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gruppo OPZIONALE attività di laboratorio - (show)
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17986 -
Wall paintings
(objectives)
The course has been organized with the aim of training students to carry out and correctly organize the different phases of the conservation and restoration work of wall paintings. During the activity, the aim is to bring them closer to the normal working practice consisting in carrying out the typical activities of a restoration work by providing them with the right approach, theoretical and practical knowledge and a correct and clear technical-operational methodology. At the end of the course he will be able to approach the work with awareness and autonomy.
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Gittins Mark
( syllabus)
Program: the course has been organised with the aim of training students to organise and carry out correctly the various phases of a project of conservation and restoration of wall paintings. During the course the student is introduced to all the different phases of a restoration treatment.
While maintaining a balance between theory and practice, the first module initially concentrates on the basic theory underpinning much of the rest of course: historical wall painting techniques and materials (backed up by practical work where with students create their own mural paintings), documentation, basic deterioration mechanisms and methods of treatment. This is followed by starting practical work on fragments of wall paintings in the specially equipped conservation studios of the university.
The second module of the course concentrates more on the practical aspects of treatment including more specialised lessons on conservation techniques and deterioration phenomena and means of prevention.
The last part of the course is a training work site, where the students conduct a treatment on wall paintings on site from start to finish.
One of the aims for the courses to encourage the students to work together.
During the course the students are also taken on visits to monuments and conservation work sites
Detailed breakdown of the course
First module - 150 hours (Mark Gittins)
Theory lessons
• techniques of wall paintings: original materials, methods of design, the various layers of a wall painting
• fresco paintings and secco paintings
• studying and documenting an artwork: registering condition and treatment, technical glossaries and methods of graphic documentation
• introduction to the deterioration of works
• treatment methods and materials
Methodology and practical work
Simultaneously with the theoretical lessons the students construct a model of a wall painting in order to gain familiarity with traditional materials and methods. Other practical training is given on basic design, photography, and how to layout and write reports and presentations of treatments as well as introducing conservation materials and their technical and safety data sheets. The students are frequently called upon to describe and discuss their work in order to develop confidence with the language and the ideas involved.
During this module the students also begin work on fragments of wall paintings in the university’s wall paintings conservation studio, starting with close observation of the work and it's graphic and photographic documentation leading to the initial phases of planning a treatment and testing various methods.
Second module - 100 hours (Mark Gittins)
Theory Lessons
• a detailed look at deterioration mechanisms and systems of prevention
• examination of more specialised treatment strategies and methods
Methodology and practical work
Practical work is undertaken in the university's specialized wall painting studio. During this work the students will experiment with and apply practically the theoretical notions they have studied in their earlier lessons in order to construct a complete cycle of restoration treatment: from historical and technical study to treatment hypotheses and testing, then the treatment itself and the writing of a final report.
At the same time as these treatments are undergoing, there will be further lessons involving more detailed discussions on deterioration factors, systems of prevention and more specialised treatment methods and materials.
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Work would be carried out on fragments of wall paintings from the 15th and 16th century from the old city of Castro (VT).
Second Module – 50 hours (Valeria Valentini)
This part of the course will be dedicated to the theory and practice of various systems of retouching and reintegration , including the toning of losses and the tratteggio system of pictorial reconstruction
The module will conclude with the writing of a detailed report on the treatment carried out by the student on their fragments. This will include the art historical context, evaluation of the condition of the paintings and a critical assessment of the treatment methods adopted.
During the module students will have the opportunity present their work both formally and informally to their colleagues so is to gain familiarity with the correct technical language for the field
( reference books)
Historical sources for techniques: Vitruvius, Pliny, Cenino Cennini, Vasari, etc.
Dimos Parte I Modulo I. Tecniche di esecuzione Materiali Costitutivi. ICR, 1978
Dimos Parte I Modulo II. Fattori di deterioramento. ICR, 1978
P. Mora, L. Mora, P. Philipot The Conservation of wall paintings. Butterworths/ICCROM 1977
S. Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX) Carocci editore, 2011
Materiali e tecniche della pittura murale del Quattrocento, Acts of the conference, ENEA, February 2002
Other specialised publications (conference and technical papers)
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VALENTINI Valeria
( syllabus)
Program: the course has been organised with the aim of training students to organise and carry out correctly the various phases of a project of conservation and restoration of wall paintings. During the course the student is introduced to all the different phases of a restoration treatment.
