KEYWORDS: ${markdownify(keywords)}
+KEYWORDS: ${markdownify(keywords)}
` : '' diff --git a/content/1-history/5.md b/content/1-history/5.md index 1415afd..2aee970 100644 --- a/content/1-history/5.md +++ b/content/1-history/5.md @@ -25,7 +25,7 @@ These studies also identified the presence of certain “professionals” who sp The history of the profession of *foderatore* (liner) in Naples sits at the intersection of craft, art, and profession, and it is here where the definition of the discipline of conservation-restoration unfolds. -In 1960, Raffaello Causa—the renowned art historian who in the 1970s and ’80s would direct the *soprintendenza* for the Historical and Artistic Heritage of Naples, and who at that time headed the restoration laboratory of the Capodimonte Museum, highlighted this aspect by observing how in our city the conservation of paintings on canvas had been guaranteed by means of “an indisputable skill—and we would like to say a reckless ease—with which the lining of the canvases was performed here in Naples, an operation widely practiced by local restorers” ([[Causa 1960' '10' %}). +In 1960, Raffaello Causa—the renowned art historian who in the 1970s and ’80s would direct the *soprintendenza* for the Historical and Artistic Heritage of Naples, and who at that time headed the restoration laboratory of the Capodimonte Museum, highlighted this aspect by observing how in our city the conservation of paintings on canvas had been guaranteed by means of “an indisputable skill—and we would like to say a reckless ease—with which the lining of the canvases was performed here in Naples, an operation widely practiced by local restorers” ({% cite 'Causa 1960' '10' %}). In fact, it is possible since at least the eighteenth century to trace the evidence and documents relating to the practice of *rintelaggio* or *foderatura:* the consolidation of deteriorated textile supports carried out by gluing these onto a new canvas. We also find that such activities were carried out early on by a particular figure, the *telaiolo,*[^1] or manufacturer of canvases for painting, who would also repair damaged canvases if required. @@ -125,7 +125,8 @@ The documents testify to a remarkable awareness of the conservation problems pos Another important aspect of the caution shown by the museum administration concerns the practice of transfer, which was consciously avoided in the nineteenth century in the Museo Borbonico thanks to the awareness of its dangers. We find a clear testimony of this in a document dated 1810: Michele Arditi strongly opposed Paolino Girgenti, who wanted to transfer the *Strage degli Innocenti* by Andrea Vaccaro, in order to eliminate the imperfection caused by the seam joining the two pieces of canvas ({% cite 'D’Alconzo and Prisco 2005' '84' %}). -The practice of transfer was carried out very early in Naples, since at least the eighteenth century. In 1742, Bernardo De Dominici recounted the skill of two Neapolitan artists, Nicolò di Simone and Alessandro Majello, who specialized in the transfer of flaking paintings on panel onto canvas supports ([[De Dominici \[1742–43\] 2003–14\|, 796, 994]], cited in {% cite 'Conti 2007' '140' %}). +The practice of transfer was carried out very early in Naples, since at least the eighteenth century. In 1742, Bernardo De Dominici recounted the skill of two Neapolitan artists, Nicolò di Simone and Alessandro Majello, who specialized in the transfer of flaking paintings on panel onto canvas supports ({% cite 'De Dominici (1742–1743) 2003–14' '796, 994' 'De Dominici [1742–1743] 2003–14' %}, cited in {% cite 'Conti 2007' '140' %}). + The restoration of a painting by Fedele Fischetti, *Noli Me Tangere*, from the church of Santa Caterina da Siena ([fig. 5.7a](#fig-5-7)), in 1998,[^13] enabled us to examine a material example of a partial transfer procedure, probably carried out by the artist himself during the execution of the painting, which can be traced back to 1766–1767. There are documents that refer to Fischetti’s activity as a restorer ({% cite 'Nappi 1984' '320' %}), but in this case it was possible to verify the procedure carried out long ago directly on a painting. diff --git a/content/6-interventions/34.md b/content/6-interventions/34.md index 8b7fc04..c1dc357 100644 --- a/content/6-interventions/34.md +++ b/content/6-interventions/34.md @@ -34,7 +34,7 @@ That these linings should still be in place and largely effective is all the mor ## The Nineteenth Century: A Few Preserved Examples of Linings and of Minimal Intervention -In the nineteenth century, we find an earlier massive campaign of restoration, which occurred at a time of many acquisitions as a result of bequests. The public aspects of Roman restoration during this period are well known due to the activities of the Camuccini brothers: Pietro, a restorer, and Vincenzo, an inspector of public paintings ({% cite 'Giacomini 2007' %}). Among his collaborators, Vincenzo chose Pietro Palmaroli ([[Köster \[1827\] 2001\|, 123]]; {% cite 'Rinaldi 2004' %}) and Giuseppe Candida, who moved to Rome from Venice in 1803. Candida brought with him such cultural baggage as his experience in the workshop of Pietro Edwards ({% cite 'Conti 2003' '185, 229' %}; [[Köster \[1827\] 2001\|, 121]]). +In the nineteenth century, we find an earlier massive campaign of restoration, which occurred at a time of many acquisitions as a result of bequests. The public aspects of Roman restoration during this period are well known due to the activities of the Camuccini brothers: Pietro, a restorer, and