ABSTRACTS
DEL CONVEGNO INTERNAZIONALE DI SCIENZA E BENI CULTURALI
-anno
2001-
“Lo
stucco – Cultura, tecnologia, conoscenza”
Le
tecniche ed i materiali dello stucco forte nelle fonti dal Rinascimento alla
modernità.
In
restoring correctly stucco-works, we have to know the development of its
technique from both the practical and
the theorical point of view.
Stucco
is an “yard-art”, not peculiar of shop, there fore treatises register partially
the rules and their variations; we have to verify the theorical development of
stucco-forte; here treatises and handbooks since XV cenntury to the beginning
XX century are connected, considering the stucco art in relation with the
workshop and the contemporary artistic formulations.
Key-word: theorical development, treatises,
yard-art, artistic formulations.
L. Famiglietti, C. Scioscia Santoro
La
tecnica dello stucco attraverso le fonti: tecnica d'esecuzione e
caratterizzazione chimico-fisica dei materiali costitutivi.
1.
Close examination of the plaster, considering the point view of the technique
and its historical evolution according to the variety of the constitutive
materials used. 2. Sperimentation on constitutive materials of the plaster:
calcite spatica, marble powder, travertino powder. Preparation of samples with
the above mentioned inerts in order to compare the different formulas held in
the sources and in the treatises (from Plinio and Vitruvio to Leon Battista
Alberti, Jacopo Sansovino, Giorgio Vasari, etc.). Observation on the addition
of organic substances always indicated by the sources. 3. Realization and
observation of thin sections. PLASTER - COSTITUTIVE MATERIALS – TREATISES –
ORGANIC SUBSTANCES – THIN SECTIONS.
Lo
stucco in architettura. Tra “simulazione” e “nascondimento”.
Materia plasmabile e duttile, lo stucco sembra essere stato utilizzato, nei secoli, per creare architetture pur sempre ”durevoli”. Si è fatto ricorso alle sue innumerevoli varianti tecnologiche agendo, sovente, sul difficile confine tra essere e apparire, tra struttura e pelle, tra sostanza e decorazione. ”Simulare” e insieme ”nascondere” appaiono spesso come, intenti, nascosti o palesi, voluti o subiti, di ogni impresa in cui lo stucco o gli stucchi hanno assunto un ruolo.non secondario. Lo stucco può "simulare” (ovvero ingannevolmente imitare) qualche cosa che non c’è: una pietra, un marmo finanche l’oro zecchino, una forma o uno spazio che non esistono). Lo stucco può anche “nascondere dissimulare” (ossia sovrapporsi semplicemente per rivestire o ingannevolmente celare) ciò che c’è: la struttura, ordinata e organicamente pensata, rovinata o casuale che sia, il sostegno, 1’armatura, ma anche un materiale pi6 povero inadatto. In questi modi, l’arte dello stucco può avere segnato la ricerca di un ”nuovo” assolutamente inedito, ma anche innumerevoli tentativi di creare il ”nuovo” sulle spoglie dell'”antico” o del ”vecchio”, come testimoniano 1e storie delle nostre città e d’innumerevoli monumenti. Spesso, poi, queste diverse possibilità coesistono, perseguite in modi consapevoli e con esiti più o meno convincenti ma, altre volte, esse appaiono piuttosto l’esito di più casuali insiemi eventi che è difficile ricostruire e comprendere. Innumerevoli possono essere state, nel corso della storia, le ragioni simili impieghi dello stucco. Innumerevoli sono anche le occasioni in cui, con i nostri interventi di ”restauro”, rischiamo di non capire tali motivazioni e di tradire, con le azioni tecniche, la ragion d’essere e la possibilità di sussistere di molte testimonianze di un’arte antica e niente affatto minore. La comunicazione propone dunque alcuni spunti di riflessione questi temi, nella convinzione che non si tratti di mere curiosità teoriche, ma di un contributo alla ricerca di modi intervento che non si traducano in semplici ”meraviglie” tecniche o in rischiose ”manipolazioni ” di ciò che è stato, non è più, né può illusoriamente tornare ad essere come fu.
Lo
stato dell'arte per la conoscenza: l'impiego dello stucco in Sardegna in
periodo barocco.
