| The restoration of antique works, monuments and | | | | that we should be able to distinguish between the |
| buildings is a very important sector, especially for a | | | | original parts of the work and the parts that have been |
| country like Italy. | | | | restored. This controversy has been an issue since the |
| Normal 0 14 false false false IT X-NONE X-NONE | | | | beginning of the restoration activity. |
| * Style Definitions */ table.MsoNormalTable | | | | We can say that restoration was born at the end of |
| {mso-style-name:"Tabella normale"; | | | | the 18th century, following the excavations of |
| mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; | | | | Herculaneum and Pompeii, the discovering of Egyptian |
| mso-style-noshow:yes; mso-style-priority:99; | | | | ancient relics and a renewed interest in Greek ancient |
| mso-style-qformat:yes; mso-style-parent:""; | | | | relics, when people begin to look into the artistic and |
| mso-padding-alt:0cm 5.4pt 0cm 5.4pt; | | | | architectonic works of the past and, as a |
| mso-para-margin-top:0cm; mso-para-margin-right:0cm; | | | | consequence, they begin to be interested also in their |
| mso-para-margin-bottom:10.0pt; | | | | restoration and preservation. In the 19th century the |
| mso-para-margin-left:0cm; line-height:115%; | | | | different points of view on restoration result in two |
| mso-pagination:widow-orphan; font-size:11.0pt; | | | | separate currents, the historic and the philological |
| font-family:"Calibri","sans-serif"; | | | | restoration. In the first case we start from historical |
| mso-ascii-font-family:Calibri; | | | | documents to restore the work, in order to make the |
| mso-ascii-theme-font:minor-latin; | | | | work appear as it did in the mind of its designer, |
| mso-fareast-font-family:"Times New Roman"; | | | | without considering the changes that there have been |
| mso-fareast-theme-font:minor-fareast; | | | | through time. The philological restoration is based on |
| mso-hansi-font-family:Calibri; | | | | the idea that the changes that have been made and |
| mso-hansi-theme-font:minor-latin;} Restoring means | | | | that have an artistic value should not be left out, as |
| bringing back to life those works that have been | | | | they tell us something about the work. In the first half |
| damaged or semi-destroyed through time, and this is | | | | of the 20th century the work of the restorer is |
| not an easy activity at all. Any restorer and | | | | enriched by new cues also thanks to Giovannoni, who |
| construction company, no matter if it is a small | | | | points out that restoration should be a team job to be |
| company that deals with unknown works or a restorer | | | | done by architects together with chemists, geologists |
| that has to renew works that are famous all over the | | | | and other experts, in order to give consideration to |
| world, has to consider many factors before restoring a | | | | different aspects of the work or building. In the 20th |
| painting or a monument, and to give consideration also | | | | century also other trends and currents develop, as an |
| to the history of the work itself. | | | | evidence of the fact that the debate on restoration |
| Restoring an architectural or artistic work, especially | | | | has not been exhausted yet. Among the best-known |
| when it is very ancient, does not only mean to clean | | | | and most influential currents there are critical |
| and repair it, as you would do with any item or building, | | | | restoration and the theories of Cesare Brandi, who |
| it also implies studying its history and consider it as | | | | claimed that it was necessary to look at the work |
| something which is alive, and which is still telling us | | | | from both an artistic and a historical point of view. |
| about its and our past. When people speak about | | | | In conclusion, when we deal with the restoration of |
| restoration, often there are controversies and different | | | | works and buildings, we are dealing with an issue that |
| points of view: on the one hand, some people prefer | | | | is more complicated than it might seem, an issue that |
| those interventions in which the work of the restorer is | | | | does not have univocal solutions and theories, but |
| not visible, on the other hand some other people claim | | | | different and contrasting points of view. |