL SUBSTANCES.
ABSTRACT: This work deals with the possible harm to the health of all the persons involved in a construction and/or restoration site deriving from dangerous substances contained in the products in commerce in the EEA. The first part of this work proposes a classification of the possible kinds of harm to the health of the abovementioned persons, in case said harms derive from the products used in the construction/restoration site (including technical equipments and maintenance services). The second part of this work remembers since a two years CEN’s TC350 and TC351 are verifying with other CEN’s TCs whether their standards ETS for products characteristics comply with three requirements of CPD: hygiene, health and environment. Particular emphasis is devoted to program CEN/TC351 since it will impact specifically on restoration sites where substances dangerous since potentially harmful for the health might be released both from the good under restoration and from the scraps to be disposed of, but shall be carefully excluded in the products used in the restoration or existing in the kits, with particular attention in case reutilizations are involved. KEY-WORD: dangerous substances; building users; CEN horizontal approachs.
Fabio Bevilacqua,
1861,1946,1984 - restauri del portale di palazzo Prosperi Sacrati a Ferrara
The planning of a restoration project can became a favourable circumstance to carry out new studies and examinations on the historical-artistic occurrences of the object, on the past undertaken interventions as well as the modifications of the materials.
The stone portal of Palazzo Prosperi Sacrati is among the most important and singular ones of Ferrara architectural context.
It underwent several restorations which left their mark on the materials, from the replacements of parts of the steps and puttos holding-balcony in 1863, to the removal of two Romanic stone lions placed in front of the portal, to the damages of II World War which destroyed the balcony and other parts. Some were reconstructed in 1948 and a large restoration took place in 1983.
In 2000 scientific analyses were
carried out aiming at controlling the state of conservation as well as the residual
efficacy of protectives and consolidants applied on Istria stone and
Verona stone in
KEY-WORD: Palazzo Prosperi Sacrati, Ferrara, past restorations, treatments, state of conservation.
Ornella Fiandaca, Raffaella Lione
I sistemi d’ornato del primo Novecento a Messina.Restauri futuri per restauri recenti.
A century after its destruction, Messina is once again an open building site and has put the decorative elements in artificial stone in the buildings of the early 20th century another time under debate. On the façades, standing out among the other buildings in the city, there are many marks announcing the requirement to repeat the restoration: highly deteriorated decorative elements, entire systems secured to prevent collapses, few monitoring and diagnostic analysis, scaffolds for the repair, restoration works requiring new renovations. The idea of disapproving a recent urban renewal certainly represents the most original alternative, but in our case is also an unavoidable one: in the restoration works carried out, the decorative elements totally covered with heaps of plaster have in fact denied their original nature of reproduction in natural stones, obtained solely by working on the composition of concrete mixtures; furthermore, there’s a more serious point: without considering some conservative positions which could be disapproved – because of the deterioration caused by the restoration works - new atypical expressions have been recorded, which sometimes resulted worse than the restored ones.
Our research aims to show a case study of recent restoration works needing new renovations and to explain clearly why these restoration works are unavoidable.
MESSINA, FACADES, DECORATIVE SYSTEMS, ARTIFICIAL STONE, PATHOLOGIES, RESTORATION
Il restauro di chiese sottoposte ad interventi di rimozione degli “ammodernamenti” post Tridentini. Riflessioni su criteri e limiti. Il caso della Toscana.
ABSTRACT: An obstinate condemnation of the Baroque characterized many 19th century restorations, which opted to retrieve a presumably original medieval purity. The same is true also of most postwar restorations, where the damages caused by the war were often used as a pretext for the unconditional removal of any ornamental transformations or modernizations carried out in the post-Tridentine period. Even though these “liberating” restorations almost always irremediably compromised the 17th and 18th century interventions, and while an arbitrary reinstatement of the lost Baroque reconstructions is impracticable, the time has come to reflect on the overall and complex theme of the restoration of those buildings that were swept up in the wave of “obliterations” carried out in a purist and neo-medievalist key. Limiting our case study to Tuscany, there are, in fact, a few cases where it would still be possible to overturn some interventions, like the many “buttonhole” studies that were executed with the sole aim of revealing the presence of a medieval structure underneath. Recomposing plasterwork or returning removed altars to their original positions could also restore unity to contexts that had been improperly broken up. Despite the variety of the case studies in the territory, it’s still possible to reflect on both methodological and technical procedures that can serve as points of reference for any operative choice.
KEY-WORD: Baroque, restoration, removal, Tuscany, plasterwork.
L. Toniolo, A. Paradisi, M. Boriani, M. Giambruno, A. Battistelli, R. Simonelli
Il “restauro” dei restauri nell’edilizia storica diffusa: un serio problema di compatibilità di materiali
Old historical properties and ordinary architectural heritage are continuously subjected to replacement interventions of parts and to transformations often incompatibles with historical, architectural and material features of its components. Plasters and colours of facades, architectural properties, front decorations, covers and fastenings are too frequently substituted with others which are fake or even destroyed. So what follows is the establishment of the practice of “restoring of restoration”, without any awareness and knowledge but, instead, following the usual practice that bring to easy interventions, with no legal control and care for the historical data. It is common to work on building that over time have been subjected to several interventions and modifications that do not always follow the principles of conservation. This kind of transformations introduces (in the architectural handcrafts) elements and materials representing a real discontinuity with any future intervention that would follow a good conservation practice. How to behave in the case of a project respectful of all previous interventions? How to reach as a primary objective the respect of the existent? The research proposes a methodology that allows the local administrations drafting recommendations for professionals and private owners, to promote and achieve a better conservation management of widespread architectural heritage.
Keywords: architectural heritage, guidelines, “good practices”, material compatibility, maintenance.
La grande vetrata di SS. Giovanni e Paolo (Venezia): riflessioni critiche sui restauri pregressi e proposte metodologiche di intervento.
The Grande Vetrata of SS. Giovanni e Paolo Basilica is a unique work of glass art in Venice, accounting of its dimensions and style. The safeguard of this masterpiece has always been very important for the city of Venice. Such importance is testified by the succession in centuries of many restoration works.
The first documented intervention dates back to 1702: G.A. Moschini [1] mentioned it and its executor, friar Martino Mattei, in his “Guide to the City of Venice”. After this one, three other restorations were made in the following centuries: in 1814 by Andrea Meduna, in 1908 by Giovanni Beltrami and in 1980 by Ottorino Nonfarmale [2].
From the evaluation of the methodologies employed by the restorers, a change in the approach to the artwork in time is evident.
In the first two restoration works both executors inserted a commemorative inscription in the place of the bottom frieze of the stained glass. In 1908 Giovanni Beltrami substituted the inscription with the original frieze. This third intervention aimed at the preservation of the legibility of the work of art: many glass tesserae were substituted (all marked on the verso) and the lacunae in the images, left by the missing grisaille, were integrated with cold working retouches. In 1980 Ottorino Nonfarmale tried above all to preserve the material components of the stained glass: he preferred the consolidation more than substitution and integration. For this purpose Nonfarmale used silicone resins and Paraloid B72: these materials may appear inadequate for this application now, but in that period they were the best technological solution in this field.
Now, in the perspective of a new restoration, the problem of which methodology has to be followed arise. Great attention must be paid in choosing the materials and procedures, taking into account the most recent knowledge and technology and regarding with a critical eye at the work of the previous restorers.
KEYWORDS: Stained-Glass window, Grisaille, Restoration, Conservation.
Le sale del Garofalo a Ferrara: un secolo di restauri pittorici e strutturali
ABSTRACT:
Parallel stories of vaulted rooms painted, in two different locations, by Benvenuto Tisi da Garofalo in the early sixteenth century in Ferrara: from the contemporary decoration of precious paintings to their progressive degradation, which was also structural. The study investigates the pictorial restoration and consolidation works which have been conducted since the early twentieth century, sometimes by using some innovative methods and materials (such as the reinforced concrete), which are erroneously considered effective solutions. The study describes the recently concluded restoration interventions which allow some interesting comparisons. Both restoration worksites have been conducted on the basis of preliminary archival research aimed to collect historical data on previous interventions, as well as on the study of the state of matter and structures before the beginning of the works. It was chosen to avoid removing previous restorations when their presence was assessed to be not detrimental to the conservation of paintings or structures. The restoration work has been documented through the various phases and in the techniques used in order to facilitate future maintenance. It was integrated with a continuous deformation monitoring system in the room called Sala del Tesoro, which is affected by major structural problems.
Key words:
Benvenuto Tisi da Garofalo, painting of early sixteenth century, Ferrara, restorations in the beginning of the twentieth century, Sala del Tesoro o Aula Costabiliana.
L. Appolonia, L. Dei, L. Degani, A. Piccirillo, D. Scalarone
La rimozione di protettivi organici da superfici pittoriche di dipinti murali per mezzo di microemulsioni acquose e soluzioni micellari: metodi di valutazione.
n.d.
Piero Baglioni, Rodorico Giorgi, Marcia Carolina Arroyo, Giovanni Pratesi, Piergiorgio Malesani
Nanotecnologie per il recupero di materiali lapidei e pitture murali: la Casa di Maria nella chiesa dell’Annunciazione di Nazareth
Physico-chemical compatibility of materials has been often underestimated in the evaluation of the best methods to preserve the works of art. This contribution shows some effects of this choice and the methodology proposed to remove past restorations performed on limestones and wall paintings in the Annunciation grotto that is adored as the Mother Mary’s house in Nazareth (Israel). The original limestone was coated in the past with five layers of protective plaster, some of these made with hydraulic lime. This treatment modified the physico-chemical properties of the surface producing strong alteration of stones due to the crystallization of a huge amount of salts inside the pores. In other areas consistent residuals of siloxane resins have been found. These have given a plastic appearance to the stones. Resins were also used to protect some wall paintings from the 5th century. The deterioration of resins has caused a strong alteration of the contrast and brilliance of the colors and the most of paintings is unreadable. This paper illustrates a possible way to consolidate the stones by using lime mortar with maximum physico-chemical compatibility. An innovative method to remove the resins used to protect the painting is also presented.
KEYWORDS: Consolidation, limestone, wall paintings, siloxane resins, salt crystallization.
Filippo Legnagli, Raffaela Braggio, Genziana Frigo, Cristiana Beltrami, Michele Raffaeli, Alberto Totolo, Mirella Baldan, Francesca Strazza, Massimiliano de Adamich, Giovanni Castiglioni
Dal «cantiere permanente» al «restauro ricorrente». Il progetto di conservazione dei prospetti esterni della chiesa di Santa Maria della Scala a Verona.
ABSTRACT: The St. Maria della Scala façade and lateral view are the result of a stratification process which is centuries-old. The thirteenth century to the twentieth century saw the outsides of the church change shapes and maybe position many times before reaching the current structure.
The brick views show, in some area, plaster pieces more or less broad, probably belonging to different ages, whose composition today is still difficult to define, due to a thick layer of superficial deposits. In the front of the building, there are fragments of a wall painting,, traditionally attributed to Altichiero, but it is so deteriorated and covered by superficial deposits that it appears now completely illegible.
In line with the architectural survay, the building stratigraphy analysis were started, in order to identify the several building phases that led to the realization of the church and to the following interventions. There are clues suggesting many restoration efforts which occurred until the devastations caused by the second world war. Chemical-physical research highlighted the presence of significant layers of intentional pellicles to protect the face-work surface of the curtain.
The main objective of the current exercise is to stop the degradation processes, through removing the causes of dangerous falls of material while at the same time preserving the repertoire of material clues that testify to the different building stages of the church and following historical events. The absolute respect for the existing building in its different stratifications, the minimal intervention, the chemical-physical compatibility, the tendency to the reversibility of the restoration operations and the recognisability of the integrations are the principles that guide the preservation project.
KEY-WORD: St. Maria della Scala façade, stratification process, brick, building stratigraphy analysis, minimal intervention.
Federica Carlini, Stefano Della Torre, Marco Gasparoli, Rossella Moioli
Le superfici esterne di Casa Bagatti Valsecchi a Milano: tra prova del tempo e problemi progettuali
ABSTRACT
The case study is a Renaissance Revival building, perfectly representative of Beltrami’s Milan. The main façade and the courtyard, including interesting antiques as well as perfectly manufactured elements, had been restored twenty years ago, using state-of-art techniques. Nevertheless a number of problems were again threatening the conservation of plasters, graffiti and terracotta elements.
The lack of information about the reality of the previous restorations works made necessary new investigations and in situ tests to find compatible solutions.
KEY WORDS: Cleaning, Plasters, Salts, Compatibility, Lacunae
066 Guido
Botticelli, Gioia Germani, Chiara Anselmi, Alessia Daveri, Fabio Fratini,
Costanza Miliani, Silvia Rescic
la visitazione di Pontormo alla
Santissima Annunziata (Firenze): verifica dello stato di conservazione
dell'affresco strappato nel
ABSTRACT: The Visitation by Pontormo
is a fresco painting sited in the "Chiostrino dei Voti" of the
Basilica della Santissima Annunziata in Florence that was detached in 1958
according to the usual procedure of that period: detachment through canvas
pasted in the front side with animal glue, sticking the back to other canvas
with calcium caseinate, removal of the front canvas, laying down on a three
layer masonite support glued with polivinilacetate. After
50 years the fresco shows quite good conditions of conservation. Nevertheless dust deposits together decohesion/efflorescences
phenomena localised in correspondence with water infiltration from above disfigure
the appearance of the painting. Therefore a maintenance
intervention through localised consolidations, cleaning and over painting is
necessary. To this purpose it is necessary to know the
condition of conservation of the above mentioned materials and their possible
transformations in order to assure a suitable and compatible new
intervention.
Therefore the possible modifications
of caseinate utilised both as superficial consolidant (as ammonium caseinate)
and adhesive on canvas (as calcium caseinate) have been investigated
through in situ measurements with portable midFT-IR spectrophotometer equipped with
optical fibres and FTIR analyses on samples. The in situ
measurements have been utilised also on cleaning tests to give information on
their effectiveness in removing the different kind of products present
on the surface while the samples gave the opportunity to study the stratigraphy
in order to through light in the relationships among painted layer, finishing,
calcium caseinate, canvas and vinilic resin.
KEY-WORD: detached frescos, non-invasive midFT-IR spectroscopy, consolidation, cleaning, caseinate.
Rodorico Giorgi, David Chelazzi, Emiliano Carretti,
Rimozione selettiva di Mowilith DM5 da pitture Maya DI epoca
post-classica mediante sistemi micellari
Abstract
In the archeological site of Mayapan
in Yucatan, Mexico, a few decades ago Maya wall paintings dating back to the
Post-Classic Age (1200-1450) were discovered. Conservators treated the
paintings with Mowilith resins in order to consolidate
and protect the paint layer. Recent investigations showed
problems of degradation of the polymer films and serious changes in the
appearance of the paintings. Salts coming from the interior of the wall
are pushing the paint layer because the natural
transpirancy of the surface due to the presence of the polymer is lost. In this
paper we report the methods of intervention finalized to the recovery of the
original properties of the paint layer. By using innovative micelle solutions, the removal of the polymers
was successful. This work reports on the physico-chemical
characterization of the polymer-treated surfaces and shows the potentiality of
the ad hoc created micelle solution in the removal of
aged Mowilith. The in situ tests followed an accurate
laboratory study on model painting samples. These
samples were submitted to an accelerated artificial aging, which simulated the
climatic conditions of the sub-tropical areas, to understand the way of
degradation of the polymer used in the former conservative intervention.