The
goal of this work is to relate the data, until now very few, of the stucco
finishing in the Sardinian baroque buildings: working techniques, materials and
origin of the workers, it mainly concerns the decorative finishing of religious
buildings (wall decotation), made of stucco of lime and plaster, and
architectonics altar, built with brick or heap of stone and plaster. There are
examples that range from spanish domination (lombard workers in the North area, local workers or from Maples and Rome in the
South area) to Piemontese domination (workers from North italy). It evaluate
some previous restoration, the level of the present knoledge, the inventory and
the degree of the widespread deterioration.
Key-word: Sardinian baroque, Lombard workers,
stucco, lime and plaster, architectonic altar.
Stucchi
a catalogo. La decorazione a stucco fra Otto- e Novecento, fra artigianato e industria.
The art
and technique of stucco decoration – with
its millenary tradition –
was not spared by the cultural and technical transformations that characterised
the period astride of the nineteenth and twentieth centuries. During those
years, in fact, and in particular during the early decades of the twentieth
century, also the stucco decoration sector experienced the industrialisation
process, which, for different aspects, even if not completely, affected and
influenced the whole building sector. The traditional, artisan production of
stucco architectoral decorations partly left way to an industrial type of
production, in which technological – process and product – organisational –
productive and non productive innovations marked a renewed season in stucco
work. Handbooks published between the nineteenth and twentieth century take up
traditional ”recipes” and contain the ”rules of good workmanship” for making
stucco decorations, but some technical literatore started to systematically
introduce specifications aod instructions concerning ”modern” treatments to
improve the quelity and durability of the works. But the true innovation –
which perhaps saved the sector, at a time that was certainly difficult for
decoration and ornamental work in general, and also partly marked the wane of
tradition and the decline of handcrafting – consisted in the distribution of
specific catalogues proposing ”modern and styled stucco decorations” produced
semi-industrially and industrially.
KEY-WORD: Stucco Decoration - artisan production - industrial production - catalogues.
Gli
stucchi tra '800 e '900 nella produzione del nuovo e nel restauro in Piemonte:
lo stucco degli apparati decorativi negli Stati Sardi tra neoclassicismo e
neogotico.
The
essay shows the stucco decoration stylistic transition in architecture in
Piedmont during the first half of XIX century, from the baroque and classicist
forms to the neo-classic and neo-gothic ones, with reference to the main works
of Bonsignore, Pelagi, Melano, Antonelli. The stucco decoration, that qualified
the Baroque Age thanks to the ”luganesi” artists production, becomes the basic
material for the achievement of the new ornamental “science”, connected to the
.Academy performance and then to the historical-stylistic theories, both in the
new production, and in restoration. Moreover, the essay constitutes a general
introduction frame for the following contributions, that show some meaningful
fulfilment of Eclectic Age between XIX and XX century too.
KeyWord: Stucco, architectural decoration, neo-classic, neo-gothic, Stati Sardi, Bonsignore, Palagi, Melano, Antonelli.
Stucchi
genovesi.
A partire da documenti d’archivio genovesi del XVI, XVII, e XVIII secolo si analizzano quegli aspetti della esecuzione degli stucchi su cui tali fonti forniscono informazioni. Tramite la ricerca del significato dei termini antichi e tramite l’interpretazione delle locuzioni impiegate si affrontano argomenti quali: le attrezzature impiegate, I materiali e le tecniche di esecuzione, le finiture superficiali, gli interventi di manutenzione, le finiture superficiali, gli interventi di manutenzione, le competenze e le qualifiche delle diverse maestranze impegnate nella esecuzione degli stucchi.
Key-word: documents, materials, technique,
history.
Stucchi
e cementi decorativi nelle architetture torinesi tra Ottocento e Novecento.
Turin
between the 1800’s and the 1900’s lived a happy period of innovation and
technical experimentation. The taste for the innovation and the confidence in
the progress has left remarkable testimonies in the architectures of those
years thanks to uses of technical new and to the invention of plastic different
pastes composition for the urchitectonic elements and to their approach to
other materials like the iron, the glass and the lateritious. The contribution
wants to evidence the specificities of these architectures and great technical
qualities of the local workers buildings and craftsmen instructed to the
technical schools laborers of that time. The contribution makes use of the
reading of the technical review of the age and the handbook, like turinese
Musso and Copperi in order to evidence the different types of present pastes on
the market and the various licences. The knowledge of those materials and those
architectures today is necessary for a correct maintenance line.
Key Words: Eclectic and Art Nouveau
architectures, innovation, experimentation, new materials and techniques,
maintenance
Lo
stucco come materiale di sostituzione. La tecnica dei "falsi marmi" nell'architettura
minore della provincia Piemontese nel secolo XVIII.