Vincenzo, an inspector of public paintings ({% cite 'Giacomini 2007' %}). Among his collaborators, Vincenzo chose Pietro Palmaroli ({% cite 'Köster (1827) 2001' '123' 'Köster [1827] 2001' %}; {% cite 'Rinaldi 2004' %}) and Giuseppe Candida, who moved to Rome from Venice in 1803. Candida brought with him such cultural baggage as his experience in the workshop of Pietro Edwards ({% cite 'Conti 2003' '185, 229' %}; {% cite 'Köster (1827) 2001' '121' 'Köster [1827] 2001' %}). Restoration practices in the various private collections are less well known. Again, archival documents are of help. In those of the Corsini family we find paintings on which worked G. B. Beretta ({% cite 'Ventra 2016' %})—a restorer who also worked with Minardi—and going back in time, Palmaroli ({% cite 'Cosma 2016' '180ff.' %}) and Principe ({% cite 'Magnanimi 1980a' %}; {% cite 'Magnanimi 1980b' %}). So the same names come up in both the private and public sectors, and through these we will get a better picture of the Roman system. diff --git a/content/8-posters/43.md b/content/8-posters/43.md index f554e4d..49c7a3a 100644 --- a/content/8-posters/43.md +++ b/content/8-posters/43.md @@ -29,7 +29,7 @@ The lining has several characteristics that point to an Italian method of canvas In Italy, there are two traditional glue-paste lining methods: Florentine and Roman. This distinction originates from the work of two nineteenth-century Italian restorers: Count Giovanni Secco-Suardo and Ulisse Forni. The glue-paste recipe and lining techniques advocated by Secco-Suardo informed the Florentine technique, whereas Forni’s became the basis for the Roman technique ({% cite 'Forni 1866' %}; {% cite 'Reifsnyder 1995' '77–78' %}).[^3] A characteristic difference often cited between these approaches is the glue-paste recipes;[^4] however, there is also a large variation in the types of lining canvas chosen. While both methods generally employ plain weave hemp and/or flax-based canvases, their weave densities differ greatly. -Typically, the Florentine method uses a tighter weave, similar to the original canvas, though slightly more robust, to support the painting ([[Reifsnyder 1995\|, 79})}.[^5] This type of canvas is chosen to provide a more rigid support and minimize weave interference ({% cite 'Baldini and Taiti 2003' '116' %}). The Roman technique, in contrast, uses an open weave. There are two main types of this open-weave canvas: the more open *tela patta,* at 10–15 threads per inch, and the slightly more dense *tela pattina,* at 20–25 threads per inch. Selection of either the *tela patta* or *tela pattina* largely depends on the size of the painting, the structure of the original canvas, and the painting’s condition ({% cite 'Laroche and Saccarello 1996' '13' %}). Generally, this type of canvas allows for a lighter, more flexible support after lining; however, the overall flexibility is also highly dependent on the glue-paste recipe ({% cite 'Lavorini 2007' %}).[^6] +Typically, the Florentine method uses a tighter weave, similar to the original canvas, though slightly more robust, to support the painting ({% cite 'Reifsnyder 1995' '79' %}).[^5] This type of canvas is chosen to provide a more rigid support and minimize weave interference ({% cite 'Baldini and Taiti 2003' '116' %}). The Roman technique, in contrast, uses an open weave. There are two main types of this open-weave canvas: the more open *tela patta,* at 10–15 threads per inch, and the slightly more dense *tela pattina,* at 20–25 threads per inch. Selection of either the *tela patta* or *tela pattina* largely depends on the size of the painting, the structure of the original canvas, and the painting’s condition ({% cite 'Laroche and Saccarello 1996' '13' %}). Generally, this type of canvas allows for a lighter, more flexible support after lining; however, the overall flexibility is also highly dependent on the glue-paste recipe ({% cite 'Lavorini 2007' %}).[^6] ## Brief Overview of the Traditional Roman Lining Process diff --git a/content/8-posters/53.md b/content/8-posters/53.md index b268682..9a12e83 100644 --- a/content/8-posters/53.md +++ b/content/8-posters/53.md @@ -127,4 +127,4 @@ The authors thank Ana Pereira for the FTIR-ATR analysis, Ilona Jaaranen and Basc [^10]: For large paintings, it is more practical to attach the interleaf to the lining canvas first (with a trowel) before aligning both to the reverse of the painting. -[^11]: Three paintings (*Birds I, Birds II,* and *Mammals*) were lined with the technique described. The remaining two (*Rodents* and *Deer*) are much smaller, so the lining technique was adapted accordingly. The materials used were the same. For a detailed description see [[Barbosa et al. 2015}. +[^11]: Three paintings (*Birds I, Birds II,* and *Mammals*) were lined with the technique described. The remaining two (*Rodents* and *Deer*) are much smaller, so the lining technique was adapted accordingly. The materials used were the same. For a detailed description see {% cite 'Barbosa et al. 2015' %}. diff --git a/content/_assets/images/tables/table-56-3.html b/content/_assets/images/tables/table-56-3.html index 0962b63..ef6610b 100644 --- a/content/_assets/images/tables/table-56-3.html +++ b/content/_assets/images/tables/table-56-3.html @@ -339,5 +339,5 @@Abbreviations: MBT = Museum of the Orthodox Archdiocese of Timișoara, MArT= Timișoara Museum of Art, Private = private collectio
+Abbreviations: MBT = Museum of the Orthodox Archdiocese of Timișoara, MArT= Timișoara Museum of Art, Private = private collection