Key-words: Mayapan, Mowilith DM5, micellar solutions,
wall paintings.
Roberto Cimadom, Claudio Modena,
Reinterpretazione degli interventi di restauro pregressi: il
cantiere di Torre Vanga a Trento
Abstract: A close correlation can frequently be found
between the activities of construction work carried out on the building and the
current general state of dilapidation. The structural lesions linked to specific periods of construction
(raising the tower in the fourteenth century, diverting the course of the Adige
river in the nineteenth century), the changing heights of the floors and
roofing systems, the creation of new windows and the filling in of existing
ones following changes in floor levels, the reconstruction of the walls
following bombing during the Second World War, changes to the heating system
and the introduction of new technological systems have been carried out using
different techniques and materials, both traditional and more modern, that
testify to at least five restorations performed in the nineteenth century
alone. Some interventions have proven to be valid, while
others have not stood the test of time.
Key words: Cultural Heritage, Studies in Conservation, Building activities, Structural repairs, Historical surfaces, Medieval tower
Mara Camaiti, Giovanni Dellantonio,
Castello del Buonconsiglio, Trento. Stemma affrescato del
Cardinale Bernardo Cles ubicato sul torrione del Magno Palazzo.
ABSTRACT: The direction for Cultural
Heritage of the Provincia Autonoma di Trento (Italy) promoted the
restoration-conservation of a fresco painting representing a coat of
arms of the prince-bishop Bernardo Cles painted between 1530 and 1535. It lies on the western outer wall of the Buonconsiglio castle. Since it has been painted, a quite fast decay begun due to the
extreme daily climatic variations. The conservation history confirms the fast decay. During the XX th century at least tree
documented conservation treatments have been carried out which used gypsum
injections and paraffin as protective layer (1911-13), and a mixture of quicklime and acrylic
emulsion as injection grout followed by a final protection with a solution of
an acrylic polymer (1988). Several different fresco paintings
in the centre of Trento where treated in the same way during the last 30 years.
All theses paintings show similar decay problems. In
this work different solutions for the removal of the surface treatments,
temporary and definitive consolidation and re-adhesion of the loose and powdery
intonachino layer are reported. Different injection
grouts and pre-consolidation techniques are compared.
KEY-WORD: Trento, Castello del
Buonconsiglio, fresco work, restoration, consolidation, calcium silicate,
colloidal calciumhydroxide.
Anna Maria Basso Bert, Carla Di Francesco, Daniela Lattanzi,
Floriana Marino, Alberto Moretti, Michela Palazzo
Il “restauro del restauro” nel
miglioramento sismico. Interventi sui beni culturali del territorio bresciano
colpito dal sisma del
ABSTRACT: During the process of
restoration of the cultural heritage damaged by the earthquake of November 24th
2004, the Regional Head Office for the Preservation of Artistic and
Landscape Heritage in Lombardy worked to guide, verify and supervise the
activities related to the restoration and the seismic improvement. Said activities allowed for the preparation of a wide case record
relevant to the subject. It was therefore necessary to
analyse the way the building behaved under seismic stress before identifying
the strategic guidelines for the project. This caused
an in-depth study of the structural and conservative events involving the
building that was made possible by both historical research and on-site
investigations. By doing so, the choices involved in the
project were tailored to the specific situations that were detected and any
biased opinion was avoided. This subject will be dealt with
also by presenting some examples of structural solutions and interventions on
the decorations. The examples illustrate the
methodological guidelines that supported the choices regarding the new
restoring activities.
KEY-WORDS: decoration, earthquake, improvement,
Lombardy, restoration, seismic, structure.
Enrica Rasimelli, Omar Cristallini ,
Salvatore D’Agostino, Luigi Iovine
Villa di Poppea ad Oplontis:
Il Restauro del Restauro
The Villa of Poppea, an early Roman Empire residential
villa, in the northern suburban area of Pompeii, was unearthed from the ashes
of the Vesuvian eruption that buried it in
KEY-WORD: archaeological conservation, protective shelter, drainage system, traditional material and technique, modern material and technique, planned maintenance
Il restauro come stratificazione: aspetti teorici e
operativi nell’evoluzione della cultura disciplinare
In the history of restoration discipline, the discussion
about “restorations of the
restorations” is a recent acquisition: the evolution of this concept seems strictly
related to reversibility and durability of the restoration intervention, due to the shift of theoretic and operational
approach from the image to the substance of ancient buildings.
This critical essay deals with this headway, focalizing
its main connections.
KEY-WORD: Stratification, reversibility, history and theory of restoration, maintenance, restoration.
Barbara Ferriani, Isabella Marelli, Antonio Rava, Giuseppe Stolfi
La conservazione del contemporaneo: I restauri del dipinto
murale di Guttuso al Sacro Monte di Varese
Renato Guttuso painted the acrylic mural in 1983, but
soon many restorations took place because of peeling of the paint
and a vandalic act that deepened the ongoing decay.
The recent restoration pointed out that the problems
were originated from the local conditions of sun exposure and sharp changes of
UR and temperature and a new approach was cleared with protection from sun rays
and consolidation of the flaking paint layer with a
special detected resin chosen for hig Tg, vinil butyral polymer applied with
syringe and sprayed on the surface.
Impainting of the losses completed the
treatment wich will be controlled in the years in order to prevent further
decay.
KEY-WORD: Liquitex, exterior mural paintings, flaking of paint layers, peeling and fracture of surface, sun rays exposure, movital and polivinilbutiral resin.
Il restauro dei restauri: un rapporto
difficile tra il mantenimento del segno archeologico e la gestione degli
errori.
Abstract: Restoration of restorations: a difficult
tradeoff between archaeologic signs preservation and errors management
An intervention on a pre-existing
restoration is more complex than a “normal” restoration operation.
Why ? because of this one more
pre-existing stratigraphic layer only ? because special purpose and reason of
this layer? because it was realized keeping in mind
what was there before ? or ignoring it?
What problems occur in this situation, from the
architecture archeology point of view ? what are the constraints that this
other restoration faces ?
Some restoration operations made
history, nobody argue about them today, and nobody ever talks about removing
them, as they are a part of the history too. But what about the other
ones, the ones that were not designed by a famous architect ?
This paper is a reflection on
"wrong" restorations, i.e. the ones where the old static framework
has not been understood, or the real use and target of the original
structure have been misunderstood. It also deals with the
ones where materials compatibility have been forgot, or where the execution
phase failed.
Everybody agrees on the removal of
wrong restoration when they put a threat on the building structure itself.
In some other situations there is no structural problem, no
conservation problem, but still the pre-existing restoration is certainly a
wrong one. This is the case of some paintng errors. How should these
cases be dealt with ? Should they be removed ?
Wrong restorations, considered as
“production rejections”; production rejections may provide several useful
information, according to archaeologic standards. May this concept be
transferred into restoration field ? This paper describes sample cases where an archaeologic
interpretation of the material object try to retrieve new elements and answer
these questions.
(K-words: restoration,
analysis, archaeology of architecture, complexity, compatibility)
Giovanni Carbonara, Lia Barelli, Mara
Falconi, Elisabetta Giorgi, Ippolito Massari, Francesca Matera, Monica
Morbidelli, Laura Morgante, Francesco Piccarreta, Raffaele Pugliese, Maria
Laura Santarelli, Giorgio Torraca
Il restauro del chiostro dei SS. Quattro Coronati in Roma
Between 1912 and 1916 the
Superintendence of Monuments, under the direction of Antonio Muñoz, carried out
restoration work on the Cosmatesque cloister of Ss. Quattro Coronati,
which dates back to the thirteenth century. The objective was that of returning
the cloister as closely as possible to its original third century state, and yet still maintain the principal structural
modifications that transformed it in the sixteenth century with the addition of
an upper floor loggia. In order to achieve this, the small
arches of the cloister that had collapsed in the past were rebuilt, and the
pictorial decoration on the undersides of the arches was completely
reproduced based on two surviving strips of original fresco. The intonaco surfaces belonging to the transformation phases of
the modern era were replaced and the present colour scheme was applied to all
the surfaces, and then covered by a light wash to tone down the contrast
between modern and ancient. It was not Muñoz’s
intention to adopt a dogmatic approach to restoration, but rather to create a
new architectural balance that adhered to the principles of restoration being
formulated in those years. This is, for example, evident from
the treatment of the perimeter walls, making them a dark colour that was not original,
but justified by the necessity of enhancing the decorative
archaeological fragments positioned on them. The restoration
works carried out by Muñoz still today represent the last works capable of
providing an integral and organic vision of the cloister, as well as
constituting an important document for the history and theory of restoration. Consequently, the restoration in progress since 2002, proposes to
maintain and enhance the cloister in the general appearance bestowed on it
by Muñoz’s intervention, treating the changes made during the recently
concluded century with due respect and consideration.
KEY-WORD: Cloister Restoration Organic vision
Paolo Bensi, Mario Casaburo
La storia conservativa della pittura murale in campania
attraverso il succedersi degli interventi di restauro del
XIX e XX secolo: il caso del chiostro dell’ex-monastero dei SS. Severino e
Sossio a Napoli
ABSTRACT
The different work of restoration,
made between XIX century and XX century on the Antonio Solario’s wall paintings
in the cloister of ex-monastery SS. Severino e Sossio in Neaples,
constitutes an exemplar event.
By a side because any work until
eighty of XX century, hasn’t heeded problems amenable to environment humidity
and, especially reposing on the wax and paraffin application, has
aggravated the situation. By other side because the
restorations, directed by personality also important, have consequently
distorted information that could be enable to work next operator more
correctly.
KEY-WORD: Naples, wall paintings, wax, paraffin, history of conservation
Alma Ortolan, Władysław
Zalewski
I dipinti murali Bizantino-Russi della Cappella Di
Santa Croce nella Cattedrale Del Wawel a
Cracovia (1470) Restauri Dal 1870 Al
2001
ABSCTRACT:
The paper presents the history
of the conservation of the Byzantine-Russian wall paintings (which date back to
the 1470) in the St. Cross Chapel in the Cathedral of Wawel in Kraków, Poland. They have been subjected to three great conservation processes in
the last 140 years, which changed the appearance of the paintings, becoming
the most damaging force to which the murals were exposed. In
1904 the Austrian academician Alois Riegl was involved in the discussion about
the conservation and published an article devoted to the criticism of
the previous conservation, introducing also the principles of art conservation,
which were completely followed only during the last restoration (1997 - 2001). The sequence of these four interventions gives reason of the
evolution of the theory of conservation in Poland.
KEY-WORDS: Byzantine, wall painting, history of conservation, Kraków.
Donatella Pucci,
Un caso particolare di studio: il
velario in carta dipinta del Teatro Argentina di Roma. Indagini
conoscitive e fattibilità d’intervento
ABSTRACT: Painted in
In 2004 the Istituto Centrale per il
Restauro started a research program that ended up in 2007, with results of
several diagnostic and scientific measures and with a restoration
project.
Graphic documentation, observation at
raking light, examination of paper fibres, XRF measures and U.V. fluorescence
have given meaningful results on the painting technique employed by the
artists and on present conservation conditions. U.V. fluorescence was
particularly important. This diagnostic technique, employed
since several decades in the field of cultural heritage conservation, has
showed interesting results, as its application to large format works of
art on paper suggests research possibilities that deserve to be deepened in the
future.
KEY WORDS: Velarium, paper, works of art on
paper, large size, gouache, U.V. fluorescence.
Isabella Serafini
Un caso particolare di studio. Il
velario in carta dipinta del Teatro Argentina di Roma. Storia e vicende
conservative
The present plafond in the audience
hall was depicted in 1887 by M.Adami and G.Romagnoli Company, during the
renovation jobs directed by Engeneer Gioacchino Ersoch (1815-1902). The occasion was the demolition of Lungotevere area and of the
nearby Apollo Theatre; consequently the decision to transform Argentina in the
main theatre of the city. It was the last one of many unlike
paintings that embellished the hall in different times, in connection to ever
changing tastes
The main subjects of the plafond (gouache
on paper) are Arts and Muses, with allegoric geniuses and famous Italian
artists in medaillons. Fragileness of materials
(paper, wood) and improper environment conditions, as I.C.R. study will
explain, caused detachment of paper, lacerations, and falls of painting
surface. Last restoration was held by Eroli-Bucci Company
in 1967-71. The study on preservation conditions and
technology installations (heater, lighting, etc.) is still going on.
We hope that financial facilities
could be found as soon to preserve such a rare example of huge painting on
paper in Italy.
KEY- WORDS: Teatro Argentina, plafond, gouache on paper, G. Ersoch, Arts and Muses, Eroli Bucci Company, paper damages.
Saverio Carillo, Pasquale Petillo
Le modifiche degli altari e dei luoghi di culto per l’adeguamento liturgico postconciliare. Metodi, esperienze, progetti.
ABSTRACT: The interferences of
adaptation of the churches presbyter zones, as fixed by different liturgical
requirements defined by the directions of the Second Vatican Council
since 1968, have seen. In a not of cases, the
propagation of the immoral behavior to break up the altars, that are stone
messenger master pieces, in the most part of the cases. So, in this way, it is created hybrid shapes that are both without
importance, if it is considered the point of view of the functional
requirements and aberrant compositions if it is examined from the point of view
to the aesthetics fruition.
These operations, that are made in a
superficial way, also to techniques
inabilities, have caused irreversible damage to the finds and to the
formal figurations. This is happened when it is not certified on the
realizations, also
to have not understood the liturgical directions that have made trivial the
architectonical frame of the holy place.
To underline this impoverishment, it
is added the use of materials that are not connected with requirements of
architecture and with the veneration decorum.
The problem of the retraining of the
environments concerned by this “restorations” ash for a wide consideration and
the way direction.
KEY-WORD: Altar; decorum pietas loci; liturgical architecture; restorations; Second Vatican Council.
Carmen Genovese
Lo sviluppo della questione antisismica e delle tecniche di consolidamento.Storia, reversibilità, durabilità delle tecniche d’intervento in Sicilia dopo il 1908.
ABSTRACT: One hundred years later the
hearthquake of Messina, that destroyed in 1908 the eastern Sicily and a part of
Calabria country, this research regards the relations between
anti-seismic studies and thecnologies of structural consolidation, in the firs
part of the Nineteenth centu-ry. Following the new
anti-seismic laws of the time, engineers introduced structural steel frames and
reinforced concrete structures in the ancient buildings. Today, the degradation on modern materials, inside the ancient monuments’stonework,
put a question about compatibility between the different structural
systems. Through a real exemple of anti-sesimic consolidation
made, in the first part of the Nineteenth century, in the church of S. Giovanni
in Castanea, near Messina, we want to reflect on questions about
conservation and respect of structural identity of the monument.
KEY-WORD: earthquakes, seismic consolidation, reinforced concrete, Sicily, conservation.
Pier Giovanni Bardelli,
La programmazione della manutenzione di manufatti architettonici recentemente restaurati attraverso la conoscenza del costruito e del cantiere.
ABSTRACT:
As a matter of fact that conservation of the architectural heritage can be
achieved through the planning of protection strategies linking restoration activities to periodic
maintenance. This means that designers, restores,
administrators and all those involved in conservation have to monitor the
heritage continuously and constantly, both during and after the restoration.