Eighteenth
century Piedmontese architecture saw the birth of a new decorative technique,
that of “faux marble”, which appeared
in church and palace interiors and drew on a careful reassessment of materials
and techniques, those used in decorating altars in particular. This new
technique, which was widely used in the adornment of palaces, townhouses and
religious buildings, was developed in parallel with quadraturismo, or "trompe l'œil" architectural painting.
It is thus not unusual to find scenes depicting architectural fantasies by
artists working in this genre, framed by imitation marbles and fittings
decorated with exquisite taste by simple local craftsmen, often hailing from
the Alpine areas.
Piedmontese
culture combines and assimilates constructional, architectural and decorative
techniques originating with the schools of Como, Rome and Bologna to create
works using local clays, limes, plasters, and so forth, but which are often
guided by master craftsmen from beyond the Alps. The result is a species of
connivance between international and homegrown values.
This
contribution, through a careful analysis of stucco techniques as used in “faux marble”, investigates the process
– which recurs frequently in the history of art and decoration – whereby
replacement materials originally employed in lieu of others which are more
valuable or difficult to procure often end by being more highly regarded than
the materials they were intended to imitate.
KEYWORDS: Faux marble, Scientific
documentation, Technologies, Materials,
Analysis, Decorative Equipment.
The stucco works of the old palaces in
Bucharest.
Between
XVIIth and XVIIIth Centuries and even the XIXth one, the main nobility houses
and palaces in Bucharest were decorated with stucco works native of East side
(especially Turkey and Persia). Its mixture with local elements of arohitecture
established the typical architectural style of epoch, named the Brancoveanu
style, after the name of Prince Constantin Brancoveanu (1688-1714) who built
the main palaces of that period. Buring the modern epoch it is possible to
notice a renouncement to the Romanian traditional style for the new European
trends: the Classicism, the Romanticism with Gothic influences and the Eclectic
style, with most representative examples.
A
remarcable contribution to the quality of stucco works was ensured by the
important Italian emigration, between the end of of the XIXth and the beginning
of the XXth Centuries.
The
repair and restoration works made during the latest decades gave us the
possibility to collect interesting data concerning the working techniques,
depending on the historical period and also the stucco works components. The
most interesting data were collected from the most damaged buildings by the
strong earthquake in March 1977, like the Cotroceni Palace, or from the palaces
heavily affected by fire and weapons during the events in December 1989, as the
King Charles Ist Foundation.
KEY-WORDS: diversity of styles, work
technique, stucco components, historical proceedings.
The Early Islamic stucco techniques and the
Parto-Sassanian tradition. Continuity and Change.
The
aim of this paper is to present an outline of the main technical and formal
characteristics of Sassanian and Umayyad decorated stucco. Special attention is
paid to the transfer of technical knowledge and formal repertoires from the
former to the latter, as well as the influence of Roman-Byzantine shapes and
techniques on Early Islamic carved stucco.
A
summary of the structural use of gypsum mortar in the fabrication of pre-cast
structural and decorative elements, and masonry in general is provided as well.
Keywords: Sassanian & Umayyad
decorated stucco, prefabricated structural elements, gypsum mortar.
The Umayyad carved stucco from Amman Citadel
congregational mosque.
Whithin
the frame of excavation and restoration works carried out at Amman Citadel (1)
since 1995 under the Author's direction, hereafter are presented and analyzed
the relevant remains of carved stucco from the Umayyad congregational mosque at
Amman Citadel. The structure (together with the souq square) was
discovered by the Author as a result of the research conducted. These
structures, together with the palace vestibule (or audience hall), define the
centre of the Umayyad medina at Amman Citadel (fig.1). Further work and related
research conducted to the discovery of the stucco fragments and provided new
information regarding the internal elevations and general appearance of the
building. Here are presented the results of this further research on the carved
stucco (For more information about the mosque itself see Arce, 2000in press).
Key
words: Amman
Citadel, Ummayyad mosque, carved stucco.
Gli
stucchi di Giovan Battista Barberini nella sacrestia del collegio dei Gesuiti a
Mantova.
Giovan
Battista Barberini, a stucco maker born in Valle Intelvi, made the stucco
decorations (cornices, reliefs, statues, ect.) in the Sacrestia of Collegio dei
Gesuiti (Mantova) in the years 1688-89. the Sacrestia was ravaged by fire in
1852 and used as Archivio since 1883. The decorations were painted by limne
wash and the whole space was occuped by scaffolds. A new plan of conservation
involved the scientific study of mortars and the restoration of stuccoes. The
decoration was made by two coats of lime mortar with sandy aggregate (support)
and calcite crystals aggregate (finishing). The restoration involved the
removal of the lime wash, the removal of soluble salts, the consolidation of
decayed parts, the sealing of cracks.