While maintaining a balance between theory and practice, the first module initially concentrates on the basic theory underpinning much of the rest of course: historical wall painting techniques and materials (backed up by practical work where with students create their own mural paintings), documentation, basic deterioration mechanisms and methods of treatment. This is followed by starting practical work on fragments of wall paintings in the specially equipped conservation studios of the university.
The second module of the course concentrates more on the practical aspects of treatment including more specialised lessons on conservation techniques and deterioration phenomena and means of prevention.
The last part of the course is a training work site, where the students conduct a treatment on wall paintings on site from start to finish.
One of the aims for the courses to encourage the students to work together.
During the course the students are also taken on visits to monuments and conservation work sites Second module - 150 hours (Mark Gittins Valeria Valentini)
Theory Lessons
• a detailed look at deterioration mechanisms and systems of prevention
• examination of more specialised treatment strategies and methods
Methodology and practical work
Practical work is undertaken in the university's specialized wall painting studio. During this work the students will experiment with and apply practically the theoretical notions they have studied in their earlier lessons in order to construct a complete cycle of restoration treatment: from historical and technical study to treatment hypotheses and testing, then the treatment itself and the writing of a final report.
At the same time as these treatments are undergoing, there will be further lessons involving more detailed discussions on deterioration factors, systems of prevention and more specialised treatment methods and materials.
In particular, one part of the course will be dedicated to the theory and practice of various systems of retouching and reintegration , including the toning of losses and the tratteggio system of pictorial reconstruction.
Work would be carried out on fragments of wall paintings from the 15th and 16th century from the old city of Castro (VT).
The module will conclude with the writing of a detailed report on the treatment carried out by the student on their fragments. This will include the art historical context, evaluation of the condition of the paintings and a critical assessment of the treatment methods adopted.
During the module students will have the opportunity present their work both formally and informally to their colleagues so is to gain familiarity with the correct technical language for the field.
3rd module - 150 hours (Valeria Valentini)
Practical work -training work site
The course concludes with a training work site of one month on wall paintings from the 16th century in Palazzo Gallo, in Bagnaia (VT).
The students will conduct all parts of a treatment from documentary and textual studies, graphic and photographic documentation, deciding on treatment methods and materials and then carry out a full treatment to complete the project, including the writing of a treatment report.
( reference books)
Basic Bibliography
Historical sources for techniques: Vitruvius, Pliny, Cenino Cennini, Vasari, etc.
Dimos Parte I Modulo I. Tecniche di esecuzione Materiali Costitutivi. ICR, 1978
Dimos Parte I Modulo II. Fattori di deterioramento. ICR, 1978
P. Mora, L. Mora, P. Philipot The Conservation of wall paintings. Butterworths/ICCROM 1977
S. Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX) Carocci editore, 2011
Materiali e tecniche della pittura murale del Quattrocento, Acts of the conference, ENEA, February 2002
Bollettini ICR, OPD, Studies in Conservation
Lo stato dell’arte Acts of the IGIIC conferences
Acts IIC Conferences.
Kermes: La rivista di restauro
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17985 -
Artifacts paintihings on wooden: support. Artifacts carved in wood.Furniture and wooden sculptures 2
(objectives)
Teaching: Artifacts carved in wood. Furniture and wooden structures 2
Credits: 18 CFU
Year: 2020/2021
Degree course: Conservation and restoration of cultural heritage (LMR/02)
Teachers: Cristina Caldi, Sara Scioscia
Program: The teaching mainly involves practical activities in the laboratory and / or in
construction site on artefacts and, to a small extent, on models. The theoretical lectures will be from time to time articulated in such a way as to integrate the information provided during practical activities. The arguments processing will also take into account the lessons already imparted or programmed by others Degree course teachers.