The aims are to
verify the behaviour of therapies, to solve timely
problems, to plan all necessary to remove direct and indirect factors of decay,
to identify and systematize actions that can slow down natural decay of
architectural manufacts.
It is the paper
purpose to illustrate the first results of a research
carried at the Politecnico di Torino, aiming at identifying criteria for
developing real and affective maintenance programs based on data directly
picked in restoration sites. Such data originate from the knowledge of the buildings, technical and operative choices applied
during restoration and service behaviour of the therapies applied.
KEY-WORD:
conservation, maintenance, planning and management, documentation, data
recording on restoration site, therapies.
Alberto Fontanini, Daniele Rancilio,
Laura Sala
Conservare i restauri: esperienze cremonesi di dipinti murali
ABSTRACT: The contribution takes into consideration
three restoration works executed on mural paintings of
the Cremona circle during the last decade. They are different
for age and execution technique, but they are emblematic for the close
connection and inseparability between the original material and the
substances introduced in the course of the previous restorations. The
Crucifixion by Bernardino Campi, executed in about 1545 on
the controfacciata of the parish church of St. Bassiano in
Pizzighettone, damaged by the bombardments in 1944-45 and restored in 1963; the
fifteenth-century pictorial cycle of Bonifacio Bembo of the Chapel
Cavalcabò in St. Augustine church in Cremona, renovated in the eighteenth
century and radically restored in 1951; the tempera
decorations in the Salone d’Onore of the Stanga Palace in Cremona, achieved in
1789 by Giuseppe Manfredini and restored in about the half of the nineteenth
century. The approach to these interventions, which implied complex issues both
from an interpretative point of view and a conservative one,
has been controversial: are the previous restorations to be considered as
falsifying intrusions to be removed, regardless of their consequences of
conservative nature, or are they to be maintained as documentary evidences that
cannot be renounced in the history of the work?
The presented interventions, supported
by analysis campaigns for the characterization of the constitutive and
restoration materials, have been planned on merely conservative
criteria.
KEY-WORD: Conservation, mural paintings, Bembo, Campi,
Manfredini.
Lorenzini Giuseppe, Barbara Scala
Spirito patrio e comunicazione visiva nei restauri del Santuario di Montecastello in Tignale (Bs)
This study examines three different restoration works concerning the
“Santuario di Montecastello in Tignale (BS)”.
The first was made at the beginning of XXth century within a historicist culture; it concerned architectural and decorative changes.
The second was made in 1981 and it concerned the
restoration of the frescos in the presbytery: the original colours were replaced
with new colours which
were nearer the visual culture of that period. The third was made in 1992 and
concerned the paintings and the decorations of the nave; this work was done with conservative
methods.
KEY-WORD: restauration of “style”
Alessandra Alagna
Dimensione etica del restauro nel tempo necessità della permanenza delle testimonianze materiali contro l’oblio della memoria
ABSTRACT: The de-restoration performed so far on cultural patrimony, that is methodological
afterthoughts or verification of historiographic errors or late taking of
conscience of the damage brought to the monuments with incompatible materials
and structure, are often founded upon the undiversified application of
corrective scientific procedures. The loss that these
de-restorations involve is notable if we think that some of the removed
interventions had, in the meantime, matured the condition of “material
testimonials having value of civilization”. Today nobody would hold admissible
to remove the restorations of Stern and Valadier on the Colosseum or on the Arc
of Tito for possible errors in front of the pragmatic and explanatory value
which such testimonials have acquired for the present and the future
generations. The memory required tangible witnesses because,
in order to write the history of one’s civilizations, faded memories are not
enough. Only in the cases in which the interventions
of the restoration as been recognized dangerous for the monument, it is
legitimate to proceed to its removal and to the restitution of the
“status quo ante” of the work. However it is possible to
continue in the substitutions of the former intervention with a new project
founded upon theoretical and cultural presuppositions in order to
justify such a traumatic intervention for the pre-existent. As to the
restorations that are recognized samples, ethics impose the categorical
imperative of the maintenance of it, with any means at
our disposition.
KEY-WORDS: restoration, maintenance, material testimonials, ethics, time, memory.
Arianna Spinosa
Il restauro del campanile della Cattedrale di Gaeta (1960): riflessioni su un caso di consolidamento “pesante” e problematiche attuali di derestauro
The necessity to face the restauration
of numerous monumental structures damaged by the war events, the always great
employment of the reinforced concrete, the progressive carelessness of
the traditional techniques, has contributed, in the fifties of last century, to
often bloom of interventions of structural consolidation excessive or bigger.
In this picture they were often
inserted, within the building thicknesses, new armed warpings with the purpose
to stiffen the preexisting structure.
The consolidation of the Bell tower of
the Cathedral of Gaeta coordinated by the Superintendence to the Monuments of
Lazio directed by Carlo Ceschi, is representative of the
"protocol" used for practices of consolidation borrowed by the
structural engineering, applied above all on slender manufactured articles.
The present essay intends to investigate
on the approachs and on the techniques used in the restauration, finished
during the sixties and also to start a process of individualization of the
factors of degrade of the structures of the Bell tower of Norman origin and for
the definition of the methodological lines of a correct “restauration of the
restaurations” that will be necessary soon for the survival of the monument.
Restauration-consolidation-reinforced concrete- bell tower
Giuseppe Cruciani Fabozzi Giuseppina Suardi Sara Di Gregorio
Il recupero dell'apparato decorativo di Palazzo Guadagni Strozzi Sacrati a Firenze: metodologia di progettazione e documentazione in cantiere degli interventi, con particolare riguardo alla problematica dei "restauri" pregressi."
ABSTRACT: Within the framework of the
restoration works of the Palazzo Strozzi Sacrati in Florence for use as the
Tuscan region headquarters, the interventions carried out since 2005 on
the internal decorated surfaces have been facing the thorny question of how to
behave towards previous restoration works. The essential in situ re-assessment
of the project, supported by diagnostic examinations and specific assays, has
permitted to calibrate
the way of execution of every single operation, taking into
account both technical difficulty and expected results, according to
peculiarity and state of preservation of the mural paintings. The method for data collecting, already defined in the working out
of the project, has been followed in the site during all the stages of work,
in order to make an immediate cross-examination between the survey of previous
status quo, the project prevision and the work as it has been actually carried
out; such a methodical documentation will permit to retrace the entire process
again in the future.
Key-words: conservation of mural paintings, diagnostic examinations, methodical documentation
Matteo Scaltritti
Il trattamento degli interventi spontanei di riqualificazione funzionale
ABSTRACT: especially in modern
architecture case, intervention project has to face the problem of previous
modification. These are often due to spontaneous transformation
activities managed by users. For the most part, they rise from a needs
acknowledgement due to users change or obsolescence of spaces or technological components. In any case the consciousness
of these performance adaption processes requires a deep knowledge activity
based on values and performances survey of solutions adopted for a
requalification goal.
The paper presents some consideration
on the study cases of Ataköy settlement in Istanbul and of “G.
D’Annunzio” neighbourhood in Milan; in both cases closure of balconies and
terraces has produced an appearance modification starting from a use need. The treatment of these elements which role is, a
the same time, functional and figurative, requires a projectual approach in
which, conservation and design actions converge in a
transformation process management.
KEY-WORDS: requalification, performance based approach, modern architecture, intervention quality, conservation
Manuela Mattone
Reinterpretare vecchi interventi: il caso della chiesa di Santa Maria di Piazza ad Ancona
ABSTRACT
Restoration of ancient buildings,
which have already been restored in the past, asks for a direct confrontation
with previous operative and projectual choices. In
some cases, the critical examination of those choices may involve to discuss
about them, whose it is necessary to evaluate the opportunity of
conservation.
Coming to light these convictions the
present contribution intends to analyse the restorations realised in the 1980s
on the Santa Maria di Piazza church in Ancona, which had already been
restored during the second half of the 1950s by Vittorio Mesturino.
KEY-WORD: restoration, reinterpretation, critical analysis, complexity.
Compatibilità tra materiali e sostenibilità delle scelte progettuali nel restauro architettonico
Each restoration work represent an
interpretation, not necessary shored, of an handwork, and every choice
represent a personal answer to a requirement of the object, the society
or the planner himself, sifted by knowldge, awareness and technological
capability of each age. Technical aspects make a distinction between
restoration works carried out in a period of history
marked out by the respect of tradition in building, and those performed after
the deep technical ‘caesure’ called by the introduction of ‘new’ products. The
frequently recurring failure of ‘contemporary’
materials caused by essential defects, incompatibility and/or wrong use, beared
a widespread reaction, in restoration sector at least, against employment of
synthetic resins and concrete in mortars, also in the light of a detailed
examination of the properties of bindings required in different uses. Nevertheless a weak limit between what we consider restoration and
what is the result of maintenance. The restoration of
a nineteenth-century building complex formed by the unification of several buildings
and a tower strongly points out the topic of restoration and
maintenance.
KEY-WORD: Compatibility – mortar – concrete – restoration – maintenance
Barbara Vinardi
Il restauro dei restauri della chiesa di San Domenico a Torino
ABSTRACT: The conventual church of the
Dominican order in Turin (14th century) is known as the only medieval church of
the city. Actually it was shaped in baroque style and
reduced in the 18th century by the Juvarra adjustment of the present Via
Milano; in 1866 the interior ornaments were shaped in gothic style and
finally the church was completely restored at the beginning of the 20th
century, by the plan of Benedetto Riccardo Brayda, who reshaped the front and
the three interior naves to their original design. The last
one was an “historicist” restoration, mainly focused on the rebuilding of the
buttresses, of the fronton, of the pinnacles, and of all the windows and
doors of the front, that was restored to bricks and uniformed to its texture of
ancient masonries, modified with the integration of new elements. In 1996 the building was submitted to a further restoration,
following a deep analysis aimed to find proper preservation techniques, focusing
on the preservation of the masonry of the terracotta surfaces, on the
rediscovery and preservation of armorial bearings parts and decorative stripes
(than covered with a dark grey painting) of Giovanni Vacchetta, architect and
decorator strictly connected to Brayda’s plan in the architectural concealing. The deteriorations deriving from the high quantity of powder
deposits made an intervention urgent, in order to ensure the front better conditions
and to enhance its image to its maximum value, in witnessing its cultural
period. It was a “restoration of the restoration”, or better
a “preservation of the restoration”, in the authenticity of its historical
consistency and in its image.
KEY-WORD: St. Domenico church, Brayda, Vacchetta, medieval, gothic style, baroque style, restoration, stylistic restoration.
Gianluca Vitagliano
Un restauro di restauri: l’intervento postbellico al Museo Campano di palazzo Antignano a Capua
The post war restoration works at the
Museo Campano in Capua are a significant example of “restoration of a
restoration”. In fact, the choices made to rebuild some of its destroyed
parts had to take into account all the previous works on the building, an
originally late gothic palace converted into a museum thorough a series of renovation works
over the years.
Housed in the Renaissance Palazzo
Antignano, the Provincial Museum of Campania was open to the public in 1874
under the direction of Gabriele Iannelli. It was reorganised in 1933 by
Amedeo Maturi, but it was then seriously damaged by bombardments in 1943, when
a large part of the fifteenth-century decorative setting was destroyed.
On the basis of newly found files,
this essay wants to address the following issues. First,
as far as the theoretical debate on architectural restoration is concerned, the
critical reading of post-war restoration works allows us to highlight the
position taken by the designers in relation to the choices made during the
previous renovation works. Secondly, given the history of the
building, the study of the construction site helps us to detect both will be
and already existing deterioration factors. In order
to define a new project of restoration, one should take into account factors
such as the innovative and not yet well experimented techniques and
materials used at the time.
KEY-WORD: Post-War Reconstruction, Provincial Museum of
Campania, War Damage, Late Gothic Architecture, Palazzo Antignano
Lucina Napoleone
Restaurare di nuovo: il de-restauro tra esigenze tecniche e ripristino stilistico
ABSTRACT
The essay focuses on some
issues concerning de-restoration. The idea comes from some interventions
carried out on French’s monuments in the last few
years. Monuments already restored in the century XIX. Is the
case of Carcassonne and Saint Sernine at Toulouse, restored by Viollet-le-Duc
and de-restored at the end of XX century. In some cases, the restoration
is a consequence of the bad state of conservation; in
other cases, this action is dependent on a negative historical judgement
against the restoration of Viollet-le-Duc.
The article would like to learn about these topics: it’s possible to justify these interventions with our actual
theoretical instruments? and is possible to restore
the monument to his ancient image?
KEYWORDS: de-restoration, maintenance, deterioration, stylistic restoration
Rimozione di polimeri acrilici da pitture murali mediante
sistemi detergenti e gel chimici magnetici
The removal of aged acrylic polymers
is one of the most critical and important goals in the field of conservation of
cultural heritage. Nanostructured systems, i.e.
microemulsions, micelle solutions or gels, offer new possibilities to
conservators for the cleaning of surfaces because they are some of the
most effective tools nowadays available. Notwithstanding,
physical gels commonly used in restoration can not be easily and completely
removed from the cleaned surfaces. In this work,
we report the study of some innovative formulations of gels for conservation:
nanomagnetic sponges, a class of chemical gels that can solve the issue of
clearance. These innovative systems are made up of a
polyacrylamide network doped with cobalt-ferrite nanoparticles that make them
responsive to magnetic fields and, therefore, easily removable from the
cleaned surface by using a permanent magnet. Nanomagnetic
sponges are highly hydrophilic and for this reason can be loaded with o/w
microemulsions. Preliminary tests in removal of
acrylic polymers (i.e. Paraloid B72) from wall paintings were very promising,
as confirmed by FT-IR micro-reflectance analysis.
Key-words: chemical gels, wall paintings, microemulsions, acrylic polymers.
Alessia Bianco, Michele Candela, Orsola Foglia
Applicazione non convenzionale di metodologie diagnostiche
per la conoscenza dei restauri.Il caso della Sala del Capitolo del Complesso
conventuale di San Domenico
Maggiore a Napoli
ABSTRACT: The article wants to expose the results of a experimental search finalized to identify the history of
the restaurations of the Room of the Chapter of the Complex of St. Domenico
Maggiore in Naples, that introduces a arched coverage
with decoration to frescos and plasters, where, during the recent conservative
restaurations, way is had to verify the presence of ancient and recent
restaurations, not documented by the sources. This has made necessary to set in
to be alternative tools of knowledge to the
documentary investigation; in the specific was performed one an in situ
diagnostic analysis, that has brought to the understanding of the restored or
reconstructed parts and to the individualization of the select materials. Such complex of information has allowed besides to optimize the
project of conservative restauration, now in execution.
KEY-WORD: conservative restauration, frescos and plasters, PnD, Complex of St. Domenico Maggiore in Naples.
R. Petriaggi, B. Davidde, S. Ricci, G. F. Priori
Verifica dell’efficacia delle malte
idrauliche utilizzate per il restauro di strutture romane nel parco sommerso di
Baia.
ABSTRACT:
The project of underwater restoration
conducted from 2003 to present by Underwater Archaeological Operations Unit of
the ISCR on roman structures of ancient Baia (Naples) includes the
experimentation of materials and products for masonry consolidation.
In this paper we present the analysis
results of hydraulic mortar used in 2005 for restoration of a mosaic pavement.