Key-words: stucco, calcite crystal,
conservation, Barberini G.B.
Proposta
di un modello di comportamento di stucchi a base di calce magnesiaca.
Analyses
and investigations over magnesian limes in situ have been known since 800’.
Modern
studies have underlined the connections between magnesian limes in water and
dried limes.
The
present work shows the lab test results and the in situ products for glazed
stuccoes, plasters and mortars: in some other already published papers it has been demonstrated the existence of
magnesium hydroxides and carbonates (not always crystalline).
It is
then proposed a new reading of the experimental data shown in an other
perspective, in different thermodynamical conditions.
On the
conclusion, they are defined the possible parameters having influence on new
formations carbonation.
KEY-WORDS: magnesian limes, magnesium
hydrocarbonates, stuccoes.
V. Borasi, G. Peagno, P. Piantanida
Appunti
per la caratterizzazione degli stucchi della basilica di San Gaudenzio in
Novara.
The aim
of the present work is a contribution to the knowledge of the stucco in St.
Gaudenzio basilica in Novara (Italy): its ornamentation in stucco was made
trough four centuries and so it is representative of the modifications of the
matter named “stucco” in different ages and by distinct craftsmen. The characterisation of the various stucco
matters is proposed here through a qualitative method that can be useful in
preliminary design of the restorations.
The large number of historical instruments (countershapes, counterfoils
and so on) still owned by the ‘Fabbrica Lapidea’ make possible also an
historically coherent renewal of the older craftsmanship.
KEY-WORD: St. Gaudenzio basilica (Novara, Italy); restorations; physical and
chemical analysis on stucco; examples of stucco in Northern Italy between 16th
and 18th century.
L. Accurti, G. Baronio, G.Chiari, M. Giordani, T. Mannoni, M. Nicola
Arte
del costruire e tecniche decorative tradizionali: approfondimenti su tecnologie
di produzione, lavorazione e impiego del gesso per componenti edilizie e
manufatti ornamentali, in area Piemontese.
The present
reasearch takes origin in noticing that, in most of ancient and recent
treatises on buildin practive, using gypsum plasters for wall-plasters and
ornamental stuccoes is considered a king of degenerating trend of the best
building techniques concerning the traditional roman “stucco duro”, made of
lime and marble powder. On the opposite, the wide presence in Italy, and
abroad, tough concetrated in specified areas, of gypsum made manufacts,
demostrating with their good consistence their endurance to aging agents and
strenght, seems to contraddict the previous idea. The aim to nalyse an idoneus
range of manufacts and materials, on order to better define and specify the
ancient gypsum plaster properties and behaviour, dealing with external agents
that the are traditionally considered to be causes of gypsum deterioration and
find out the reasons for the extremely good performance of this material in
most of the manufacts tested, in spite of what’s written in treatises. The
studies have pointed out the parameters mainly influencing the qualities of
gypsum plasters, and the technical development of extractive, productive and
using methods.
Key-words:
Gypsum, Gypsum plasters, History of building material in Piemonte, stuccoes.
Il
gruppo di sculture in malta di cocciopesto nella lunetta del portale
meridionale del Duomo di Arezzo.
The
group, located on the tympanum of the portal of the south side of Arezzo’s
Cathedral, was made in the course of the second quarter of the XIV century, and
is composed of five figures: three are made in full relief (the Madonna lactans
sitting on the throne, Saint Donatus and Pope Gregorius X) and the other two,
in the background, are shaped in high relief (two angels hangings-stand). With the aid of mineralogical and
petrographycal analyses the material components of the sculptures is result to
be “cocciopesto” (a mixture of lime, sand and brick powdered).
These
sculptures are modelled on a structure of bricks, lime and elements of
metal. In Italy there are not other
sculptures of this dimension made in “cocciopesto” in XIV century.
KEY-WORDS: sculpture, stucco, cocciopesto.
Composizione
e meccanismi di degrado delle sculture in stucco di Giacomo Serpotta a Palermo.
