The Restoration of Ancient Bronzes Naples and Beyond Edited by Erik Risser and David Saunders NOTES TO THE USER • Navigate this PDF through the Table of Contents button below • Enlarge any image in this PDF by clicking on it. • Each PDF is paired with a GALLERY PDF. When both files are open and downloaded to your computer, you can view the text simultaneously with large-format images. Navigate between the two PDFs using the Contents buttons or by clicking on figure caption numbers. THE J. PAUL GETTY MUSEUM | LOS ANGELES TABLE OF CONTENTS GALLERY CONTENTS 1 – 147 © 2013 J. Paul Getty Trust Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, CA 90049–1682 www.getty.edu/publications Beatrice Hohenegger, Editor Catherine Lorenz, Designer Elizabeth Kahn, Production Coordinator ISBN 978-1-60606-154-1 Front image: Apollo Saettante, 100 B.C.–before A.D. 79. Naples, Museo Archeologico Nazionale (detail, figure 4.18) Illustration credits Every effort has been made to contact the owners and photographers of objects reproduced here whose names do not appear in the captions or in the illustration credits. Anyone having further information concerning copyright holders is asked to contact Getty Publications so this information can be included in future printings. This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for noncommercial, educational purposes only. Please properly attribute the material to its respective authors and artists. For any other uses, please refer to the J. Paul Getty Trust’s Terms of Use. The Restoration of Ancient Bronzes: Naples and Beyond (Getty, 2013) TABLE OF CONTENTS GALLERY CONTENTS 2 – 147 34 Winckelmann’s Observations 76 Radiographic Examination 114 Provenience and Ownership History Table of Contents 36 Subsequent Publications of the Royal 76 Composition and Microstructures 117 Technical Examination Collections of Alloys 121 Restoration History 36 The Antichità di Ercolano 76 Conclusions 123 Ancient Fragments 37 Depicting the Bronzes 76 Ancient Manufacture 127 Ancient Manufacture 40 Notes 78 Historical Restorations 132 Iconographic and Stylistic Analysis 81 Notes 134 Conclusion 41 4 | THE RESTORATION HISTORY OF THE 135 Notes BRONZE APOLLO AND DIANA FROM 83 7 | THE CHILD WITH A BULLA IN POMPEII THE LOUVRE: HISTORY OF THE 137 10 | METHODS AND MATERIALS USED FOR Erik Risser and David Saunders RECONSTRUCTION AND RESTORATION OF PATINATION AT THE FONDERIA CHIURAZZI 4 ACKNOWLEDGMENTS AN ANCIENT BRONZE Luisa Fucito 41 Introduction Sophie Descamps-Lequime, Benoît Mille, 41 Discovery 137 Natural and Artificial Patination 5 1 | INTRODUCTION Dominique Robcis, and Nathalie Balcar 42 Apollo Saettante: Reassembly and 138 Preliminary Surface Treatment Erik Risser and David Saunders Reconstruction, First Phase (ca. 1817–1820) 83 Introduction 138 Producing the Patinas 6 Studying the History of Restorations 44 Apollo Saettante: Surface Treatment 85 Identifying the Historical Restorations 139 Patinatura a freddo 7 The Special Case of Naples 47 Apollo Saettante: Second Intervention 87 Interpretation and Discussion 139 Patinatura a caldo 9 Beyond Naples (ca. 1860) 90 Twentieth-Century Restoration 140 Other Methods 12 Notes 48 Diana: Restoration and Surface Treatment 91 Reconstruction and Conservation, 2005–2010 140 Protection 49 Interpretation and Discussion 93 Notes 142 Notes 13 2 | EXHIBITION AND EXPERIMENT: 55 Notes A HISTORY OF THE REAL MUSEO 95 8 | MOUNTING AND PATINA: NINETEENTH- 143 ABOUT THE AUTHORS BORBONICO 57 5 | THE EPHEBE FROM THE VIA CENTURY SOLUTIONS IN THE RESTORATION Andrea Milanese DELL’ABBONDANZA: HISTORY OF A OF LARGE BRONZES IN BERLINS RESTORATION ANTIKENSAMMLUNG 13 Introduction 14 The Origins of the Real Museo Borbonico Luigia Melillo Uwe Peltz 16 The First Phase of Organizing the Museum, 57 Discovery 96 Displaying Ancient Bronzes 1777–1806 58 Restoration History 96 The Xanten Boy 18 The Second Phase: Innovations in the 59 Restoration Techniques 98 The Praying Boy “French Decade,” 1806–1815 62 Recent Conservation and Definition of 100 The Hypnos from Jumilla 18 The Layout of the Museum Ancient Manufacture 101 The Youth from Salamis 20 The Creation of the Real Museo e 63 Notes 102 Surface Aesthetics Soprintendenza agli Scavi del Regno 102 The Praying Boy 20 Legislation 64 6 | THE BIRTH AND SECOND LIFE OF THE 103 