The efficacy of the mortar after 3
years, has been proved in situ and in laboratory through diagnostic
investigations that allow us to know about mechanical resistance of the
mortar, the strength of lacunae filling and how the mortar is susceptible to
the biological deterioration. In our opinion, these data will be useful for
planning a conservative
program of restoration and maintenance for the Underwater Archaeological
Park.
KEY-WORD: submerged restore, biodeterioration, mortar,
Baia (Naples).
Paola Cavaciocchi, Rosita Guastella, Carolina Lastrico,
Gianluca Pesce,
La chiesa di S. Nicolò di Capodimonte (Camogli – GE): un
approccio multidisciplinare al problema del restauro di un edificio restaurato
ABSTRACT: The S. Nicolò church of
Capodimonte (Genoa, Italy) is the clearest testimony of an old religious
settling on the west coast of Portofino’s mountain, coming from the
medieval age. Between 2005 and 2007 this building has been studied by an
interdisciplinary working group involved in a
restoration project that is going to start in the next year. Historic studies
(both for the church and for environment), archaeological analysis of walls,
analysis of materials, studies of structures performed by some engineers, and
geological analysis of terrain has been developed in a
full tune of the whole working group. These works had been
possible thanks to some non common resources of time and money made available
by a private sponsor. This work highlighted some important old
restoration works carried out between the end of XIXth and the first years of XXth century, unknown before the analysis and the importance
of a interdisciplinary working group.
KEY-WORD: medieval church, restoration
project, building archaeology, material analysis, interdisciplinary working
group
Altieri A.,Capponi G.,
De Palma G., Di Cosimo F., Pietrini A.M., Ricci S., Roccardi A.
I templi di Paestum: un caso studio per un piano di
manutenzione dopo gli interventi di restauro
ABSTRACT
A study regarding the revision of previous restorations of
the three
temples of Cerere, Neptune and Basilica in the archaeological area of Paestum
has been realized. In order to characterize the types of
deterioration after a period of 6 – 10 years since the last restoration, a
procedure of seasonal reconnaissance, photographic documentation and
taxonomical identification of biodeterioration agents was carried out. The study results allowed the evaluation of progressive deterioration
of travertine, sandstone and restoration materials. On
this basis, it was possible to realize a maintenance plan with times and
priority of treatments and interventions for each architectural element
of temples.
KEY-WORD: Cerere, Neptune, Basilica temples, restoration,
conservation, maintenance
Giacomo Pizzorusso, Rodorico Giorgi, David Chelazzi, Emiliano Carretti,
Marcia Carolina Arroyo, Aurelia Chevalier, Michel Menu, Piero
Baglioni
Eliminazione di residui di colle usate per la rintelatura
di dipinti mediante sistemi chimici detergenti
ABSTRACT
In the last centuries, one of the most
largely diffused restoration protocols for canvas paintings was the lining
procedure. Due to degradation processes the original
support tends to loss its original mechanical properties. Lining
consists in the application of a new canvas on the back-side of the paint by means of synthetic adhesives or natural glues.
Unfortunately, all these substances
are not chemically inert and usually undergo reactions, giving the formation of
compounds (like acids) that can further accelerate the degradation of
the original canvas support. Furthermore, these chemical
processes also modify the mechanical properties of the used adhesives,
partially compromising their original function. This
is one of the reasons why many conservators suggest removing these materials.
Another problem is the degradation of adhesives that may
cause molecular changes and, as a consequence, a strong decrease of the
original solubility. This complicates the solubilization of adhesives
during the removal process.
This work is focused on the study of
the artificial aging of model systems that have been realized by treating
canvas and glass samples by means of acrylic and vinyl polymers, and
natural glue. The degradation status of both the canvas and
the adhesives was monitored by thermal analysis (DTG, DSC), FT-IR spectroscopy
(ATR) and colorimetry. Some cleaning tests have also
been performed by using acrylamide based chemical gels soaked with detergent
solutions.
Keywords: lining, canvas painting, adhesives, chemical
gels, micellar solution, artificial aging.
Anna Maria Pietrini, Sandra Ricci, Ada Roccardi, Fiorangela Fazio
Suscettibilita’ al degrado biologico dei materiali usati
negli interventi di restauro sui mosaici pavimentali ad Ostia Antica
ABSTRACT:
The study is part of a research carried out between
Istituto Superiore per la Conservazione ed il
Restauro of Rome and Soprintendenza Archeologica of Ostia Antica to
individuate correlations between biological colonization, caused by algae,
lichens, mosses and plants, and restoration works realized with different consolidation methodologies.
On some mosaic floors, in the
archaeological area of Ostia Antica, has been evaluated the role of the
biological agents and the relation with the techniques, materials and age of
consolidations. The results show that also environmental conditions
play a role in the diffusion of the biodeteriogens. This work offers
indications to define the
suitable methods to control the biological colonization and to individuate the better maintenance
strategies.
KEY-WORD: biodeterioration, mosaics,
algae, lichens, mosses, mortar, restoration, Ostia Antica, acrylic resin,
GORE-TEX®.
Elisabetta Rosina, Nicola Ludwig,
Compatibilità e durabilità dei restauri degli affreschi in
condizioni microclimatiche severe
The practice of frescoes restoration
includes repointing/integration of lacks of plasters. Restorers use
different tools and materials for the intervention. Recent researches [1-3] show that restoration plasters have
different thermo-hygrometrical behaviours at low Temperature and high ambient
Humidity rate.
The research starts from the
observation in the field of the hygroscopic behaviour of different texture of
mortars: textures obtained with hard tools (e.g. spatula, wooden float, trowel)
have harder surfaces, more compacted, which facilitate the condensation of
water vapour; soft tools finishing (sponge, sponge float) have a rough surface,
which facilitate the absorption and evaporation of moisture. In
case of contiguity between two different finishing, the edges of rougher
surface (around more compact texture) show major damage. Despite of chemical compatibility of mortar compounds, the effects
of change of state of water on surfaces cause a differenciated damage, starting
from the edge of re-plastered areas. Durability of plasters
set with different tools can be shorter than durability of homogeneous texture.
Early detection of risk areas, by use
of Infrared Thermography (IRT) [2, 6] at transient conditions, is a great deal
for preservation of historical buildings without a controlled HVAC
system, and an advancement for the restoration techniques of precious surfaces.
The paper reports a successful applications of the
integration of IRT and microscopy in the recent restoration yard at Saint Mary
by Saint Paul Church in Cantù [5, 10, 11]. Periodic
inspections and microclimate monitoring allow to keep under control the initial
damage on frescoes and to design the corrective actions inside the
preservation plan.
KEYWORDS: IRT, surface roughness,
plaster damage, videomicroscopy, condensation, restoration mortars, planned
conservation
Restaurare un restauro degli anni 50 del
'900': gli affreschi cinquecenteschi del Santuario di Rezzo (IM)..
ABSTRACT:
The sanctuary of Rezzo was built in
the XV century; Pietro Guido da Ranzo painted (1515) some frescoes with the
Stories of Christ's Passion. The frescoes were covered
with chalk (1586) and discovered only in the XX century. Between 1957 and 1960 Tullio Brizi restored the Stories. Our recent intervention, carried out in the years
Key words: sanctuary of Rezzo, Pietro
Guido da Ranzo, Tullio Brizi, frescoes.
Valter Proietti
Riflessioni per restaurare il restauro dei primi anni
novanta del
giardino di Villa Aldobrandini in Roma
ABSTRACT: The restoration of a restoration in a garden is a complex work because it has to consider the
vegetal element, while this is not a problem in a restoration of a work of art.
The vegetal element changes with the time and it can modify the data of
reference on which a restoration is based. The restoration of the garden in
Villa Aldobrandini in Rome was projected and made by two different offices,which were part of the same administration in 1990/1992.
The poor result was due to the fact that gardners did not follow the instructions of the
project, but fortunately the work is reversible so it is possible to intervene
again.
Nowadays it is necessary a reflection
about how to deal with "the restoration of the restoration" in the
garden, studying the methods to use to see the difference between the
work and the aims of the restoration and the istructions to follow in new work
to correct the previous mistakes.
KEY-WORD: Villa Aldobrandini,
restoration of a restoration, natural element, reversible work, project.
M.Coladonato, A. M. Marinelli, P.Miracola, B.Provinciali,
P.Santopadre, G.Sidoti, A.Borzomati, D. Poggi
Gli affreschi del Ninfeo del Palazzo del Bufalo
Cancellieri in Roma di Polidoro Da Caravaggio - dalla facciata al museo
The restoration of two of six panels
of Loggiato Casino del Bufalo Cancellieri, The sacrifice for the Liberation of
Andromeda and Fortuna, is the result of collaboration between the
Istituto Superiore per la Conservazione e il Restauro (ex Istituto Centrale per
il Restauro) and the Museum of Rome Palazzo Braschi. The
frescoes in monochrome, carried out between 1524 and 1525 and removed before
the demolition of the building in 1885, have suffered the first
intervention of restoration in 1967, essentially the relocation on mobile
support.
The current restoration intervention consisted of the
cleaning, especially problematic because of a superficial layer of glue in the
removal of ridipinture in refund of aesthetics and in a
speech on mobile support, a panel made with modern materials typical of years
'60, Flexible and thus subject to sudden superficial injuries.
The analyses carried out on two
paintings detached have been intended to study and characterize the layers
painting, preparation and underlying materials used in previous
restorations.
The analytical results, in addition to
the characterization of the constituent materials and alteration and to address
the current restoration. Thus it was possible to identify the
methodology most appropriate intervention.
KEY-WORD: Mural painting, monochrome, removal, Casino
del Bufalo in Rome : Polidoro da Caravaggio, Maturino
da Firenze
Emma Cantisani, Piergiorgio Malesani, Elena Pecchioni
Basilica di Santa Maria Novella (Firenze): tracce di interventi di restauro eseguiti nel XX Secolo.
ABSTRACT: During the last restoration works
performed on the main façade of the Santa Maria Novella Church (Florence),
different materials have been analyzed in order to evaluate the state of
conservation, past restorations and give indications on the supplying areas
useful in the case of material replacements. All the analyses
have been carried out in order to supply informations in the restoration works.
White marbles, “green and red marbles”, mortars, have been sampled and analysed. In
particular on the "crusts" and plastering of
the stones materials, chemical, mineralogical and physical analyses have been
performed in order to determine the origin: decay or previous treatments? The
comparison between the performed analyses and the maps of distribution of some
elements, like magnesium, fluorine, chlorine, phosphorus, performed on the
façade during a previous
diagnostic study, has allowed to reconstruct the sequence of conservative
treatments made in the past century that
unfortunately had already given place to strongly phenomena of decay.
KEY-WORD: Santa Maria Novella Church, treatments, decay, stones, restoration.
Cinzia Accetta
Restauro e derestauro dell’architettura frutto
del cantiere post-industriale: tecniche e metodologie a confronto nella
conservazione delle opere di Carlo Scarpa a Palermo
ABSTRACT: In the architectures of
Charles Scarpa, the aging of the materials is anticipated element as the
environmental conditions and the interaction with the historical
buildings belong to the project; the construction materials traditionally
employed are used in non ordinary way, or they are introduced placed side by
side to component of industrial production. Particular
conditions of equilibrium and forms of aging are been studied in wide part
induced by the same physical disposition of the elements in the space.
The examples used for the editing of a plan of
maintenance, particularly the furnishing and the preparation of the museum of
building Abatellis, the staircase and the finishes of building Steri (center of
the Rettorato of the University in Palermo), have been object recently restored
or they are in progress of execution, and they go up again to the most
representative period of the production of Scarpa and they introduce the
fundamental themes of it, also differentiating itself for typology, material
consistence and state of maintenance.
KEY-WORD: conservation methods, consolidation, Abatellis, Steri, Charles Scarpa.
Alessandra Alagna
Il restauro del proprio restauro.Le
opere di manutenzione di Franco Minissi sui suoi interventi nella chiesa di San
Nicolò Regale di Mazara del Vallo e nella Villa Romana del Casale di piazza Armerina
ABSTRACT: Franco Minissi, a
museografic architect, has realized in Sicily interventions according to the
musealization of archaeological sites. He used
materials which, experienced by the Central Institute of Restoration and
responding to the exigencies of being distinguished, modern and
reversible, needed frequent maintenance operations. In the
two cases under study, the roofs of the norman church of Saint Nicolò Regale
(1969) and of the roman Villa of Casale (1958), is in act a particular
condition: the planner of the works himself is given the possibility to
intervene on his own restoration with maintenance works. These
maintenance operations today have the value of indications of the method which
would have been possible in order to keep these realizations alive as
they are examples of the culture of the so-called "critical
restoration". For Minissi the maintenance consists,
therefore, in the improvement of the functionality of the protecting structures
with works of punctual substitution, in the technological modernization
and in the valorisation of his own museografic solutions. Exemplars
and didactics solutions, testimonials of a new culture of the restoration that
aimed to protect the monument and to render it enjoyable in its own site
without any manumission. Exemplary works which have
interpreted and translated into architecture postulates of the "preventive
restoration" by Cesare Brandi.
KEY-WORDS: restoration, maintenance, prevention, update materials.
Elisa Adorni, Stefano Alfieri, Silvia Simeti
Gli interventi del passato e le nuove proposte di restauro
per la balaustrata del Santuario di S. Maria della Steccata (Parma)
ABSTRACT: The subject of our “restore
of restore” is the XVIII century S. Maria della Steccata’s balaustrade (Parma -
Italy,
KEY WORDS: balaustrade; restore;
thermical dilatation, resin,
Valentina Balsamo
L’effimero mondo di carta
ABSTRACT: The subject of the intervention is a
papier-mache sculpture representing Crucifix, made in the XVII cent., by unknown artist (now still studied), from the Chiesa
del Rosario in Torre del Greco (NA). This sculpture was
restored under the supervisory of the Naples and Province Superintendence for
Architecture, Landscape and Historical, Artistic and Etno-anthropic
Heritage.
This intervention is particularly
interesting because a false papier-mache layer and four new paintings covered a
more ancient and finer Crucifix. Moreover, those
layers hide the face and the original eyes made of glass. The sculpture, at the beginning, was painted to seem wood, and then
more layers tried to represent the body colour. About the new paintings,
the original layer was not reached (we stopped at the first new painting
cover), for two matters: 1) form the cleaning survey we weren’t sure it was
undamaged, so the risk was to find very little part of original painting;
2) the original layer was coloured as wood, and because the Crucifix is a
devotional sculpture, it was a good compromise between the purchaser and a
right intervention.
KEY-WORD: restoration, papier-mache sculpture, new paintings, “devotional” craft
Carla Benocci
Restauro di restauri o
manutenzione? Il caso dei manufatti del giardino del Teatro a
Villa Doria Pamphilj A Roma dal 1971 ad oggi.
The 1971’s restorations of Villa Doria
Pamphilj, after the public opening, joined excellent rescues of the most
important monuments of Giardino del Teatro (Theater Garden) with
embellishments of the same works, with destruction of ancient rest. The
Villa Doria Pamphilj, Giardino del Teatro, Ninfeo dei Tritoni restoration, garden maintenance.