Samples
from stucco-works realized in Palermo from the sculptor Giacomo Serpotta
in the S.S. Rosario oratory, in the church of S. Francesco d'Assisi, in
the Vergine di Guadalupe chapel, (church of S. Maria degli
Angeli) and in the Carminello oratory, were subjected to mineralogical-petrographic
observations (OM, XRD, SEM/EDS) as well as to quantitative chemical analysis
relatively to any additive of organic nature.
The
results underline a substantial identity between the different stucco-works
object of study with respect of the compositional nature of the inorganic
constituents (sandy aggregate and binder) and also for organic additives, even
if some differences in the Carminello oratory samples subsist. This put
forward an analytical confirm the hypothesis of existence of a real “recipe”.
The
aggregate of the stucco’s internal layer resulted to be very similar in terms
of composition to the mortars and plaster of the Palermo’s palaces of the same
period. The same can be said as concern the presence of magnesium-rich lime in
the binder. The mixture of lime mortar and gypsum in the internal layer of the
stucco appears to get a compromise between a condition of good workability
(that is plasticity), sufficient to avoid deformations during the hardening
phase and for realization of a durable finished product. For what concerns the
organic additives used by Giacomo Serpotta in the internal layer of his
stucco-works, they have been found to contain very low quantities of lipids and
sugars and, moreover, there are not traces of proteic substances.
In the
finishing layer, the relative proportions between mortar, powder of marble and
gypsum resulted variable. In this external level have been found considerable
quantity of polar lipids and sugars, but, once more, there are not proteins.
The mass spectrometer analysis of the lipids confirms the presence of fat acids
like the stearic acid , which could also be under form of soap of calcium
and/or magnesium, in consideration of the abundance of such cations in the
stucco. This last result is a confirmation of what is said in the most
important Sicilian architectural/historic sources of the same period.
The
most serious phenomenon of degrade of the works of art of Giacomo Serpotta is
tied up to the presence of efflorescences composed of magnesium sulfates,
clearly related to the use of magnesium-rich lime as binder in both the
stucco’s layers.
Keywords: cultural heritage / stucco / mineralogy / organic chemistry / baroque/ Sicily / Palermo / Giacomo Serpotta
Le
ricette degli stucchi in Italia settentrionale dal XV al XX Secolo. Indagini
scientifiche sui materiali.
Different
Kids of stuccoes were analysed in order to know the mineralogical composition
of the binder and the aggregate, the grain size of the aggregate clasts, the
percentage of the aggregate. The tickness of the finishing coat was also
reported. Stuccoes come from Lombardy and Venetia buildings, starting from XV
century; they are related to façade decoration and to internal decoration by
moulding or by modeling. The data collected are useful for the comparison with
the stucco recipes reported by ancient authors.
Key-words: stucco, lime, gypsum, sand, calcite
crystal, moulding, modelling.
Le “ricette” degli stucchi in Italia
settentrionale dal XV al XX secolo. Il rapporto tra le indicazioni contenute
nella letteratura architettonica con le indagini da laboratorio.
This study makes a comparison between the
empirical data taken out of treatises and manuals and the scientific data
obtained by laboratory researches. The appendix report cards collect the data
concerning the sources (treatises, manuals, studies) treating about the
“ingredients” which compose stucco.
F. Vona, G. Cavallo, V. Cracolici, F. Rocco
La volta in stucco della chiesa dei Santi
Medici in Conversano.
The vaulted roof of the Santi Medici church in
Conversano (Bari) is composed by both white and gilded stucco decorations,
which contain eleven panels with frescoes that are entirely or in part attributable
to the Neapolitan painter Paolo Finoglio. The high quality of stuccoes, that
have been carried out between 1630 and 1550, leads to hypotize that the project
involved for a great part Cosimo Fanzago. The restoration, conducted by
Soprintendenza della Puglia since 1997, is still in progress in the zone of the
chapels and gave the oportunity for a deeper study of the monument. A
photogrammetric plotting has been used as the base for creating thematic maps
about damages and conservative operations and has given also a support for the
study of the techniques nnd for minero- petrographic analysis. All the
informations are going to be recorded in a database, created on purpose. This
research has already demonstrated the high structural and ideological complexity
of the decoration,
Key words: Conversano, Barocco, stucco, gilded stuccoes,
moulding, mortar.
La Muqarnas della Cuba di Palermo: opere di
conservazione e disinfestazione dello stucco del XII secolo.
