because of its legal, theoretical, cultural nature, is the functional
restoring and careful preservation of a work. The common methodology prefers
to show the moderate, but easily to recognize zone interested by the restoration.
These theories should find application as well in the papier-maché
works' restoration, where the restoration was easily mistook with the
most showy and superabundant remaking. In poor quality works' restoration,
made by improvised authors, it is not always opportune to apply these
high principles, but with significant - for age and author - works, imposing
these solutions should be imperative. It's sure that the client claims
the right to see the work restored in the entirety of its original form,
and any kind of visible retouch causes distrust. But it should be worse
to cover with various coats the adjusted parts, or more to use violence
widening the restoration to the whole work, also where it is not necessary,
only for "renove" the work itself. And so, we have to bring up the client
to accept moderate operations that, from the first stage of the static
consolidation to every final coating, don't alter the original work's
"aura", the only silent witness of the past, which in its cloaks' folds,
in its hands' features, narrates the story of its born.
of the "Dead Christ" - report
In these photos the example of a statue before the restoration (left)
and after (right). Notice how a previous restoration had been entirely
altered the original colours of the statue.
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