Federico Botti
Problemi sul restauro di opere
librarie che hanno già subito un intervento di restauro
The need to intervene on volumes that
have already undergone restoration treatments in the past arises ever more
frequently. It is, in fact, possible to find works
whose fragile pages have undergone restoration treatments, or which are
effected by corrosion due to acidic iron gall inks, or widespread oxidation
of the text's support. Conservation interventions associated with this type of
damage generally date from the end of the 19th century
up until the early 1960s. One is dealing with overlays made
from sheets of very thin silk applied using gelatine, internal membranes
(derived from cattle) made to adhere using glues of animal or vegetable
origin, or lamination of the support using cellulose acetate applied using hot
pressing techniques or solvents. These interventions, whether
caused by ink acidity that was not preventively deacidified, or the
environmental conditions in which the work was stored, have continued to
damage the support, and have even affected new materials that were added at a
later date. At this conference three interventions will be described: 1)
Biblioteca Casanatense, Rome, ms. 41, “Il catalogo dei Papi da San Pietro a Leone X”, 16th -
17th century; 2) Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana,
Rome, call number: Archivio Linceo n. 4 (già Albani 318). “Lynceographum
quo Norma Studiosae Vitae Lynceorum Philosophorum exponitur”, 17th century; 3)
Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana, Rome, call
number: ms. 31-B-22, “Della sfera e cilindro d’Archimede e della misura del
circolo rinnovata e facilitata di Vitale Giovanni”, 16th - 17th century.
Key-words: iron gall inks; gelatine; internal membranes; lamination with cellulose acetate, silk, ink acidity.
Sara Cacciola , Amira Kweder ,
Giuseppe Romano
Restauro nominale e restauro: la storia del Villino
Martines a Messina
Inside restoration acts,
appraisal directs knowledge and deeds. The problem of
“intervention on intervention” offers some of the most stimulating and complex
arguments that the discipline and its practical translation are called
to face up.
Starting from the critical analysis of a building aimed at acquiring cognitive data, building techniques, materials
used and problems related to degradation, we work out a possible conservation
project wich also proposes one or more systems of compatible solutions. The
wide range of expressive possibilities the theme includes, along with
appropriate technologies to put them into practice, doesn’t exclude, both in
the conceptual phase and in its planning conversion, the complete attention to
the basic concepts of ‘correct restoration’ and to
their present meaning.
ARCHITECTURAL STYLES - DEGRADATION - CONSERVATION - APPRAISAL -INTERVENTION - REVERSIBILITY - FORMER
Maria Paola Campeglia
Il San Giuseppe con Bambino: una scultura “alleggerita”
ABSTRACT: The subject of the intervention is a wood
sculpture representing Saint Joseph with child, made in the XVIII cent., by unknown artist (now still studied), from Papal
Basilica in Torre del Greco (NA). This sculpture was restored
under the supervisory of the Naples and Province Superintendence for
Architecture, Landscape and Historical, Artistic and Etno-anthropic
Heritage. When a restoration is starting on a painted
sculpture, there is always the problem of the “new paintings”, often made in
the past years at the end of restoration interventions. The problem to face is: should we act according to esthetical needs
or to hide some fine draws in gold-leaf on bright colours, very different
from those at the beginning of the restoration.
The intervention was thought and
valued according to the artist’s will, leaving the recent coatings. At
the end of the restoration, the appearance was completely changed, so there were many critics from the pious devoted to the
Saint.
This work is presented to
discuss and analyze the problems to face a t the beginning of a restoration
intervention on wood sculpture: should we come back to the original craft or
respect the history? The problem is harder than it seems,
because the sculpture is a “devotional” craft….
KEY – WORD: restoration, wood sculpture, new paintings, “devotional” craf
Lorenzo Fontana
Interventi in zona sismica: un caso particolare
di“restauro di restauri”
Earthquakes represent outstanding
events that often make necessary an intervention also on already restored and
recently reinforced buildings.
This contribution intends to analyse
the cases and the methods of such interventions, starting with an orderly
collection of information about the shock that hit the Eastern area of
Lombardia in 2004. One of the most distinctive matters is the
one regarding the "strength stocks" of masonry handiworks, a subject
formerly too frequently understimated, when not ignored.
The latest laws seem to have
acknowledged, with a new operating protocol, the importance of a deep knowledge
of the building itself, in order to carry out a more effective and less
intrusive strengthening, that could be modified again.
Therefore, the work will focus on
several new techniques of prevention and repair of the earthquake damage, used
in some of the 200 churches damaged by the 2004 shock.
Moreover, some general considerations
will be done about the care paid to already restored buildings that have stood
the earthquake.
KEY-WORDS: Earthquake, anti-seismic, Brescia, Salò, vaults, domes
Ida Chiappe, Anna Decri, Elena Gentilini,
Rita La Pira, Mara Lucchetti, Valeria Mangini, Valeria Megna, Luca Pedrazzi.
La Chiesa di S. Bartolomeo dell’Olivella
a Genova, una stratificazione di restauri e problemi.
San Bartolomeo dell’Olivella was born
as a Cistercian church in XIV Century, over the centuries it has undergone
several transformations, both in use, both in forms and structures.
This church ‘was chosen as the
topic for the studies and the design elaborations developed by School of
Specialisation in Restoration of Monuments in Genoa (aa 07/08). It was chosen for its peculiarities, its historical and artistic
value (on side and apsidal walls paintings of the XVII century are superimposed
on paintings of the XVI century) and its peculiar location, in the heart of a
small medieval quarter, some secluded from the most famous historic centre of
Genoa).
St. Bartholomeo dell’Olivella arises as exemplification
of the way to operate on historic buildings around
’50s. The choices made at that time, now pose serious
problems that have to be tackled by intervention programme. It has to mediate
theoretical needs, technological, structural and functional
questions, in order to propose an effective conservation project.
This monument is also suitable to become the subject of
a wider debate on the meaning to operate in such
context and, in particular, on methodologies and criteria of the previous “restoration”
and their consequences.
The themes of reflection can be: what are criteria the
by which it’s possible to judge the past
interventions? What kind of connection there be
between the choices of historical-critical kind and degradation of the monument?
And, finally, what kind of respect can be attributed to a restoration conducted
in a different manner from those deemed valid today?
Is it not also history? It is not a form of change, in the sense that no action can be thought as definitive, but only as a moment of
the monument’s life?
Keywords: transformations, choices, criteria, value, respect, judgment
Luigi Paolo Bellocchio, Laura Di Bella
I Restauri della Ex Chiesa di
Santa Maria Maddalena a Bergamo: Compatibilità, Metodologie e Tecniche del
passato
The ex church of the Maddalena,
located in Bergamo, takes origin to the fourteenth-century with frescos on the
inside that dates back to the end of the fourteenth-century –beginning
of the fifteenth century and a later cycle of the end of the sixteenth-century.
During the last century the complex has been notably modified
and interventions took place on the frescos in different stages: in
KEY-WORD: FOURTEENTH-CENTURY FRESCOS, RESTAURATIONS YEARS SEVENTY, TEAR OF PAINTINGS
Anelinda Di Muzio
Strutture protettive in archeologia: ‘derestauri’
e interventi puntuali di manutenzione.
Using protective shelters in
archaeological areas represents a type of preventive restoration. Infact the archaeological shelters are surely very important within
the whole design project, but more important is their relationship with the
ancient preexistences in order to carry out effective shelters for the
preservation and the exposition of the archaeological sites.
We often see the complete removal of
shelters because they are considered dangerous for the archaeological
structures: infact after their realizations these shelters sometimes are
abandoned without any maintenance. Moreover shelters
maintenance and periodical check can be suggested to improve their features in
order to achieve better results.
Archaeological shelters, archaeology, restoration, maintenance.
Francesca Montefusco Bignozzi, Barbara Lavorini, Stefania
Luppichini, Sara Penoni, Camilla Roversi-Monaco, Cristiana Todaro
Restauro delle pitture murali del salone
d’onore di Palazzo Marescotti Brazzetti, sede del dipartimento arti, musica e
spettacolo di Bologna. Un esempio di rimozione di
fissativi stratificati, applicati durante precedenti interventi di restauro.
ABSTRACT: The prestigious wall decoration, realized by
Giuseppe and Antonio Rolli in the second half of the
XVII century and by Antonio Caccioli at the beginning of XVIII the century,
adorns to the ceiling and the walls of the monumental hall of Palace Marescotti
Brazzetti. At the moment of restoration intervention the
paintings appeared dimmed because of the presence of powder and, mostly, of
numerous layers of deteriorated fixative materials of organic nature,
both natural and synthetic, applied during previous interventions, in order to
make up for damages caused by water infiltrations from the roof.
The paintings, realized on fresh
plaster and mixing the colors with lime water, did not present however good
characteristics of solidity. The cause of this is
probably to be found in the employment of a plaster poor of binder and in the
lacked execution the smoothing phase, which has the function of
compacting the material by recalling the binder on the surface.
Conditioned by the brittleness of the painted surface,
and because of the
tenacity and the diversity of the extraneous materials to remove, the
restoration intervention made use of alternated applications of polar and
apolar solvents, combined with the employment of controlled pressure steam.
KEY-WORD: mural painting, Bologna, XVII century, Palazzo Marescotti, cleaning, technique, polymers, oil.
Erika Falzon, Claire Baluci, Stephanie Sammut, Joseph Schirò,
Daniel Vella
A re-restored wall painting in the Jesuit Church,
Valletta, Malta
Since November
KEYWORDS Mural painting, oil painting, over-paint, biological growth
Monica Fantone
Il cantiere della facciata di San Carlo a Torino: Restauri
e Manutenzioni
ABSTRACT: San Carlo’s church was built
in
The essay discusses the restoration
and consolidation interventions on San Carlo’s façade, comparing the different
techniques and materials used during the works at the beginning of the
nineties and those of 2006. From the analysis of the
documents about the degradation phenomena of the two different periods, to the
hoped better environmental condition after the pedestrianization of the
area the paper points out the themes connected with the re-treatableness of
surfaces and the scientific updating about materials in the perspective of
conservation and compatibility.
KEY-WORD: San Carlo’s, façade,
degradation, pollution, conservation, maintenance
Valentina Filemio
Il campanile del duomo di Voghera (PV): un restauro distruttivo
ABSTRACT
In this note the author illustrate
studies about on the Bell tower of the Dome of Saint Lorenzo Martire in Voghera
(PV), medieval architecture collapsed and restorated in the XVI century.
The search, realized in the course of
2006, has been concentrated on the analysis of cracks that interested masonries
in brick and mortar of the bell tower and on the consolidation executed
during the XX century. Particularly, studies regarded
construction history of the bell tower, materials employed, techniques and
technologies of construction; analysis of bell tower’s restoration in the past
century; analysis of geometry; static analysis of the structure and of cracks
in masonries.
The restoration, with injections of
cement executed through tubes in iron inside of masonries, has caused breaks,
for the different elastic behavior of "the modern" material -
the cement – regarding the "traditional" brick. Moreover,
damage got worse for the soil moisture, particularly evident in the low part of
masonries of bell tower, where degree of humidity had accentuated
differences between characteristics phisical and mechanic of materials.
These effects are connected with the lack of the knowledge about on materials employed in the original
construction, and regarding the incompatibility between original materials and
those modern, chosen to operate a consolidation that has caused damages in
masonries.
KEY-WORD: construction history, masonries broken, geometry, static analysis.
Roberta Filocamo
Sul progetto di de-restauro: il caso della chiesa dello
Spirito Santo a Bova (rc)
ABSTARCT
Leaving the traditional practices,
presuming the efficacy of some determined methods and not knowing the historic
building has brought, during the 90ies, to a new project of
“restoration” for the Church of Spirito Santo in Bova, Reggio Calabria. It is
an intervention which, due to the use of inadequate methods from a formal and
technical point of view, does not respect criteria of consistency and reversibility,
compromising not only the materials texture but also the aspect of the building . Presently the recovery intervention,
wanted by the City Administration, makes appear the project and working troubles
of a restoration of the “restoration”.
The contribution aims to propose an outlook of the
previous interventions suffered by the building, identifying
the executive practices and the utilized materials in order to show the
cognitive element for the project of preservation which is being made.
Francesca Castagneto, Vittorio Fiore, Patrizia Carnazzo,
Giovanni Spagnolello
La chiesa del Carmine in Carlentini. Interventi
a confronto per una nuova consapevolezza operativa.
ABSTRACT: To restore ancient buildings
is a complex action which main peculiarity is recognizable into the knowledge
process to bring out.
We can regard every building as a
system which identity leads the architect to design solutions as a result of
the interaction between necessity, cultural issues, technological
possibilities, analytical and diagnostic methods.
The case-study, we present, examines
the oldest church of a small city in the east side of Sicily: Carlentini
(Syracuse). This
ancient building of XVII century was restored two times: in 1940 by Pietro
Gazzola and after the earthquake in 1991.
Now it’s necessary to programme a new
intervention and we want to highlight the outcomes of the previous project and
achieve data to fit appropriates solutions.
KEY-WORD: Identity, knowledge, technology, restoration.
Silvia Giaggioli Giuseppina Suardi Davide Pini
Il Castello Giovanelli: Un recupero per la comunita' di
Luzzana, Bergamo
ABSTRACT:
In the nineties of twenty century,
maintenance works interested Giovanelli's castle: static consolidation, review
and substitution of window and shutters, putting down air-conditioning
system, plastering some parts of wall in all fronts of the historic building.
These works didn't follow requisite of compatible materials, reversibility,
observance of function and materials' authenticity. The team of architect, engineer and restore, protagonist of
conservation work in 2007, worked observing all stratifications readable in all
fronts of the castle. Different methods was used to
respect surface's material authenticity and to give unity to the existing
surfaces. The main purpose of this work was to remove
causes of degradation after marking technical and aesthetic characteristics.
KEY-WORD: compatible materials - reversibility - conservation - stratifications - remove causes of degradation
Valeria Ghezzi, Laura Sala, Barbara Scala, Alberta Carena e
Alessandra Ragazzoni
Il consolidamento degli intonaci graffiti E la
conservazione delle patine artificiali del restauro Novecentesco alla facciata
della Casa Del Podesta’ a Lonato
ABSTRACT: This is an example of consolidation and
conservation realised
by Superintendency B.B.A.A.P.P. of Brescia in
The work was supported by laboratory
research and by comparative report regarding the conserved project and
photografic material.
KEY-WORD: restauration of “style”, scratching plaster, artificial coetings
Consolidamenti e concezione strutturale del costruito
ABSTRACT: Very often modern
strengthening techniques ignore the original structural conception of ancient
buildings, introducing materials and behaviours typical of nowadays
structures. Not only reversibility is overlooked, but the
same essence of the ancient structure is unrecognised and any operation of
de-restoration is made impossible. In some cases it
means to distort and often also to cancel sole examples of ancient building
technologies. As example, two case studies are exposed. The first is related to a relevant even if little-known renaissance
structure, the wooden beam floor of the Sala Grande of Palazzo Vecchio in
Florence: the original structural conception (composed beams, wrongly called
“Leonardesque” beams, coupled to a transversal constraint made by metallic
hoopings and opposing St.Andrew wooden crosses) was heedlessly deleted fixing
with bars the elements. The second pertains Danusso’s
strengthening of San Gaudenzio dome in Novara: stiffening the upper part
with new reinforced concrete structures led to further inevitable works in the
lower parts, so far to completely distort Antonelli’s structural conception.
KEY-WORD: Structural conception, Strengthening, Wooden
composed beams, Firenze, Palazzo Vecchio, Novara, San Gaudenzio, Alessandro
Antonelli.