In
Cuba’s Palace in Palermo (XII century), is situated the unique sicilian
testimony of muqarnas decorated with
a bass-rilief of stucco, reproducing floral elements. The muqarnas is a decorative artifice of islamic inspiration,
constituted by vaulted elements superimposed and juted out in succession to
radius angular walls with curved surfaces. To preserve the muqarnas’s stucco, attacked by insects and exposed to decay caused
by carelessness, has been executed a very complex operation, preceded with a
long archivistic, chemical-phisycal and entomological research.
Keywords:
Stucco, biotederioration, disinfection, strengthening.
Tre decorazioni in stucco in vani di finestra
del primo medioevo a Disentis.
The excavation of an early and high medieval
group of monastery churches in Disentis (Switzerland) revealed about 12’000
polychrome fragments of wall paintings combined with stucco. The material is a
fat chalk mortar. The objects belong to the decoration of a particular church
the dating of which being still unclear. Since three years the findings are
investigated by thoroughly assembling the fragments, and by interpreting and
reconstructing the architectural elements and context. This demands new methods
which had to be introduced and developed. However, coherent results are
feasible. This is demonstrated by the example of the three windowjamb stuccoes.
They form pairs of spiral lined channeled columns - two small and a larger one
- which are covered by accordingly dimensioned ornamental arches. As
architectural elements and relative to space they form apsidioles. Their
orthogonally joined intrados in front of the flat wall are stylistically
regarded as a stage in the development of the Retian three-apses hall. Our
attempt to the three dimensional reconstitution is essential to visualize the
architectonic elements, and it is primarily a method to understand the building
and material technology.
KEY-WORD: Early medieval stucco,
Reconstruction methodology, Material technology
Lo stucco e le tecniche di imitazione.
It exists a culture, which had its climax in
the VIII century but remained during the IX century too, about the imitation
techniques: putty becomes instrument of artifice to imitate other materials as
rocks, marble, wood. In Sicily these techniques achieved their perfection when
churches were decorated with marmi
mischi: the poor religious institutions that could not buy costly marbles,
invented the multicolor putties for imitated the coloured marbles. From
churches architecture this technique was used for civil buildings too. Even if
these techniques were born for economic reasons, they become in time an
artistic manifestation. It is the technique of «marmi fatti coll’Arte», the art
of doig artificial marbles by putty. This exercise chips to define the fiction culture.
KEY-WORD: imitation techniques, imitation marbles, fiction culture, Sicily,
P. Baglioni, C. Cesari, L. Dei, R. Giorni, R. Grassi, M. Lorenzetti, M. Mauro, D. Pinzani, P. Ruffo, G. Schonhaut
Stucco forte veneziano con ‘tecniche della
tradizione’: proprietà chimico-fisiche, degrado in ambiente lagunare e
conservazione mediante nanofasi cristalline di Ca(OH)2.
In the frame of a multidisciplinary research
project the Venice European Centre for the Trades and Professions of the
Conservation of Architectural Heritage supplied an interesting set of samples
of ’stucco forte veneziano’ constituting some relief decorations made by the
students of the Centre according to the traditional techniques of the local
trades. The scientific co-operation among this Centre, a class of the
three-years course for chemists of the Industrial Technical Institute ”Leonardo
da Vinci” in Florence, the University Consortium for the Study of Large
Interface Systems at the Chemistry Department of the University of Florence,
and a restorer, teacher of stucco restoration at the above mentioned Centre,
allowed to deeply study the physicochemical properties of these
artistic/architectonic pieces. The first aim of this study was the stuccoes characterisation
in relationship to the used materials and to their composition. Moreover, we
investigated also the differential degradation processes occurred on these
stuccoes in the lagoon environment of the San Servolo island where the European
Centre is located. Finally, stable n-propyl alcohol dispersions of calcium
hydroxide - lime - synthesised in the form of nanosized crystals were tested as
possible consolidant material with complete physicochemical compatibility with
the original materials of the stuccoes. The physicochemical characterisation
was carried out by means of Fourier Transform In&ared (FTIR) Spectroscopy,
Scanning Electron Microscopy with Energy Dispersive X-rays Spectroscopy
(SEM-EDX), Dietrich-Friihling calcimetry.
Keywords: Stucco, Traditional Techniques, Degradation, Conservation, Nanosized Calcium Hydroxide
Il recupero degli sgraffiti a Barcellona.
