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 The
basis of the theory of modern restoration of museum exhibits is a conception
of restoration method and differentiation of diverse restoration methods.
Three methods are of importance for modern practice: conservation, i.e.
operations that don't alter the look of the exhibit retained to the moment
of the operations begging; analytical method, formed in a general way during
the work at the Acropolis in Athens and included in the Charter of Restorers
in Italy which was approved in 1932 and is a main methodical restoration
manual in that country. In Russia the method was formulated by Igor Grabar
and applied in practice under him; synthetic method, applied as an exception
and envisaging the complete restoration of the monument in all cases.
The major
principles of the analytical method approved by the II International
Congress of Architects and Technical Specialists in the Sphere of Historical
Monuments in Venice (1964) come to the following: the work of art is a
scientific document, historical source; the main aim of restoration is to
'read' this document and thoroughly strengthen the original ancient parts of
the monument; while attaining the aim of restoration one should try to
reduce the number of operations as much as possible; all newly added
elements should be singled out; all additions are executed in a modern
style. Modern methods of restoration permit the application of all latest
achievements of science and diverse physicochemical methods of research for
the strengthening of monuments. Diverse materials may be used in the process
of restoration but on the surface they should be close to the original
materials of the monument and be reversible. Thorough and comprehensive
examination of the monument precedes the restoration works: visual,
technique and technological, historical and archive. The causes of damages
are studied visually and with the help of special devices; technical
instruments are used for the research of support condition. Possible methods
of elimination of defects are discovered.
If the condition
of the exhibit is precarious, conservation measures should be applied
already in the process of preliminary inspection. After that (or
simultaneously with preliminary inspection) detailed photo-fixation of its
condition is conducted. In the process of historical and archive research
all - even indirect - written sources, photos, paintings, drawings of the
monument and other representations of it (for example, on medals, seals) are
studied. For the monuments of historical and artistic importance and for the
historical monuments of material culture conservation method or analytical
method with partial opening and preservation of layers of historical and
artistic importance is usually applied.
Restoration of
works of fine art and material culture more often has their reconstruction
in the condition most close to the original for an object. As well as
restoration of architectural monuments it combines the concepts and
processes of conservation and restoration itself. Scientifically sound
modern restoration develops on the basis of research of materials and
creation technology of the object of restoration, causes and types of its
damages and extraneous distortions, profound study of the history of art and
material culture. Thorough comprehensive study of the object of restoration
with application of chemical, optical and physical methods of research of
the materials and technology of object creation (spectral, chromatographic,
microcrystalline and other forms of analysis, general X-ray photography,
photomicrography and photomacrography, infra-red ray inspection etc.)
precede restoration. In the process of restoration lost mechanical solidity
of the object of restoration is restored by means of introduction of kindred
materials into its structure (for example, impregnation of layer of plaster
under mural painting with lime water, application of sturgeon glue for the
ground of icons and oil paintings, paint layer of glue painting) or
high-strength synthetic materials not harmful for the monument. Deformed
parts of support, ground and paint film, coloring and gilding of sculptures
and carving are repaired, chemically and structurally altered elements of
the object are removed (completely or partially) or restored (removal of
darkened varnish or drying oil from the painting, loose patina from
sculpture and various objects from copper alloys and other metals, whitening
of paper, restoration of colour of white lead etc.) Partial or complete
removal of recent additions to sculptures, objects of decorative-applied
art, easel and monumental painting is carried out.
Additions in
painting - if they don't interfere with perception of remaining original
parts - are preserved as historical and artistic documents. If recent layers
of painting are of artistic or historical importance they are separated and
moved to the new ground and support if possible. Execution of missing parts
of objects of material culture and paintings or sculptures is permitted if
its aim is to strengthen the remaining original parts (restoration of
plaster layer under monumental painting, levkas of the icons, missing parts
of canvas and ground in oil painting, addition of paper pulp to objects of
graphic art, documents etc.) In sculpture separate details are united and
strengthened (sometimes on the special framework). Bright white and coloured
insets of ground which interfere with perception of original painting are
tinted with easily distinguishable and removable paints. Voluntary
reconstruction of missing parts in painting is inadmissible; it is
exclusively carried out in oil and other forms of painting on the
assumption of preliminary isolation of original paint film and ground from
makeup with a layer of easily soluble varnish. |
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