S. Bianchini, G. Cavallo, J. James, C. Respini
The wax
legacy: approaches to the treatment of
wax-coated wall paintings in tessin (
Abstract:
Wax-based coatings were applied on
wall paintings in Tessin from the beginning of the 19th century up until the
end of the second world war; some of the most important wall painting
cycles were treated in this way. As in England, where interestingly wax has left one of the most
important legacies for the conservation of wall paintings outside of Italy, accreditation
for these treatments has its roots in the appreciation of the seeming
durability of Roman wall painting in the wake of discoveries at Pompeii and
Herculaneum in the second half of the eighteenth century. Wax was seen to be a
remedy for all ills; it could protect wall paintings from moisture and could
even be washable; it saturated the colours while leaving a relatively matt
appearance; it could consolidate powdering pigment or detached paint layers.
Unfortunately, wax-based coatings fail to take account of the needs of
porous building materials and conservators today are faced with significant
conservation problems such as flaking paint, discoloration
and non-retreatability. As an example, the important 15th century wall paintings in the
oratory of San Bartolomeo in Croglio (canton Tessin, Switzerland) were found
to have been treated with a wax coating in 1945; FTIR confirmed the presence of
natural wax. A survey of the original
painting techniques was carried out in order to know
more about the pigments and media and a condition survey identified the
principal decay phenomena. Concluding that damage was being
aggravated by the presence of wax, methods of wax reduction were reviewed and
localised tests were carried out using recently developed
techniques.
Key-words: Wax coatings, wall paintings, beeswax, paraffin wax, wax reduction
Daniela Lamberini, Barbara Giannessi, Raffaella Grilli, Serena Ricci
La ‘Casa Natale’ di Leonardo Da Vinci
interpretazioni e restauri
Abstract: On the occasion of the five-hundredth
anniversary of the birth of Leonardo (1452-1519), a humble farmhouse at
Anchiano, a hillside locality close to Vinci, was selected to be the genius’s ‘birthplace’. Restored and reinvented in rustic style by the
architect Giulio Ulisse Arata, the house was formally
inaugurated on 15th April 1952 and opened to the public as an outstation of the
Museo Leonardiano in the Castello di Vinci.
Today, in light of the condition of extreme disrepair in
which the whole complex finds itself, it has become urgent for the Comune di Vinci, to which the house belongs, to define a restoration
project that, concerning as it does a completely transformed and historicized
building, can be called a ‘restoration of a restoration’. Starting from the
premise that it is necessary to give stability and dignity back to the complex,
to exploit fully its relationship with the countryside and to develop the
museological and educational potential of the place, the project we have
devised aims for the greatest possible respect for the historical and
architectural value of the structure, while at the same time bringing to light
with simplicity and discretion the enormous potential the ‘birthplace’ has
today in terms both
of evoking history and of exploiting new technologies.
Keywords: Leonardo’s ‘birthplace’; farmhouse restored and reinvented; to give dignity back.
Carla Di Francesco, Daniela Lattanzi, Elena Romoli, Laura Sala, Chiara Colombo, Claudia Conti, Marco Realini, Luigi Fregonese, Elvira Boglione, Paolo Pagnin
Restaurare un restauro ottocentesco. La
facciata principale ed il pronao della Basilica di Sant’Andrea a Mantova.
ABSTRACT: Between 1828 and 1835,
Alberti’s facade of the church of Sant’Andrea is restored by the Royal Imperial
engineer Paolo Pianzola. He reinforces the structure
of the walls and reinterprets the detailed decorations. He replaces the decayed originals with other materials while making
them homogeneous by means of a neoclassical-like ‘stucco’ monochrome finish.
All the frescoed surfaces in the pronaos, the roses, the
Roman gilded or painted wooden nails which decorated the lacunars in the vault
are replaced by new relief element made of strong stucco. The ornaments and most of the façade terracotta decorations are renewed. In November 2005, the Regional Head Office for the Preservation of
Artistic and Landscape Heritage started a study yard on the basilica front
in order to test operative techniques for the conservation project. The characterization procedure for the used materials availed
itself of the documented sources relevant to the intervention performed in the
nineteenth century. Said sources were compared with the data
resulting from the scientific investigation. The
results confirmed the significant transformations suffered by the façade
between the sixteenth century and today. They also
proved how urgent it is to prepare a conservative intervention able to stop the
progress of the detected decaying process. At the moment, the first part
of the restoration works in the pronaos left bay has been completed: all the stucco roses had to be consolidated and brought to safety.
KEY-WORDS: Alberti, Mantova, Pestagalli, Pianzola, restoration, Sant’Andrea, stone, stucco.
Roberto Cassani, Lucia Cattoni, Deborah D’Elia, Laura
Lazzaroni, Elisabetta Rosina.
Un problema di conoscenza: l’oratorio di Sant’Alberto a
Caselle.
Abstract Sant’Alberto (Morimondo, Milan) is a
little oratory that is famous for its ancient wall paintings. Among them, the
Crucifixion is one of the most representative frescos.
It went under restoration in
the Eighties. There is not much documentation about this
work, but at present there is a relevant loss of superficial pigmentation and
this fresco’s general conditions look worse than twenty years ago.
Consolidation treatment of
surfaces with barium hydroxide resulted by chemical analysis.
IR Thermography and gravimetric tests
proves that moisture diffusion at the walls bottom is quite low; environmental
analysis shows sharp variations of Temperature (T°C) and RH (Relative
Humidity) twice a week, when the heating is turned on at the mass time. As a consequence of these variations of RH, surfaces have damage
due to superficial evaporation and salt crystallization.
The conservation plan focuses
on environmental control rather than on a new restoration of the fresco; we
propose a new heating system and a continue environmental study to keep
interiors in more stable RH conditions.
Keywords: consolidation, frescoes paintings, barium hydroxide, environmental analysis
Marina Magnani Cianetti, Carlo Baggio
Il restauro del consolidamento anni ’60 nel chiostro Ludovisi
ABSTRACT: the restoration project
concerns a relevant area of the monumental complex of the Terme di Diocleziano
- ex Certosa di Santa Maria degli Angeli or the so-called Ludovisi
Cloister. In the middle of the 1960's and the early 1970's,
it was object of a strongly invasive consolidation work, both in terms of
structural safety and of the theory of restoration. Due to the serious state of deterioration and in order to extend the actual
path of the Museo Nazionale Romano including the cloister, where it is still
possible to recognize the simplicity of the
proportions from the late 1500's, the Soprintendenza Speciale per i Beni
Archeologici di Roma has inserted into the program “Roma Capitale” the
architectonic restoration and use of the cloister, which has received its first
financing at the beginning of this year. The plan to
restore the cloister, so as to use the space for museum exhibitions, consists
of reinforcing the wall structures using traditional techniques and materials,
and removing those works which are not only detrimental to the integrity of the
monument, but also to the stability of the structures.
KEY-WORD: structural restoration, tradictional techniques and materials, minimal intervention
Fedora Filippi, Fabiana Fondi, Giovanna Martellotti, Paola Santilli
Il recente restauro dell’Adrianeo e della facciata della
camera di commercio ragionamenti sui restauri antichi e sugli interventi novecenteschi
Abstract: This paper discusses issues arising out of the
recently completed conservation treatment of the Temple, including a review of
the 1984-86 treatment of part of the colonnade, with reference to new findings
about the oxalate films and an analyses, in terms of the structural problems of
the monument, of the consolidation work of 1960-61 carried out to alleviate serious compression cracking. It
also examines the relationship between the ancient monument and its successive
treatment, including its incorporation into the façade of the Dogana di
Terra (Francesco Fontana, 1695), the modifications carried out by Virginio
Vespignani and Genio Civile (1880-1884), and the work of Tullio Passarelli
(1926), discussing the different methods adopted to display the structure which
reflect differing cultural attitudes to Antiquity.
Key words: Temple of Hadrian, Roman architecture, monument conservation, 19th century treatments, structural consolidation, patina, oxalates, protein binders
Tommaso Maria Massarelli
Restauro e de-restauro della Chiesa Madre di Cerignola
ABSTRACT: The Mother Church of
Cerignola (Foggia), cathedral until 1934, is a building of relevant dimension
and notable stratification. Weelknown since the Middle
Ages, the construction is transformed and integrated in the successive phases,
till to receive a three-naves configuration and quite articulated
places. At the beginning of the first half of Ninenthenth
century, and later, the monument has some restorative interventions because of
a diffuse structural damage. The roofing of the major
apse is subsituted with a ferro-concrete ceiling. A
wall it is built to substain the damaged triunphal arch. Stuccoes and plasters
are broken down. The openings are filled and ferro-concrete
curbs are inserted inside the masonry. Later metal pins are
inserted widely in the walls, with concrete mortars. Recently,
the crack configuration re-emerges, showing the inefficacy of the previous
interventions. The diagnostic campaign reveals an even
damaging contribution of the latest restorations. These
aspects, togheter with an image of the damaged apse and a renewed a-seismic
consiousness, lead to a new and recent intervention that assumes a
significant de-restorative configuration. This intervention
removes the dangerouse elements, rehabilitates the structures and preserves the
major apse, where a distinguished new roofing solves the question of the
previous dequalification of the back place.
KEY-WORDS: Restoration, conservation of architectural monuments, historical buildings, rehabilitation of structures.
Carlo Alberto Garzonio, Pietro Matracchi, Lara Bianchi
L’abbazia di Santa Maria Assunta a
Farneta in Val di Chiana. I restauri della Cripta e i Riflessi sulla
stabilità delle strutture fondali
The history of the restoration joined
to a survey of the building and precise data on the geological characteristics
of its subsoil, showed a close relationship between past works and
current instability regards the framework of the building. Extensive
demolition involved the apses, while a large excavation led the foundations of
the crypt almost completely above the ground. In such
conditions, the clay soil where the church lies is subject to strong
instability: has a rapid drainage during periods of drought and an
equally fast absorption of water during heavy rains. The proposed restoration
does not aim in intervening directly on the structure of the church but, in
maintaining a correct balance of soil moinsture content, an appropriate
drainage and significantly limiting the soil foundations shrinkage.
Key-word: Conservation, preservation, past restorations, settlement, swelling clays.
Olimpia Niglio
Il Palazzo Pretorio di Anghiari
nel XX secolo. Terremoti, restauri e derestauri.
The Pretorio Building, in Anghiari
town center, today shows a complex history of transformations and restaurations.
Most of them were due to important seismic events that, since
the XIII century, have been widely documented. Starting
from the XX century, the main interventions followed the damages caused by
earthquakes that held from the 1917 to the 2001. Today
the Building is object of a restauration project and seismic improvement as
provided from the recent Lines for the evaluation and reduction of the
seismic risk of the cultural patrimony.
KEY-WORD:
architectural restauration,
earthquake, consolidation, history of the earthquakes.
Bruno Mussari, Annunziata Maria Oteri, Fabio Todesco
Strategie di mitigazione dei danni da
restauro ai Ruderi della Chiesa della SS. Annunziata a Belcastro (Cz).
Calabria still suffers the effects of
long-term reconstruction following the earthquake of 1908. After the earthquake, in fact, were abandoned the traditional
practice of repair for consolidation techniques that provide large and often unjustified
use of reinforced concrete. This improper form of structural
adjustment generates restoration experiences with results inadequate and often
irreversible. This essay analyses the recent ‘restoration
of restoration’ carried out on church. the walls of
the church, in fact, were restored about 15 years ago with reinforced concrete.
In some cases were carried out injections
cementitious, totally irreversible. An improper application of technology has also
caused damage to valuable seventeenth-century altar inside the church. The ‘restoration of the restoration’
was measured with operations in some cases irreversible or interventions
whose removal would compromise the original structures. This
required therefore a theoretical, even before technical reflection on what and
how to remove. In
addition, the choice to preserve the original materials has in some cases
forced to retain incompatible or ineffective elements.
KEY-WORDS: ruin, concrete, incompatible, reversibility, responsibility.
Trinidad Pasies Oviedo MªAmparo Peiró Ronda
80 anni di storia del restauro nel museo di preistoria di Valencia.
ABSTRACT : Since 1928 the
Prehistory Museum of Valencia has protected the archaeological heritage of the
province of Valencia. As a result of intensive archaeological
activity developed in the first half of the twentieth century by the
Investigation Service of the Museum, great effort was necessary on
behalf of the professionals who at that moment formed part of the Restoration
Laboratory and who carried out great work despite scarce means and
autodidactive methods. As a consequence, many objects that
currently arrive at the Laboratory have previously been treated. So part
of our work is to revise and update all these
interventions in order to restore to their original condition all these
impressive objects which form part of our archaeological heritage and which
have witnessed our history.
KEY-WORD: archaeological heritage, ancient interventions.
Giorgia Amicarella, Daniele Bachini, Stefania Luppichini, Sara
Penoni, Cristiana Todaro
Restauro della Cappellina Strozzi in Palazzo
Pazzi-Quaratesi a Firenze Analisi dello stato di conservazione dei dipinti e studio delle metodologie e dei materiali
impiegati nei precedenti interventi di restauro.
Abstract
The little chapel’s decorations date
from the beginning of the Seventeenth Century. Although now
only the barrel-vault and frame are decorated, some little fragments of colour
lead to believe that the walls were once also painted. The decorations
have been subject to restoration, some of which fairly recent: clearly the
cleaning was too aggressive and it contributed to both the paintings’
and gildings’ fading and to the removal of the more delicate parts laid down “a secco”. Subsequently, to
make up for the worn-out look, significant operations of pictorial touch-up and
repainting, were carried out on the abraded areas, in particular on
the decorative bands of the vault and on the frame. The
latter was also subject to repeated operations of whitewashing and uncovering:
in fact in some parts there are significant signs of mechanical action
and some residues of “scialbo”. The Gildings have been restored with
“porporina” and, particularly on the frame, with laminated false gold “a
foglia”, protected by a layer of vinyl resin. Of particular
interest is the use of a film on the vault, clearly visible with U.V light , probably intended as a protective coat, and the presence
of resin on some painted parts and in
the filler used on the plaster crevices.
Key words: Whitewashing, gildings, old restoratons, vinyl resin, mechanical action.
Pracchi Valeria
Il follow up dei propri cantieri di restauro
Abstract:
To follow up means to check a job or
an activity in progress to see which point it has been reached, or which
results has produced. There is not a perfectly
equivalent Italian term, maybe we could speak of periodical control. This activity, judged as necessary for many other professional
circles, it is completely unheard in the common practice.
The meaning, in which the title of the
conference is intended, is therefore "Restore our own restaurations",
convinced that supervising our own cases is necessary to understand,
during the time, what is necessary again, how restored buildings reply to
transformations and, more in general, about the importance of follow our work
after the construction site phase, if we really intend to consider our activity
as a process.
Key-Word: follow up, planned conservation.
Nicoletta Buttazzoni , Elisabetta
Francescutti , Giovanna Nevyjel, Claudia Ragazzoni
All’ombra di Gentile Da Fabriano: Il Restauro della
Cappella Ricchieri nel Duomo Di Pordenone
In the Pordenone Cathedral right
transept there is the Saints Peter’s and Paul’s Gothic Chapel, said also
Ricchieri Chapel, because of the noble Pordenone’s family patronage. The rich frescoes, partially preserved, are to be ascribed to a
follower of Gentile da Fabriano grown up during the Venetian stay of the Master.