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CALDI Cristina
( syllabus)
First phase - 150 hours - Laboratory (C. Caldi)
Theoretical lectures:
- polychrome wooden sculpture: peculiarities and operational criticalities;
- construction techniques of the supports;
- consolidants and adhesives for wood. Materials and operating methods;
- cleaning and removal of repaintings. Solvents, aqueous systems, supporting;
- special techniques: glass eyes;
Second phase - 150 ore - Laboratory (S. Scioscia)
Theoretical lectures:
- disinfestation and disinfection. Materials and operating methods;
- special techniques: estofado, pressbrokat, pictura translucida, aventurine;
- the wooden inlays. Degradation techniques and types;
Third phase - 150 ore - Site (C. Caldi)
Theoretical lectures:
- the wooden ceilings. Techniques and type of degradation;
- plastic integrations and reconstructions. Materials and methods.
Pratical activities:
- close study of the works and collection of all preliminary information on the data sheets;
- graphic documentation (on paper and / or digital support);
- consolidation and fixing of the preparation lifts and of the paint layer;
- consolidations, renovations, reconstructions of the support wood;
- cleaning tests and cleaning;
- possible removal of superimposed layers;
- grouting and aesthetic presentation;
- final protection;
- disinfection and / or disinfestation;
- gradual preparation of a detailed technical report;
- gradual preparation of a PPT presentation;
- collection and organization of photographic material.
Other Activities:
- supplementary insights conducted by other teachers on issues related to
works in the laboratory;
- educational visits;
- archival research.
Mandatory attendance.
( reference books)
R.BERGAMASCHI, Note di tecnica della tarsia lignea tra XV e XVI sec., in “Progetto Restauro”,
numero speciale 5, Padova, Il Prato 2018.
M. SEBASTIANELLI, G. D’ANNA, Sguardo vitreo nella statuaria lignea devozionale, in «OADI Rivista
dell’osservatorio per le Arti Decorative in Italia», 2016.
A. CERASUOLO, Estofado e policromie: osservazioni sulla tecnica attraverso la testimonianza di
Francisco Pacheco. Atti del convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia
dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino
d’Arte», n. extra 1, De Luca, 2011, pp 147-160.
G.B. FIDANZA, Sistemi di assemblaggio e risultati formali: alcuni casi seicenteschi. Atti del Convegno
di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal
medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp.
199-210.
P. STIBERC, Ricerca anatomica e innovazioni nelle tecniche costruttive della scultura lignea fiorentina
del Quattrocento. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia
dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino
d’Arte», n° extra 1, De Luca, 2011, pp. 49-62.
AA.VV., Storia di un dettaglio: il coprigiunto, in Conservare e restaurare il legno
Conoscenze,esperienze, prospettive. Atti del Convegno di studi, Bressanone 23-26 giugno 2009, pp.
135-150.
G.B. FIDANZA, Caratteristiche tecnologiche e formali delle specie legnose. Una verifica su statue e
intagli di età moderna, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose.
Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008,
pp.33–57.
G. GALOTTA, M. VALENZUELA, Scultura lignea policroma e specie legnose: l’esperienza dell’Istituto
Centrale per il Restauro, in Statue di legno, caratteristiche tecnologiche e formali delle specie
legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato,
2008, pp. 59 –79.
N. MACCHIONI, S. LAZZERI, L’identificazione delle specie legnose e la loro caratterizzazione
tecnologica, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del
seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 9-31.
L. SPERANZA, I. TOSINI, Scultura lignea policroma e specie legnose: l’esperienza dell’Opificio delle
Pietre Dure di Firenze, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose.
Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp.
81 – 101.
A. FEDELI, F. FEDELI, Il Coro Ligneo della Cattedrale di San Lorenzo a Perugia Restauro e
Ricostruzione in «Kermes – Cronache del Restauro», n.58, 2005, pp. 23-34.
4
G. PERUSINI, Il dibattito sulla reintegrazione della scultura lignea policroma dal 1950 ad oggi ed i
restauri italiani, in Die kunst der restaurierung: entwicklungen und tendenzen der
restaurierungsästhetik in Europa. Internationale Fachtagung München, Germany 2005, pp. 67-85.