The "sgraffiti" constitute a special
case of "stucco". Their basic material is the lime
"grassello" and their technology consists in laying
"intonaci" of different colours to form, by cutting and emptying
these ones, bass-relief decorations. The multidisciplinary team that I direct,
presented to the City Council of Barcelona two programs for the revaluation a
thousand façades with sgraffiti. These proposals have been supported by the
European Commission and, since 1996, thanks to them, more than one hundred of
buildings have been restored. However, the most important fact has been the
documentation, characterization and the revaluation of a historical patrimony
considered minor up to the moment. We want, with this report, to expose and
debate about the possibility to conciliate the "ripristino urbano"
with a scientific methodology of restoration. The study has this phases: census
of all buildings with "sgraffiti", historical-artistic study,
infographic documentation about the iconography; chromatic, petrography and
stratigraphyc analysis of external renderings, previous reports to the proyect
and control of the interventions, programs of public diffusion and specific
courses of "sgraffiti" conservation. We will structure this
communication in these parts: context, technique and history, programs of
performance, preliminary investigations and examples of intervention.
Keywords: sgraffiti,graffiti, lime,morters, colours, layers, external renderings, Barcelona.
P. Portoghesi, B. Maschio, A. Princivalle, M. Scannerini
Palazzo Bortolan a Treviso: le decorazioni
neoclassiche a stucco.
In the context of the extensive study that
concerns the whole building unit of ex- Santa Maria dei Battuti. Hospital, the
interior decorations of one of the buildings, Bortolan Palace, constitute an
element of special interest, What remains of the decorations is situated in
five rooms that alternate stuccoes, ”marmorini” (marbled paint) and wall
paintings. Special attention has been addressed to stucco works in order to
define both the technique of execution and the materials used. The visual
exanimation of the works has been supported by chemical tests and studies on
sections analysed under microscope. It emerged that in the same years there was
the contemporaneous use of technologies based on lime and also on chalk, often
combined by the hands themselves.
Key-words:
stucco, lime, chalk, neo-classic
L. Accurti, M. Giordani, T. Mannoni, R. Bellini, GL. Nicola, G. Baronio
Soffitti ornamentali in gesso nel basso
Monferrato: caratterizzazione chimico-fisica, tecnologie realizzative,
problematiche di conservazione e restauro.
In Piemonte, where it’s not difficult to find
gypsum beds made up of numerous layers, this material has been used as a
building material since very ancient times, on its own or mixed up with other
materials. Ancient walls, brick vaulted ceilings with gypsum plaster as a
binder,’flat ceilings, externa1 and internal wall-plasters, window-sills,
fireplaces, stuccoes, still well doing, witness with their good condition the
high technological properties of the present material, dealing with endurance
to aging agents and strenght.
Among all these manufacts, flat structural
ceilings, made up with wood beams and thick gypsum plaster panels (5-8 cm) in
between, made up in site with the temporary placing, between two consecutive
beams, of a decorated wood board, and the casting of gypsum plaster above it,
seem to be extremely interesting and unusual, since they satisfy both -a
structural and an ornameatal fimction. Aim of the present investigation is to
define the technological properties of these manufacts, and the reasons of
their unusual strength and endurance, through a systematical analytical
session, purposely configurated, and contemporary, try to put into practice
again the traditional way of building them and find some suggestions for
restoration.
KEY WORDS
Casting building techniques, Gypsum, Gypsum plasters, Ornamental ceilings,
Piemonte, Stuccoes, Restoration,of gypsum plasters.
Restauro delle decorazioni barocche a stucco
in Piemonte: colorazioni e dorature originali, ridipinture e rifacimenti
successivi.
Special cases about baroque decorations in the
Piedmont area are presented where documentation of the work of artists and
stucco-workers was found, in order to compare the present aspect of the
monuments with their original state.
In particular, an effort has been made to make
a detailed study on restoration of ”Luganesi chapel” decorations in the church
of St. Francesco d’Assisi in Torino, where traditionally, the workers corning
from Lugano and the surrounding valleys had their patron and representative.
These groups of artists and workers were active in the Piedmont area especially
working for the king’s residences and for many churches and palaces, using an
important technique in stucco decoration with frescoes, stone and paintings.
As a conclusion, a method of intervenction has
been suggested in order to establish comprehension of the whole architecture
with its changes and additions over time before taking any decision about
restoration involving dismantling or loss to any part.
Key-words:
Documentation, Luganesi, polychromy, stucco-work, methods.
S. Cancellieri, R.G. Cipollone, S. Lorusso, C. Fiori, G. Lanterna
Caratterizzazione e valutazione dello stato di
conservazione degli stucchi in Santa Maria in Gradi (Viterbo).
la presente nota rappresenta il risultato, meditato e realizzato al momento dell’incontro e della corresponsione di alcune competenze scientifiche nell’ambito dello studio, della sperimentazione e del restauro del complesso monumentale di Santa Maria in Gradi.