Because of style the refined frescoes are to dated to
Quattrocento second ten years. The late Gothic frescoes were covered
with intonaco in 1592. After their
discovery in 1938, they were subject to various renovation efforts in the 1950s
and 1960s and were then extensively restored at the end of the 1970s,
following the 1976 earthquake. The work, preserved only in the upper part of
the Chapel, was severely damaged by abrasions that affected the paint layer, during the removal of the superimposed
intonaco. During the present renovation works, the
considerable quantity of polymers applied on the surface, was the first problem
to be tackled. The methods employed to remove the
artificial resins proved highly effective as shown in the UV images, taken
before and after the cleaning process. The removal of
plasters applied in recent times, the discovery of important fresco sections
and of information on the original architectonic structure and on the
fittings distribution were taken into careful consideration when defining the
type of presentation to be given to the chapel, the final aim being that of
rendering homogeneous – but distinguishable in its various phases - the work’s
overall structure.
KEY-WORDS: Ricchieri Chapel, Gentile da Fabriano, Pordenone, The Master of Ricchieri Chapel, late Gothic frescoes, polymers, extraction of polymers, UV images.
Alberto Fontanini, Daniele Rancilio, Laura Sala
il consolidamento e il recupero
della “rustica” alla palazzina Gonzaghesca di Bosco della Fontana a Marmirolo
(MN).
ABSTRACT: A land recognition around Mantova reveals how
successful was the “rustication” since the Sixteenth Century in the town and
also in the countryside, in a wide range of techniques
and aesthetic effects: the "Palazzina Gonzaghesca" in Bosco della Fontana
in Marmirolo near Mantova is an excellent example of it. Built between 1590 and
1595 this palace reveals clearly in all its appearances the close connection
with the environment: the sham ashlar typical of the view is the draw of
wildlife theme that man imitated and represented, running round the rich
internal display. The present conditions of the view come
from different changes during the construction and following upkeeping and
documented restorations in Eighteenth and Twentieth century. The latter was particularly invasive and degrading for the formal
aspect and the preservation, affecting all the views with structural rebuildings
and considerable thickening of the finishing layers, just vaguely similar to
the original and with a mortar wide-spread covering. The
advanced condition of degrade imposed the intervention here presented (still in
completion) that fronted the difficult removal of the most recent layers
incompatible in aspect and structure, the plaster reinforcement saving the
original emerging colours and restoring a formal and aesthetic unity without
damaging the historical stratifications.
KEY-WORD: plaster, rustication, restoration, Marmirolo, Mantova
Federico Botti, Maria Luisa Riccardi
L’intervento di restauro sul manoscritto Ott. lat. 696
della Biblioteca Apostolica Vaticana
Abstract
By now one is ever more frequently confronted with the
problem of restoring a volume that has already been restored in the past in a poor or inappropriate way, or alternatively to have
intervene further on restoration work that has aged prematurely (or
unfavourably), or that was unnecessary in the first place. The manuscript Ott.
lat. 696, belonging to the Vatican Library and titled Documenta ad toletanam ecclesiam pertinentia is believed to date from
the 16th and 17th centuries, is representative of a highly invasive restoration
treatment that was carried out in the 19th century and which resulted in very
negative long-term consequences. On that occasion all the
volume's leaves had very thin overlaying sheets applied to them using tree
resin on both the verso and recto; over time this treatment has yellowed a
great deal, thereby rendering the volume's page's very stiff and impacting
negatively on the text's legibility; the old, defective treatment also impedes
safe and easy consultation of the volume. We shall illustrate, in
particular, the removal of the old overlaying material
(a process that proved to be very complex and required very delicate handling,
but was ultimately effective) thanks to which the objective of rendering the
book more legible and readily consultable was accomplished.
Key-word: invasive restoration, tree resin, overlaying,
Vatican Library.
Emma Cantisani, Daniele De Luca, Carlo Alberto Garzonio,
Marilena Ricci, Francesca Stori
Palazzo Cristofanello a Cortona: un esempio di evoluzione storica, scientifica e culturale sul restauro
lapideo.
Cristofanello Palace, situated in
Cortona (Arezzo) and projected by the architect Cristofanello, is one of the
most important buildings of the tuscan town. The building, subjected to
different restoration
phases, is an example of the different approaches to the restoration of a public building. The present
paper highlights the problems arising from the treatment of some sandstones with specific
mineralogical, petrographycal and physical characteristics and underlines the need of a monitoring of
the intervention, in order to avoid any
emergency’s situation. The paper shows also the praxis that must be carried out in the case of a
scientific and technical support to a
restoration project.
Parole chiave: Cortona, Palazzo Cristofanello, sandstone, treatment.
Paolo Bernardini, Franco Fabrizi, Elena Romoli,
Carla Tomasi
Restauri degli scavi di G. Pesce nel
sito Archeologico di Nora (Pula-Ca). Il mosaico del Frigidarium delle
Terme Centrali
Phoenicians founded the settlement of Nora between the
end of the IX and the VIII c. b.C.; the ancient
sources claimed it was the first urban centre in the island.
Phoenicians settled in a
promontory dividing two gulfs, so adopting their favourite geographical and
morphological pattern. Carthaginians ruled the settlement
from the VI to the III c. b.C. when, at the 238
b.C., the Roman Republic prevails. In the II and III
c. A.D. the city greatly developed in the background
of the Roman empire; its buildings and architectures were enriched by mosaic
floorings, produced mostly by African workshops. The mosaic
floorings show conspicuous standards of technique and devising; sometimes, but
rarely, figured scenes enter into the basic geometric and decorative
patterns. From the V c. A.D., when the Vandals sacked
the Mediterranean, Nora slowly declined until its total depopulation. The archaeological excavations cause the rebirth of Nora between
the nineteenth and the twentieth centuries; Gennaro Pesce dig about three hectares
of the late roman town and restored many mosaic floorings coming from public
baths, porticoes and temples. The mosaic surfaces were before
detached and then reassembled on reinforced concrete slabs. The
climatic weathers caused progressively the oxidation and bulge of the iron; the
mosaic surfaces disintegrated because the liftings and hollows increased
the detachment and non-adherence of the tesserae. The
Soprintendenza per i Beni Archeologici di Cagliari has realized a general
analysis about the existing deterioration of Nora and the related works
of preservation and maintenance. This Institute is now
completing the restoration of the mosaic in the frigidarium of the central
public baths; this work includes the detachment of mosaic floorings, the
strengthening of the basic structure, the preservation of the sediment of the
previous floor, the making of a new concrete slab and, at last, the setting of
the mosaic floorings.
Nora – Mosaic – Surfaces – preservation - maintenance
Emanuela Daffra , Roberta Grazioli ,
Elisabetta Rosina, Lucia Contessi
Un ciclo del Cinquecento o un ambiente dell’Ottocento? indagini propedeutiche al restauro del salone di Ulisse nel
palazzo della provincia di Bergamo
In the last years, Istituto Centrale del Restauro (ICR)
consulted the periodical inspection of the the
frescoes in Salone di Ulisse at Provincia di Bergamo Palace. Resulted
decay is mainly due to the deformation of the supporting canvas. In 2007 Ministero per i Beni e le Attività Culturali and Provincia
di Bergamo allocated financial support for the restoration. Between 1551 and 1553, Giovanni Battista Castello painted the
frescoes in Villa Lanzi, Gorlago. The decoration
remains one of the few complete cicle of his paintings in Italy, and it shows
one of the few evidence of roman and northern style in Bergamo area. In middle 19° century, Villa Lanzi was a farm and this use could
not fit with preservation requirements of frescoes. The
owners donated the decoration to Bergamo city, and Antonio Zanchi removed the
frescoes by cutting them in 29 pieces.
In 1869, the pieces were located in Provincia Palace and Carlo Rota (a set designer/painter) reproduced the
frames which remained in Villa Gorlati. The intervention is
one of the first experiment of frescoes removal and relocation. Since their relocation, frescoes did not underwent main modifications,
therefore they are an important evidence of a pioneeristic phase of restoration
in Lombardy.Restorators had to face nodal issues, in order to choose between
preservation of the original supporting system and a more efficient modern
system, tune the levels of cleaning of 16° and
KEY-WORD: Frescoes removal and relocation, wooden frames, Provincia di Bergamo Palace, canvas deformation, G.B. Castello, IR Thermography
Rossella Scunza, Paola Parodi,
Il restauro della chiesa di Nostra
Signora di Loreto o dei 5 campanili a Perti.
ABSTRACT
The Church of “cinque campanili” (five
bell tower) was built at the end of XV century with Del Carretto family’s
financial support and is a particular example of Renaissance building
with late gothic features.
Bricks and stones of the external
walls show important fragments of polychromy that have been restored by our
team. In the past and particularly in the XX century
the church was subjected to several restoration works that posed some limits to
the conservation procedures.
KEY-WORD: Finale Ligure-Restoration-Renaissance-Nostra Signora di Loreto-Five bell towers church-Sant’Eustorgio-Portinari Chapel
Pilar Soriano Sancho, Pilar Roig Picazo, Julia Osca Pons
L’intervento Dei Gudiol, negli anni 50-
In the year 1934, when the Civil War
began in Spain, many churches have been burned. The church of Santos
Juanes, Valencia was burned for 3 days. The fire has impaired
frescoes of the time, which were painted by Antonio Palomino, one of the most
important painters of the Spanish Baroque in 1701.
These frescoes have been restored in recent years of the
50 years' and the first of 60 years' for the Catalan
restorers: Gudiol brothers. The frescoes were teared,
translated in Barcelona, where they have been restored and called on new media
plywood. Today, this kind of support is no longer acceptable.
In order to know what would be the
ideal support for these paintings has been developed a theoretical study on new
media frescoes ripped through history. All studies
were performed on a fragment of frescoe rooted out of the vault of the church
of Santos Juanes, and then extrapolate the findings to the rest of the
vault. First of ad a new support, it is necessary to
disjoin the wood support, since it is necessary to protect the painting before
coming to the separation both layers. There were many elaborate laboratory test
tubes, which were analyzed until to conclude materials
to use. The fragment of Palomino’s painting was questioned on
new support inert materials.
KEY-WORD: Medium, mural painting, transferred paintings, restoration, Palomino, Santos Juanes Valencia
Clara Spallino, Paolo Spallino
Sant’Anna alla Misericordia e Palazzo Gulì. Due casi di
studio nel centro storico di Palermo
ABSTRACT: A deep dichotomy
characterizes the theoretical debate on the architectonic restoration and the
operating praxis of the yard, many incautious interventions of
restoration, very diffuse from the beginning at the sixty, continues however to
characterize the actions on the existing patrimony. The
experimentation on innovative materials for the restoration, the confidence in
the reinforced concrete, have carried to adopt in the past heavy and
invasive interventions, today testimony of an insufficient acquaintance of
materials and ancient constructive techniques. This contribution proposes the
illustration of the experiences lead inside of two yards of restoration in the
historical center of Palermo: the yard of Sant' Anna
alla Misericordia and that one of Gulì Palace. The first one,
wich is innovative in managerial procedures, in documentation of works and of
each material used in and of each working phase through an historical
memory to service of future restoration interventions, proposes itself as a
"pilot" intervention for a different conception of restoration
interventions, also trought the use of methods of control finalized also to the
control of quality. The second one, is a case of study emblematic of structural consolidations
during the eighties realized with traditional and lead techniques without any
cognitive investigation of the building, wich caused meaningful phenomena of
degradation, with the loss of historical superficial materials and the
necessity of expensive interventions for the conservation of the good.
KEY-WORDS: building yards, structural consolidation, reinforced concrete, quality control, documentary registration
Giuseppina Suardi , Sandrina Bandera
Vicende conservative e problematiche di restauro degli
Stacchi delle Storie della Genesi di Giusto De Menabuoi nell’Abbazia di Viboldone
In
In that year, restorers used the
detachment of frescoes instead of planning effective changes of the boundary
condition for preserving precious surfaces.
The restoration of detached frescoes
was accomplished in the Nineties, supported by Soprintendenza al Patrimonio
Artistico e Storico di Milano; up to now it remains a good intervention,
and it showed the damages caused by detachment. Detachment is an inadequate,
irreversible and invasive intervention on wall paintings, because it transforms
the surface of building in a mobile painting, and it
requires restoration techniques both for mural decoration and painted canvas.
The results of the history of
preservation and restoration interventions at Viboldone Abbey are that water
infiltrations were caused by lack of maintenance, as it happens at
present in the same areas.
Chemical analysis effectively
supported the intervention: restorers used vinyl acetate resin to fix the
detached frescoes both for gluing the film to the canvas and fixing the
surface damage.
KEY-WORD: Viboldone Abbey (Milano), Giusto de Menabuoi, consolidation, restoration of detached frescoes.
Andrea Ugolini
La mossa del cavallo: la Porta Montanara a Rimini tra restauri,
ricostruzioni ed “abbellimento stradale”.
ABSTRACT: The ruins of Porta Montanara are nowadays the only
example existing urban gate in northern Italy which dated back to Silla's Age. Remarkable sign of the border of old Ariminum, the door, which was
originally a double arched, made of ashlar walls as in the republican urban
age. Porta Montanara survived the bombing of the II
world war but during post-conflict reconstruction, due to road plans it was
dismantled and replaced, twice in 1950 and in 1980. The last
intervention on the door dated 2004 was dictated by the desire to set the
remains in their original position and certainly not by the need of
building conservation. This research wants to investigate the archaeological
surveys and structural investigations before the
restoration, to analyze executive stages (terms of dismantling and reassembly,
structural reinforcement and works of conservation of stone objects). I will deal with a series of reflections on the need for this type
of intervention and on the costs of this operation. Finally I will sustain
that this operation seems to be a questionable example of "road
embellishment" and an artificial urban upgrading to fill an architectural void of the Roman
town only in the proximity of the old roman gate, thus Porta Montanara couldn't be replaced in the original site for
the different changed urban condition.
KEY-WORD: urban gate, dismantling, reassembly, structural reinforcement, conservation, reconstruction.
Maria Rosaria Vitale, Angela M. Savia
La chiesa di S. Antonio da Padova a
Militello Val di Catania. Il restauro di una “Liberazione”
ABSTRACT: Risen on a sixteenth-century plant the church
of S. Anthony of Padua to Militello Val of Catania derives from following
additions, reparations and "reforms" that they consolidate
him, to halves the eight hundred, in a radical intervention of restructuring
that reconfigure the whole building, preserving the bell tower and the valuable
chapel sixteenth-century absidale, note to the researchers as meaningful
example of dome coverage on niches.
In the intervention of
nineteenth-century, the chapel of the Sepulchre Saint comes intercepted from
the new abside that reduces the arc prevails them of connection between
the chapel and the invaded one of the pre-existing classroom. In years Eighty an participation of restoration is placed that, in
facing problematic of consolidation of the building, interested from a showy
spin on the depositor south, starts also a campaign of tests on the search of
the primitive sixteenth century structures. The finding of
the part of the arc prevails them, constitutes the start for a more systematic
“liberation” of the building from “dresses” nineteenth-century. The operation replaces in light only a lateral portal, while it
destroys totally by now consolidated facies of the church, conserving some to
witness only two spans.
The study that is introduced here
moves from the necessity to give again dignity and completeness to a space by
now torn and deprived of own architectonic quality. The taken care of
cataloguing of the stone elements bases removed in the
precedence participation, but survivors to the destruction, have been the
premise in order to formulate the hypothesis of their resetting on reversible
wood structures, recalling the condition of the nineteenth-century building.