P. STIBERC, La scultura lignea policroma del Rinascimento fiorentino. Osservazioni sulla tecnica
scultorea in «OPD Restauro», n.17, Firenze, Centro Di, 2005, pp. 304-316.
G. CANOCCHI, M.C. GIGLI, M.D. MAZZONI, P. STIBERC, La lacuna nella scultura lignea. Problematiche
di intervento. In LACUNA Atti dei convegni 2002/2003 al Salone del Restauro di Ferrara, Firenze,
Edifir, 2004, pp. 131-135.
G. TAMPONE, Solai, in Strutture di legno. Cultura conservazione restauro, a cura di G. Tampone, M.
Mannucci, N. Macchioni, Milano, 2002, pp. 80-90 e 100-107
AA.VV., Applicazioni dei gel come supportanti nel restauro, in «Bollettino ICR», nuova serie n.3,
2001, pp.101-118.
V. FORNI, Il problema critico delle integrazioni plastiche nella scultura lignea policroma, in «OPD
Restauro», n.10, Firenze, Centro Di, 1998, pp. 95-111.
A. CONTI, Puliture della scultura, policromie e problemi di presentazione, in ID., Manuale di restauro,
Torino, Einaudi, 1996, pp. 208-217.
M. BACCI, Le sculture lignee nel folklore religioso: alcune considerazioni, in Scultura Lignea: Lucca
1200-1425. Lucca dicembre 1995–30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.31-41.
E. SPALLETTI, Fortuna critica e collezionismo dell’antica scultura lignea italiana nel Settecento e
nell’Ottocento: un avvio di ricerca, in Scultura lignea: Lucca 1200-1425. Lucca dicembre 1995 – 30
giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.9-30.
M. CIATTI, Considerazioni sul restauro della scultura lignea, in «Kermes», n.1, Firenze, Nardini, 1988,
pp.6-8.
A. PANDOLFO, Aspetti tecnici e conservativi della scultura lignea policroma, in «Kermes», n°1,
Firenze, Nardini, 1988, pp.9-13.
T.PERUSINI-G.PERUSINI, La tecnica del “Pressbrokat” nell’altare di Giovanni Martini di Remanzacco,
in «Restauro nel Friuli Venezia Giulia Memorie della Scuola Regionale di Restauro», n. 1, 1983.
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SCIOSCIA Sara
( syllabus)
Teaching: Sculpted wooden artefacts. Wooden furniture and structures 2
Credits: 18 CFU
Off. year Educational programme: 2021/2022
Degree course: Conservation and restoration of cultural heritage (LMR/02)
Lecturers: Cristina Caldi, Sara Scioscia
Programme: The teaching mainly involves carrying out practical activities in the laboratory and/or on site on artefacts and, to a small extent, on models. The theoretical lectures will be articulated from time to time in order to integrate and structure the information provided during the practical activities. The elaboration of the topics will also take into account the lessons already taught or planned by other lecturers of the Degree Course.
First phase - 150 hours - Laboratory (C. Caldi)
Theoretical lessons:
- peculiarities of polychrome wooden sculpture;
- construction techniques of the supports;
- consolidators and adhesives for wood. Materials and operating methods;
- cleaning and removal of repainting. Solvents, aqueous systems, supports;
- special techniques: glass eyes;
- Methods of making a silicone rubber mould.
Second phase - 150 hours - Laboratory (S. Scioscia)
Theoretical lessons:
- Disinfestation and disinfection. Materials and operating methods;
- special techniques: estofado, pressbrokat, translucent painting;
- wooden inlays. Techniques and types of deterioration;
Third phase - 150 hours - Construction site (C. Caldi)
Theoretical lessons:
- wooden ceilings. Techniques and typologies of degradation;
- plastic integrations and reconstructions. Materials and operating methods.
Practical and theoretical/practical activities in the laboratory and/or on site:
- close study of the works; collection of all preliminary information on a data sheet
- graphic documentation (on paper and/or digital support);
- consolidation and fixing of preparation lifts and paint film;
- consolidation, restoration, reconstruction of support wood;
- cleaning and polishing tests;
- eventual removal of overlapping layers;
- plastering and aesthetic presentation;
- final protection;
- disinfection and/or disinfestation;
- gradual elaboration of a detailed technical report;
- Gradual elaboration of a PowerPoint presentation;
- collection and organisation of photographic material.