The Xanten Boy 21 The Third Phase, 1815–1828 MINERVA OF AREZZO 104 The Youth from Salamis 24 Restorations at the Real Museo Borbonico Salvatore Siano 106 The Hypnos from Jumilla 25 Bronze Restorations 107 Conclusion 64 Historical Note 28 Notes 109 Notes 65 Attribution and Dating 66 Methods of Study 30 3 | APPEARANCES CAN BE DECEIVING: 113 9 | THE BRONZE STATUE OF TREBONIANUS 67 State of Conservation THE PRESENTATION OF BRONZES FROM GALLUS IN THE METROPOLITAN MUSEUM 70 Dismounting the Minerva and Uncovering HERCULANEUM AND POMPEII OF ART: RESTORATION, TECHNIQUE, AND the Surface Carol C. Mattusch INTERPRETATION 73 Interpreting the Processes of Manufacture Seán Hemingway, Sarah McGregor, and 30 Introduction 73 Assembly Dylan Smith 31 Restoring the Bronzes 74 Preparation of the Waxes 33 The Publication of Disegni intagliati, 1746 75 An Unusual Feature 113 Introduction The Restoration of Ancient Bronzes: Naples and Beyond (Getty, 2013) GALLERY CONTENTS 3 – 147 Acknowledgments ѮFPSJHJOTPGUIJTWPMVNFMJFJOPVSXPSLPOUIF"QPMMP 4BFUUBOUFGSPN1PNQFJJ BOEXFPXF QSPGPVOEUIBOLTUPPVSDPMMFBHVFTBUUIF4PQSJOUFOEFO[BQFSJ#FOJ"SDIFPMPHJDJEJ/BQPMJF 1PNQFJBOEUIF+1BVM(FUUZ.VTFVNGPSTVQQPSUJOHBOEOVSUVSJOHUIFQSPKFDUTJODFù÷÷Ā 5FSFTB&MFOB$JORVBOUBRVBUUSP 7BMFSJB4BNQBPMP %BWJE#PNGPSE Timothy Potts, ,BSPM8JHIU Jerry Podany, BOE$MBJSF-ZPOT*OQBSUJDVMBS XFBSFJOEFCUFEUP-VJHJB.FMJMMP XJUIPVUXIPTF support and DPMMBCPSBUJPOTPNVDIPGPVSXPSLXPVMEOPUIBWFCFFOQPTTJCMF0VSUIJOLJOH about the prodVDUJPOBOESFTUPSBUJPOPGBODJFOUCSPO[FTPXFTNVDIUPNBOZDPOWFSTBUJPOT with Kenneth -BQBUJO +FOT%BFIOFS BOE+FĒSFZ.BJTI Ѯ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ĒBUUBOE.BSL4UPOF &SJL3JTTFSBOE%BWJE4BVOEFST -PT"OHFMFT ù÷øú The Restoration of Ancient Bronzes: Naples and Beyond (Getty, 2013) TABLE OF CONTENTS GALLERY CONTENTS 4 – 147 1 | Introduction Erik Risser and David Saunders Following an agreement signed by the J. Paul Getty Museum and the Italian Ministry of Culture in 2007, a number of fruitful collaborative projects with Italian institutions have been under- taken. The most immediately visible have been the loan of objects, such as the Chimaera of Arezzo (Florence, Museo Archeologico Nazionale), for display in a special exhibition at the Getty Villa and the long-term loan of the Ephebe from the Via dell’Abbondanza (Naples, Museo Arche- ologico Nazionale).1 Other projects have utilized the Getty Museum’s resources and expertise in the field of antiquities conservation to the benefit of both parties. One of the first of these was the treatment of the bronze Apollo Saettante from Pompeii (Naples, Museo Archeologico Nazio- nale). Long off display, owing to a failed join at its right ankle, and dangerously burdened by the restored bronze drapery that hung from its arms, this statue came from Naples to the Getty Villa in March 2009 for study and conservation. Over the next eighteen months the Apollo under- went a full analysis in order to ascertain the technique of its ancient manufacture, any alterations due to its destruction and burial at Pompeii, and evidence of restorations after the discovery of its fragments in 1817 and 1818. The findings of this study guided the conservation project at the Getty Museum, which resulted in a new, secure repair to the right ankle, and the removal of the existing drapery ends and their replacement with lightweight modern materials modeled after early drawings of the statue. Following the cleaning of the statue’s surface, the Apollo appears today as it was seen in the Real Museo Borbonico in Naples after its early- nineteenth-century restoration. On completion of the conservation project, the Apollo was the centerpiece in the exhibi- tion, Apollo from Pompeii: Investigating an Ancient Bronze (March 2–September 12, 2011), which presented the story of the statue’s discovery, its ancient manufacture, and its nineteenth-century restorations (fig. 1.1).2 Through the generosity of our colleagues in Naples, the exhibition also fea- tured the Apollo’s sister piece, the bronze Diana (discovered in 1817), and it was possible to study Figure 1.1. Apollo Saettante and Diana on display at the this figure as we had the Apollo. In the course of examining the statues of the twin gods together, Getty Villa exhibition Apollo from Pompeii: Investigating combining research into