KEY-WORD: Liberation, intervention, chapel, restoration, primitive, consolidation.
Valeria Ghezzi, Barbara Scala, Nicola Archetti, Franco Palmieri
Claudio Polesini
Consolidamento strutturale delle strutture voltate a
distanza di cent’anni: dal sisma del 1901 al sisma del 2004
ABSTRACT: As regards the structural consolidation
intervention necessary after the earthquake on the 24th november 2004, we shoded notice that
inside come of the churches (S- Anna church and S. Antonio Abate church in
Campoverde of Salò and the Visitazione di Maria church in Vestone) has been
made some structural changes to the earthquake happened in 1901.
The proposed solution for the
vault reconstruction are particularey interesting. In the two churches of Salò the vault reconstruction was realized using old bricks and
new air bricks laid flat. During this reconstruction the presbytery was
enlarged. In Vestone the vault reconstruction was realized
with brick laid vertically on their longer in the first course, and laid flat
in the second course. The earthquake in 2004 revealed
that the techniques used weren’t a good reconstruction solution, because they
weren’t a resolution of a seismic culture.
KEY-WORD: restauration after earthquake, reconstruction vault, seismic culture
M.M.Cherido, S.Boel, E. Ghittino, M.A. Galeazzi
Restauro dell’apparato decorativo di Villa Bellini – Catania
Abstract
Over The years, the sculture array of Villa Bellini has undergone several interventions of maintenance and restoration which in some cases have preserved but in others have completely altered the original. First surveys on the sculptorial groups that embellish the monumental fountains an the decorative stone arrays revealed different stratifications that are to be attributed to past restorations. These interventions, often carried out with unsuitable materials, are consistent in strata and conceal the delicate workmanship of talented local sculptors. Before remoning the dull over-placings in order to gring back to light the decorations and let the bas-reliefs regain their sculptorial quality/tactile effect, we has to consider the possibility that, owing to the high deteriorability of Siracusa stone, the original may have resulted badly altered and mutilated, in which case the removal al prior interventions would have revealed seriously defected manufactures.
Key Words: Villa Bellini,
sculture, fontane, sovrammissioni, atti vandalici.
Paola Bassani, Alessandra Grazia
Broletto di Novara: il restauro del restauro.
Indagini e proposte progettuali
ABSTRACT Broletto di Novara is an ancient
complex restored during
KEY-WORD: Historical Buildings, Stratigraphical Analysis, Buildings Conservation Project.
Mario Massimo Cherido, Elisabetta Ghittino, Silvia Boel
Restauro conservativo delle Cappelle Medici e Avanzi della
Chiesa di San Bernardino in Verona
Abstract
The frescoes of the Medici and Avanzi
Chapels in the church of St. Bernardino in Verona, recently subject to
restoration in the years 2005/2006, had been massively treated in the course of previous
interventions, with organic materials, basically acrylic resins, which had badly altered their aspect.
These products, liberaly applied on
the whole surface, had created cromatic alterations of the precious pictorial
decorations that embellish the Chapels.
After many “on the spot” samplings for
the removal of the altered acrylic resins, which had penetrated the base, it
was found that the use of gel thickeners for solvents mixed with amines
is particullary effective because these have surface active properties and
better the penetrability of the solvents employed.
The use of this tecnique brought to the almost total extraction of the altered materials on the surface, alloning us to bring back the original colour shades of the pictorial decorations.
Maria Letizia Amadori, Mauro Sebastianelli, Sara Barcelli
Problematiche di restauro nella tavola raffigurante Sant’Oliva
e i Santi Elia, Venera e Rosalia del museo diocesano
di Palermo
ABSTRACT: The painted wood panel,
representing Saints Oliva, Elia, Venera and Rosalia, located at the Diocesan
Museum of Palermo, shows characteristics and constitutional technical
elaborations typical of Byzantine boards made between the 12th and 13th
century.
The pictorial surface and in
particular the gilding have been restored several times during past centuries,
for both historical-liturgical needs and aesthetic-conservative reasons.
The need of a conservative restoration
complicated the choice of an intervention methodology, that would preserve the
non original elements of the work, that nowadays are part of the
devotion image known by believers.
This study aims at tracing the
historical events and the possible experimental interactions, characterizing
the restoration of the end of 19th century, where the boundary between
originality and falsification is undetectable, using stylistic-iconographic
comparisons together with the technical-scientific analysis of the executive
technique and constitutive materials of the artefact.
Non-destructive and micro destructive
analysis have been carried out in order to clarify the complex transformations
that the handmade work underwent during past centuries, making the
different interpretations, developed during operations of restoration, easier. After a first visual inspection, chemical and physical
investigations have been conducted (optical and electronic microscopy, RX,
infrared and ultraviolet observation).
The understanding of the executive techniques and of the
constitutive materials was the fundamental premise for
the realisation of the restoration intervention, carried out following precise
scientific principles.
KEY-WORD: Byzantine panel, optical microscope, SEM, EDAX, RX, restoration, S. Rosalia
Lorenzo Appolonia, Corrado Pedelì
Il recupero dei monumenti di epoca
romana in Aosta: gli interventi degli anni trenta materiali e problematiche per
il nuovo restauro.
N.D.
Salvatore D’Agostino, Luigi Stendardo
Il restauro strutturale dei templi di Paestum
dall’Ottocento all’attualità
Completely neglected for a long time,
the Temples of Paestum were finally rescued from oblivion and became a
significant point of reference in Western culture: from Piranesi to
Schinkel and onwards up to all various Neoclassicisms. By good fortune the
Temples have always undergone localized and balanced preserving operations,
which have guaranteed their full authenticity, with the exception of a
restoration campaign when modern structural strengthening techniques,
widespread in archaeological restorations during the 1960’s, were applied . The first restorations were carried out
by Bonucci in the early 19th century and were followed, around one century
later, by the work of Amedeo Maiuri. In the 1960’s iron bars were
inserted in the stone blocks and originated, a few years later, local damage in a column of the Temple of Athena, since it was struck by
lightning. Comprehensive restorations, begun in the late
1980’s, have recently been completed. Structural issues were of course
involved in this work.
This paper draws a sequence of the
previous works and illustrates the research leading up to the latest
comprehensive restoration campaign. Criteria for
planned maintenance, aiming to structural preservation, which were fixed in
accordance with the Istituto Centrale per il Restauro, are shown as well
as the recently emerging problems that are finally pointed out.
Temples of Paestum, Doric
architecture, structural restoration, geometrical survey, architectural
principles, planned maintenance.
Elisa Sala
La vicenda dei restauri della Basilica Giulia al foro
romano. Rilessioni sulle miscele pozzolaniche per la conservazione
This paper deals with the
investigation of the main historical events and archeological exacavations of
Basilica Giulia (Roman Forum, Rome). The construction of Basilica Giulia
probably began in 54 b.C., under Julius Caesar’s
command, but it was subjected to different interventions due to natural and
anthropic causes during the following centuries. In 1803, during Pio VII
pontificate, the archeological excavation of Forum area was started, but only
in
KEY-WORD: Basilica Giulia, Roman Forum, Archeological Excavation, Pozzolanic Mortar
A.Moropoulou,
V. Handakas, A. Bakolas and P. Moundoulas
Restoration of the old Museum of
Ancient Olympia. A case of restauro di restauro
In the present work the case of the
Museum of Ancient Olympia is considered. The museum
was built at the end of 19th century from German architectures and belongs in
the Hellenic Neo-classical style. The year of 1955 an
incompatible rescue conservation intervention was occurred, because the
building was damaged by an earthquake one year earlier. In the year of 1998 another restoration intervention took place in
order to host the Museum of The History of Olympic Games. The
restoration intervention changed the morphological
characteristics of the building. For the static adequacy of
the building and the design of the interventions for its structural restoration
and strengthening the building was confronted as new construction and
not as a historical building.
Hence, the
Through the presentation of this case
and to its emblematic character, as well as, the incompatible materials
irreversible interventions employed. The discussion
regarding the use of compatible materials and soft interventions is strongly
enhanced.
Keywords: Restoration interventions, Olympia, neoclassical building
“Restaurare i restauri” delle sculture: un escursus
storico-critico fra casi di studio del Nord-Est d’Italia
Whosever lays his hands on a work of
art nowadays knows, almost always, that he is dealing with an object that looks
the way it does partly because of work that has been done in the past,
and in particular the restoring carried out in the 19th and 20th centuries,
with their cyclical waves of restoration and de-restoration that have occurred
at ever more frequent intervals over recent years. As a
result, more than restoring, it has now become a question of restoring
restorations – as appears in the title of this meeting, in line with
European research (2001, ICOMOS/D: Restaurierung der Restaurierung?) -, with
all the problems of historical, critical and technical evaluation that this
involves, as well as the evaluation of the interaction with the original.While
this holds true for all works of art, it is especially valid for sculpture,
both because of its devotional use (if religious) or because of its long
permanence in private collections or in public spaces (as is the case with much
profane sculpture), necessitating as a result frequent restoration. Satisfying Brandi’s historical and aesthetic criteria in these
works often turns into an obstacle course demanding difficult critical and technical
evaluations.A number of problems emerging most frequently from restoring
sculptures are discussed in this paper, with case histories based on the
author’s experience restoring sculptures from different eras and made of
various materials in the Northeast of Italy. The case history behind the restoration if particularly interesting, because
in the nineteenth century we can compare the North-Alpine experience of the
Austro-Hungarian royal Zentral Kommision with the South-Alpine theories of
Cavalcaselle, Selvatico and Valentinis; in the twentieth century the theories
of Brandi appear and are distorted, followed by the practices of the ICR (such
as cross-hatched retouching).
The following
works have been analysed:1)The Crocefisso by Enrico da
Villacco (circa 1520) at Pontebba and the Madonna of Alverà (1450 ca.) in
Cortina with regards to remodelling and modifications due to a change in
liturgical usage. 2) Two groups of sculptures by Michele Parth from Sappada (1530 ca)
and Comeglians (1540 ca ) with regards to modifications due to a change in
extethic;3) The fifteenth-century Madonna and Child from the Church of San
Silvestro in Remanzacco, from the point of view of the restoration of the
nineteenth-century reconstruction by Pizzinni 1875 ca.;4) The High Medieval
stuccoes of the Lombard Temple at Cividale, dating to the 9th centuries, particularly
with regards to the restoration carried out by Valentinis in 1860; 5) The
wooden altar of Paluzza (1508) by Antonio Tironi and the Mourning of the Dead
Christ by Leonardo Thanner from San Daniele (1488), regarding the materials
used for consolidating the wood in
Key words:sculpture-restauration; restauration in Italy, restauration-methodology, history of restauration
Giacomo Martines
Il ripristino dell’immagine novecentesca della chiesa di San Giovanni Battista di Eredita
The church of Giovanni Batista in Eredita has had heavy
transformations. the most evident in 1923, from that
we have the image of elegant eclectisme of the building. The next restoration was
post-seismic, in the eighties. This
restoration changes the previous ending ledge with an heavy concrete attic that
hides a gutter, and consolidate the bell tower with iron chains.
The new restoration eliminated the heavy attic in concrete on the top of edge walls in order to reduce the
inertia of the great concrete mass, in case of seism, and to correct the image
of the prospects of the church. For the correct restoration
of the image, were reproposed the decorative elements on the top of the
architectonic order and the baluster of the main stairs.
In the bell tower, the lesions have
been rebuild in “unsew – sew”, and metallic belts have been applied under the
new floors.
key-words: restoration of the image – anti-seismic restoration – reproposed decorative elements
Salvatore Arturo Alberti, Rosa Oliva
Recuperare
cinquecento anni di interventi ed un secolo di
Restauri:il caso della cattedrale “San Nicolò” di Nicosia (EN)
La Cattedrale di
Nicosia dedicata a San Nicolò vescovo di Mira si presenta come un testo complesso
ed articolato sia per le stratificazioni (dovute agli
interventi di restauro e riordino susseguitisi negli ormai sei secoli di vita
del sacro edificio), sia per la presenza contestuale di materie diverse e con
diversi impieghi: pietra, legno, stucco, marmo, pittura e scultura.
Le sistemazioni e
i riordini più antichi, che hanno avuto la finalità di riparare danni e
riadattare l’edificio o singole parti a nuove funzioni, mentre i restauri più
recenti, pensati come restauri nel senso che al termine si dà oggi, pongono il
tema della sopravvivenza stessa del monumento e dei suoi singoli elementi
costitutivi.
I danni provocati
dagli interventi più antichi ammettono in generale un recupero sia fisico che culturale dai restauri più recenti propongono temi di
ulteriore ricerca definendo in ogni caso il principio di reversibilità se non
come fine come utile strumento per il ritorno al …futuro.
Parole chiave:
Nicosia, Cattedrale, Vescovo, Storia, Restauri, Tetto-ligneo, Paraloid,
reversibilità.
Gaetano Renda Francesco Mannuccia Cosimo Di Stefano
Cattedrale San Nicolo’ di Bari in Nicosia (En): Il Restauro del
Restauro
n.d.
G. Biscontin, R. Cadignani, U. Darsia, G. Driussi,D. Labate, G. Longega, S. Lugli, M. Mazzari, Z. Morabito,
F. Piccinini
Torre della Ghirlandina, Modena: Proposta per un ‘restauro del restauro’.
ABSTRACT: The stone surfaces of the
Ghirlandina Tower show a very complex history, both for constructive
interventions and for different restoration operations that have
succeeded periodically.
Over the characteristic forms of
degradation of stone materials exposed to external agents, a very peculiar
problem adds to this restoration operation. As a
matter of fact the restoration made in the '70s with drafting and integrations
constituted of epoxy resin mixtures, under conservation conditions
surely not optimal, adds a complex variable to the methodological choices of intervention.
The problem has been faced with a scientific study, which has
led to the identification of a technical intervention favouring, in addition to
efficiency, the least invasive, ease to apply and controllable methodology.
KEY-WORD: Torre Ghirlandina, stone material, restoration, epoxy resin.
L. Corrieri, N. Bisan, G. Driussi, P. Gasparoli
Il salone delle biglietterie della stazione centrale di Milano. Restauro delle superfici.
The surfaces of the internal
monumental areas of the Central train Station in Milan, which were built in
‘30s of last Century, are made in part with natural stone coverings, and
in part with decorative concrete, to imitate travertine and Nabresina
limestone, two of the most common natural stones in this building.
The rich decorations of Ticket Office
Hall which are now in restoration within the Grandi Stazioni project, had problems
about consolidation and safety, specially about the decorative gypsum
bass-reliefs. For the restoration during the ‘80s, and later,
during 1990 World Football Championships, the Tickt Office Hall underwent
restoration work using techniques and materials, because of which, today
it is difficult to determine the best way to intervene. The
cleaning of Alberto Bazzoni’s important bass-reliefs is particularry
complicated because during the ‘80s they underwent a process of repainting
with polymeric products. To know the original situation of the gypsum
bass-riliefs, analytical research and cleaning test to remove the polymeric paint were required. These reserch
activityes brought to light same problems to define the correct intervention
methods to conserve the surfaces.
KEY-WORD: Central Train Station in Milan, conservation, decorative components, consolidation and maintenance, Alberto Bazzoni, bass-reliefs, cleaning, polymeric paint.