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EN
The article is devoted to a fragment of the extensive problem of the impact exerted by scientific opinions on conservation of the works of art. The author reduces this question to visual arts, tackling it against the background of various kinds of the solutions applied in conservator’s practice. The phenomena ensuing therefrom are as follows: 1. after removal of various elements, turning the given work of art into an entirely different one; 2. „correction” of the work of art by way of introduction of „more appropriate” elements, e.g. of the old facture treatment; 3. exposing the monument by way of a new plastic intervention or due to refined arrangement; The author is of the opinion that a steady critique of the effects conservator’s proceedings is necessary and laying down the limits which should not be tresspassed by the interference and arrangement on the part of the conservator bodies. Those boundaries are determined by certain generally recognized principles, i.a. that of preserving the genuine expression of the historical truth of the work of art, full reliability of conservator’s proceedings and providing for adequate arrangement o f both the monument concerned and its setting.
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