Part Three: Development of Conservation Theories
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J. Jokilehto, A History of Architectural Conservation D. Phil Thesis, University of York, 1986 Part Three: Development of Conservation Theories Page 230 J. Jokilehto Chapter Thirteen Restoration of Classical Monuments 13.1 Principles created during the French Concorde, symbolized this attitude. Consequently, Revolution it was not until 1830s before mediaeval structures had gained a lasting appreciation and a more firmly The French Revolution became the moment established policy for their conservation. of synthesis to the various developments in the appreciation and conservation of cultural heritage. 13.2 Restoration of Classical Monuments Vandalism and destruction of historic monuments (concepts defined during the revolution) gave a in the Papal State ‘drastic contribution’ toward a new understanding In Italy, the home country of classical antiquity, where of the documentary, scientific and artistic values legislation for the protection of ancient monuments contained in this heritage, whcih so far had been had already been developed since the Renaissance closed away and forbidden to most people. Now for (or infact from the times of antiquity!), and where the the first time, ordinary citizens had the opportunity to position of a chief Conservator existed since the times come in contact with these unknown works of art. The of Raphael, patriotic expressions had often justified lessons of the past had to be learnt from these objects acts of preservation. During the revolutionary years, in order to keep France in the leading position even when the French troops occupied Italian states, and in the world of economy and sciences. It was also plundered or carried away major works of art, these conceived that this heritage had to be preserved in situ feelings were again reinforced. When Pius VII took in all parts of the country; it had to be inventorised, the Papal Sea in 1800, one of his first concerns was classified, and conserved to pass it with eventual to see to the protection and eventual restoration of ‘new pages’ to the memory of future generations. ancient monuments as well as to initiate excavations Within the Comité d’instruction publique there in the hope of discovering more antiquities to replace were commissions, who were legally put in charge the lost ones. The act of 1802. signed by Cardinal as representatives of the Nation to act for the survey Pamphilj, emphasized the political, educational and and control of the monuments and their preservation, economic significance of the ancient works of art for and to guide local administrations in this task. Each the present state: “These precious remains from the citizen, nowever, had his or her moral responsibility times of Antiquity provide the city of Rome with an in this regard and had to give account to the Nation ornament which distinguishes it from all the other not only today but also for the future. (1) more famous cities of Europe”. (2) Heritage was conceived according to the widest The Heritage of Bellori and Winckelmann panorama of human intellect; here the architecture and arts of the past centuries and especially of the The concept of respecting the original material in middle ages, had clearly an important position. the process of restoration, had matured during the However, the strong links of the legislators and eighteenth century especially through the writings of professionals with the academic tradition of Bellori and Winckelmann, and it was reflected in the classicism were still dominant. Greek style was restoration and re-erection of the obelisks in Rome in fashionable, and Napoleon himself conceived his the time of Pius VI at the end of that century. During throne as an inheritance of Roman emperors; the the major restoration campaign of the monuments public buildings and monuments such as the Arc de of the Forum Romanum in the first decades of the Triomphe de l’Etoile or the obelisk of Place de la nineteenth century, the respect for the authenticity of the material consistency of the monuments was A History of Architectural Conservation Page 231 Figure 204. The Arena of Nîmes at the end of 18th cent. reconfirmed. Antonio Canova and Carlo Fea, both The Concept of ‘Restoration’ by Quatremère de disciples of Winckelmann, surveyed zealously the Quincy maintenance, care and consolidation of the ancient The restoration of archaeological monuments in monuments in order to preserve them in their Rome in this period provided examples which were minutest details. This was very clear, for example, in often referred to in later discussions on the policy of the consolidation of the eastern wall of the Colosseum conservation. A classic example in this regard has through a solid brick buttress in 1806, when the become the restoration of the Arch of Titus by Stern ancient stones were all scrupuloustly kept in place and Valadier, in 1818-21. Here, though completed in even with the displacements caused by earthquakes. its architectural form, the monuments allows for the After the second French occupation and especially visitor to distinguish the old from the new in a way the intervention of the French architects sent to Rome that there is no attempt to falsify the original. by Count Montalivet, the Minister of the Interior, in 1813, a somewhat different approach was applied. This example was also taken by Quatremère de The aim then was to emphasize the architectural Quincy, when he defined the word ‘restoration’ in his values or the ancient monuments, and make at least Dictionnaire in 1832. Restoration meant, according partial reconstructions when necessary to display them to the visitors as part of the historic urban Figure 205. The Arena of Nîmes in 1809. Measured drawing by architect Grangent showing mediaeval houses decor. The second consolidation of the Colosseum still standing as well as those already demolished by Valadier in 1822, was conceived according to these lines; the buttress, though still in brick, was built in imitation of the original architectural forms of the monuments. A parallel example - in the field of sculpture - was the refusal by Canova to touch the Elgin Marbles from the Parthenon due to his high respect of the original works of art. On the other hand, Thorvaldsen, who was in charge during the second restoration of the Colosseum, accepted to restore and complete the Aeginetan Marbles in Munich. These two approaches, in fact, mark the extremes, and thus help to define the various approaches to restoration in general. Page 232 J. Jokilehto to him, first: the work on a building, and second: a graphic illustration of a ruined monument in its original appearance. He emphasized the educational value of the restoration of monuments, but wanted to limit it to really significant ones. “What remains of their debris should only be restored with a view to conserving that which can offer models for art or precious references for the science of antiquity... “ (3) Referring further to the Arch of Titus, he indicated the guidelines according to which a classical monument, decorated with freezes and sculptures, Figure 206. La Maison Carrée, Nîmes (1980) should be restored: the approach to mediaeval structures in the nineteenth “it should suffice to rebuild the whole of the century. missing parts, whilst the details should be left aside, so that the spectateur cannot be confused 13.3 Restoration of Classical Monuments between the ancient work and the parts that have in France been rebuilt merely to complete the whole.” (4) During the years of the important restorations Recording and study of ancient monuments in Rome of Rome, work was done on classical monuments was already a long tradition; from the middle of the also in France. These restorations, mainly on the eighteenth century, the architectural competitions amphitheatre of Nîmes and the triumphal arch of of the Accademia di San Luca had continued to Orange, were carried out with reference to the laws keep alive this tradition. The work of the students established during the Revolution at the end of the of the French Academy in Rome also contributed eighteenth century. In 1807, the Conseil des Batiments to an increasingly accurate archaeological survey recommended that methods of consolidation should of ancient monuments in these years. Since 1787, be studied for the amphitheatre of Nîmes, so as to this study had become obligatory, and it included a “respect the character of the Roman buildings, not careful and detailed study of a classical monument, a to change anything of the state of the ruins as they recording of its present state, a study of ‘authorities’, are at present, and to strive to strengthen them for a i.e. approved texts and well known monuments of long period of time.” (6) The Roman remains were similar characteristics, as well as a graphic restoration to be preserved in their actual state - including the on paper. An early example of this sort of study was cracks; a similar approach as in the case of the first the work on the Arch of Titus by A.J.M. Guénépin in consolidation of Colosseum in 1806. The actual 1809. (5) This method of study came to influence also works were carried out during 1809-13, and consisted of the consolidation of some internal structures as Figure 207. The Triumphal Arch of Orange (1980) well as of the restoration of the arena. The mediaeval buildings, instead, that had been built in the arena area and around it, were demolished. (7) During 1807 through 1809, the triumphal arch of Orange was consolidated with full respect to the original structures; the lost parts were completed with plain masonry without any attempt to reconstruct. These works, carried out by the city of Orange, with the financial aid of the Government and the support of Count of Montalivet, were completed in 1824 by architect A-N.