Supporting Activities
- integrative in-depth studies carried out by other teachers on problems related to the works present in the laboratory;
- educational visits;
- archival research.
Attendance: compulsory.
Evaluation systems:
At the end of the first phase students will be asked to write the first part of the report on the work carried out, containing the chapters: Description of the Work; Historical-Artistic Background; Execution Techniques; State of Conservation.
At the beginning of the second module, students will also have to present in Power Point the work carried out during the first module.
At the end of the second phase they will be asked to write the second part of the report, containing the chapters: Previous Interventions; Restoration Interventions.
There will also be a written test consisting of 10 short answer questions regarding the topics covered in the theoretical lessons or addressed during the practical activities in the laboratory.
The final examination will be divided into two parts:
- a PPT presentation of the work carried out during the month-long workshop;
- an oral examination of the knowledge acquired through the study of the texts indicated in the bibliography.
Parameters considered
1.Professionalism. Manual skills. 3. Ability of written expression. 4. Ability to express oneself orally. 5. Knowledge.
1. Professionalism (organisational and disciplinary requirements):
The following will be assessed:
.orderliness/cleanliness of equipment and workstation
. punctuality
. presence
. participation (ability to interact with the teacher in asking questions and proposing solutions to theoretical and practical problems; willingness to collaborate and coordinate with student colleagues).
The assessment will be expressed by the restorers in six grades (Excellent; Distinguished; Good; Fair; Sufficient; Insufficient).
2. Manual dexterity (specific aptitudes and skills that have emerged in operational practice):
the evaluation will be expressed by the restorers in six grades (Excellent; Distinguished; Good; Discreet; Sufficient; Insufficient).
3. Written expression capacity (elaboration of a technical report on the experience carried out on the works):
The following will be assessed:
. written expression of the arguments (accuracy and completeness)
. ability to critically analyse and link the arguments, in-depth study and research
. accuracy of graphic and photographic documentation.
The evaluation will be expressed by the restorers in six grades (Excellent; Distinguished; Good; Discreet; Sufficient; Insufficient).
4. Speaking skills (PPT presentation of work carried out in the laboratory and on site)
The following will be assessed:
. ability to communicate the topics orally (accuracy and completeness)
. ability to critically analyse, link the topics, deepen and research.
The assessment will be expressed by the restorers in six grades (Excellent; Distinguished; Good; Fair; Sufficient; Insufficient).
5. Knowledge (10 short answer questions; study and comprehension of the texts indicated in the bibliography)
The evaluation will be expressed by the restorers in six grades (Excellent; Distinguished; Good; Discreet; Sufficient; Insufficient).
The partial assessments for the parameters examined (Professionalism, Manual ability, Written expression, Oral expression, Knowledge) will be included in the final exam.
( reference books)
IBLIOGRAFIA
R.BERGAMASCHI, Note di tecnica della tarsia lignea tra XV e XVI sec., in “Progetto Restauro”, numero speciale 5, Padova, Il Prato 2018.
M. SEBASTIANELLI, G. D’ANNA, Sguardo vitreo nella statuaria lignea devozionale, in «OADI Rivista dell’osservatorio per le Arti Decorative in Italia», 2016.
A. CERASUOLO, Estofado e policromie: osservazioni sulla tecnica attraverso la testimonianza di Francisco Pacheco. Atti del convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp 147-160.
G.B. FIDANZA, Sistemi di assemblaggio e risultati formali: alcuni casi seicenteschi. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n. extra 1, De Luca, 2011, pp. 199-210.
P. STIBERC, Ricerca anatomica e innovazioni nelle tecniche costruttive della scultura lignea fiorentina del Quattrocento. Atti del Convegno di Serra San Quirico e Pergola: Scultura lignea – per una storia dei sistemi costruttivi e decorativi dal medioevo al XIX secolo, 13-15 dicembre 2007, in «Bollettino d’Arte», n° extra 1, De Luca, 2011, pp. 49-62.
