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Konserwacja tapiserii w świetle włoskiej teorii konserwacji

100%

Prokopowicz A.

Ochrona Zabytków

1988

issue 1

47-49

Italy has two big centres of the conservation of monuments, i.e. Istituto Centrale Del Restauro in Rome and Opficio Delle Pietre Dure E Laboratori Del Restauro in Florence. In the seventies the Atelier for the Conservation of Tapestries was attached to Florence's Opficio. Teachers in the Atelier are the persons trained in this profession by former workers of the biggest conservation workshop, owned by Salvadori Giuseppe, existing from 1923 and employing several dozen workers. In 1983 the Atelier undertook the preservation of 9 arrases from Palazzo Veccio in Florence from the series depicting the story of Joseph, ordered by Cosimo de Medici in 1546. The authors of the cartoons were Agnola di Cosimo Torri (16 cartoons), Jacopo Carruci (3). Francesco de Rossi (1). It was done by Flemish workers. The series consists of 20 pieces. Their total area is 420 sq. m. 10 of them are at present in Palazzo del Quirinale in Rome, the remaining ones are in Palazzo Vecchio in Florence. The latter ones were hanging incessantly for 111 years until their removal in 1983. Special safe techniques of taking arrases from walls, their transportation and storage in the building of Opificio were worked out. To wash the arrases a special folding bath-tub was designed with a perforated steel plate on its bottom. A rolled-up arras on the roller was gradually unfolded, soaked, tamponed and reeled on the second roller placed at the other end of the bath-tub. A solution of soap- -wort in determinalized water was used for washing. Larger missing parts are made up on tables with movable tops. New threads of the weft are laid vertically, contrary to the way used on a loom. This is not a typical method, originating from the 19th-century traditions of Florentine conservators. Only very small missing parts are done on a loom. The Florentine workshop advocates a technique of through conservation (metodo integrativo) assuming that reconstruction of 2 basic elements: the warp and the weft is the best method of integrating the fabric. After taking from the loom arrases are lined with a linen cloth fastened with vertical stitches placed parallelly on the entire surface. Work on the conservation of the entire discussed series will be continued still for years. Following the progress of conservation work Polish convervators might take some advantage of Florentine experience.

Kolekcja tapiserii z katedry La Seo w Saragossie - stan zachowania i problemy konserwatorskie

72%

Hryszko H.

Ochrona Zabytków

1988

issue 1

49-51

The collection of tapestries is the property of the Metropolitan Chapter in Saragossa. It consists of 63 objects, 16 of which are displayed in 2 rooms „Museo de Tapices" attached to the cathedral since 1928. The remainig ones are stored in store-rooms of the cathedral. The collection comprises 10 15-th century tapestries from workshops in Arras in Tournai and 53 were made in Flemish workshops, coming from early 16th century to mid-17th century. The collection was initiated in 1454 and its base were gifts presented by the archibishops: Don Dalmacio de Mur, Don Alonso de Aragon, Don Andres Santos and purchases made by the Chapter. In 1984 upon the commission of the Chapter the author of this report made a conservation expertise of the collection. Each of the tapestries was assessed according to a 9- point scheme. The most important points of the scheme were: material and technique of execution and the condition. To have an efficient and reliable expertise, a special work technique was prepared. In addition to this, main factors which bring about destruction were described in much detail and grouped in 5 basic groups. n the light of the expertise the condition of tapestries is the following: only in 10 tapestries a degree of impairement oscillates at 10 per cent of the entire surface, in 18 tapestries this figure comes to 22 per cent, while in 34 — the damage covers 25 to 60 per cent of the surface. Unfortunately, the last group comprises nearly all most valuable objects. A general cause of such a disquieting condition of tapestries was their use in the past centuries — they were often subjected to the effect of sun light, moisture, nailed to decorate the cathedral. On the other hand, they were never subjected to conservation. Conservation procedure applied so far had merely an off-handed and temporary character. In 1983 the Chapter undertook energetic measures aimed at commencing conservation work. In 1985 the book was published entitled "Los Tapices de la Seo de Zaragoza" presenting a collection with illustration. The book contains large excerpts from the expertise done by the author. At present the Atelier for Monuments Conservation in Warsaw prepares a multi-stage conservation programme covering the entire collection.

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2 Ochrona Zabytków

1 Hryszko H.

1 Prokopowicz A.

2 1988

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Konserwacja tapiserii w świetle włoskiej teorii konserwacji

Kolekcja tapiserii z katedry La Seo w Saragossie - stan zachowania i problemy konserwatorskie