AA.VV., Storia di un dettaglio: il coprigiunto, in Conservare e restaurare il legno Conoscenze,esperienze, prospettive. Atti del Convegno di studi, Bressanone 23-26 giugno 2009, pp. 135-150.
G.B. FIDANZA, Caratteristiche tecnologiche e formali delle specie legnose. Una verifica su statue e intagli di età moderna, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp.33–57.
G. GALOTTA, M. VALENZUELA, Scultura lignea policroma e specie legnose: l’esperienza dell’Istituto Centrale per il Restauro, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 59 –79.
N. MACCHIONI, S. LAZZERI, L’identificazione delle specie legnose e la loro caratterizzazione tecnologica, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 9-31.
L. SPERANZA, I. TOSINI, Scultura lignea policroma e specie legnose: l’esperienza dell’Opificio delle Pietre Dure di Firenze, in Statue di legno, caratteristiche tecnologiche e formali delle specie legnose. Atti del seminario di studi, Perugia, 1-2 aprile 2005, Roma, Istituto Poligrafico dello Stato, 2008, pp. 81 – 101.
A. FEDELI, F. FEDELI, Il Coro Ligneo della Cattedrale di San Lorenzo a Perugia Restauro e Ricostruzione in «Kermes – Cronache del Restauro», n.58, 2005, pp. 23-34.
G. PERUSINI, Il dibattito sulla reintegrazione della scultura lignea policroma dal 1950 ad oggi ed i restauri italiani, in Die kunst der restaurierung: entwicklungen und tendenzen der restaurierungsästhetik in Europa. Internationale Fachtagung München, Germany 2005, pp. 67-85.
P. STIBERC, La scultura lignea policroma del Rinascimento fiorentino. Osservazioni sulla tecnica scultorea in «OPD Restauro», n.17, Firenze, Centro Di, 2005, pp. 304-316.
G. CANOCCHI, M.C. GIGLI, M.D. MAZZONI, P. STIBERC, La lacuna nella scultura lignea. Problematiche di intervento. In LACUNA Atti dei convegni 2002/2003 al Salone del Restauro di Ferrara, Firenze, Edifir, 2004, pp. 131-135.
G. TAMPONE, Solai, in Strutture di legno. Cultura conservazione restauro, a cura di G. Tampone, M. Mannucci, N. Macchioni, Milano, 2002, pp. 80-90 e 100-107
AA.VV., Applicazioni dei gel come supportanti nel restauro, in «Bollettino ICR», nuova serie n.3, 2001, pp.101-118.
V. FORNI, Il problema critico delle integrazioni plastiche nella scultura lignea policroma, in «OPD Restauro», n.10, Firenze, Centro Di, 1998, pp. 95-111.
A. CONTI, Puliture della scultura, policromie e problemi di presentazione, in ID., Manuale di restauro, Torino, Einaudi, 1996, pp. 208-217.
M. BACCI, Le sculture lignee nel folklore religioso: alcune considerazioni, in Scultura Lignea: Lucca 1200-1425. Lucca dicembre 1995–30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.31-41.
E. SPALLETTI, Fortuna critica e collezionismo dell’antica scultura lignea italiana nel Settecento e nell’Ottocento: un avvio di ricerca, in Scultura lignea: Lucca 1200-1425. Lucca dicembre 1995 – 30 giugno 1996, a cura di C. Baracchini, Firenze, 1996, pp.9-30.
M. CIATTI, Considerazioni sul restauro della scultura lignea, in «Kermes», n.1, Firenze, Nardini, 1988, pp.6-8.
A. PANDOLFO, Aspetti tecnici e conservativi della scultura lignea policroma, in «Kermes», n°1, Firenze, Nardini, 1988, pp.9-13.
T.PERUSINI-G.PERUSINI, La tecnica del “Pressbrokat” nell’altare di Giovanni Martini di Remanzacco, in «Restauro nel Friuli Venezia Giulia Memorie della Scuola Regionale di Restauro», n. 1, 1983.
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450
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Other activities
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ITA |
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