Per una caratterizzazione dei cementi
decorativi Liberty.
The aim of the article is to revisit and
connote the ornamental cement from Liberty architecture as a significant
phenomenon, characterised by its own inherent values, technical execution and
formal results. Interpretative hypotheses on the relationship between formal
meaning, artistic ambition and production techniques are formulated.
Considerations as to the reason for the enormous success and acknowledgement of
a specific Liberty modelled concrete, even within consolidated traditions of
decorated plaster or artificial stone are looked at. Such acknowledgement draws
further confirmation from the results (far from conclusive) of sampling and
analyses of decorated concrete from both Liberty and later eras.
KEY-WORDS:Liberty,
Concrete, Artificial stone, Ornamental cement.
"L'arte di fare" lo stucco in area
lombarda tra XVI e XIX sec.
ABSTRACT: The study of treatises and manuals
from XVI e XIX sec., which are kwown in Lombardia, is very complex and
difficulty. Saying what is stucco is
impossible because the name stucco means many different things. Sometimes
stucco is a product with lime and powder of marble or a product with gypsum and
additive or a product with both elements: gypsum and lime. It analyzes the
behaviour of different elements of stucco like storic literary compositions
speak about. Lime in Lombardia has specific characteristics and sometimes words
has a different meaning in a specific area. The research of additive to improve
the behaviour of materials is an important subject especially for stucco made
with gypsum. It tries to explain why, when and how in the past the builders
used some specific things. The technique of doing stucco is studied with a relation
to modern technical litterature.
KEY-WORD:
Stucco, Lombardia, Treatise, Manual, Lime, Gypsum, Additive
Gli stucchi tra '800 e '900 nella produzione
del nuovo e nel restauro in Piemonte: gli apparati decorativi di Crescentino
Caselli.
Crescentino Caselli (1849-1932), pupil of
Alessandro Antonelli at Accademia Albertina of Torino, worked industriously
both in the field of new building and in the restoration one. Usually his
architecture was marked from granite or marble external columns and lateritious
covered by stucco (polished or not) internal columns, generally adorned to
imitate stone materials placed out of the building. Walls and vaults, moreover,
were covered by monochrome stucco-treated plaster, to underline the extreme
rationality of the construction. Regularly he used stucco for capital and
moulding ornamentations and for plastic and figurative elements too. Sometimes
they were white, but more often coloured: so polychromy was used as a way to
define further on the building, as an architectural element. These decorations
were re-proposed on the outside with baked clay ornamental elements coming from
Castellamonte. The account, trough the analysis of sources and found data, of
stucco processing techniques and’ components, and of his actual conditions of
conservation, purposes to provide a meaningful example of application of this
type of decoration between the end of the XIX century and the beginning of the
XX one, where each component has a specific function, and nothing is used that
has only aesthetic peculiarity.
KEY-WORD
Caselli, stucco, plaster, decoration, polychromy, degradation, conservation,
reintegration.
Gli stucchi tra '800 e '900 nella produzione
del nuovo e nel restauro in Piemonte: gli apparati decorativi di Alfredo
D'Andrade.
The essay develops an historical and critical
approach involving a character of Italian arts during the XIX and XX centuries:
Alfredo d’Andrade, painter and restorer. The sources for this research are to
be searched in the Fondo d’Andrade in Galleria Civica d’Arte Moderna e
Contemporanea of Turin. The critical remark must be made comparing the
information coming from the documents with the existing architectures. The
architect studied the plastic art of the Renaissance and baroque period in
Genoa for his course in Disegno
ornamentale applicato all ’industria at Genoa’s Accademy of Arts since
1869. His following interventions concern projects of buildings restoration in
Genoa and in the Piedmont area. For San Lorenzo church in Genoa he invented,
with Ludovico Pogliaghi, a new plastic decoration in stucco, for the nave and
aisle ceilings to perfect the Galeazzo Alessi’s project. From 1873 to 1877, in
Rivara, near Turin, d’Andrade restored the ”new castle” in rococo style using
reinforced concrete decorations.
KEY-WORD
Chalk, conservation, d’Andrade, plaster, plastic art, reintegration,
restoration, stucco.
Gli stucchi tra '800 e '900 nella produzione
del nuovo e nel restauro in Piemonte: gli apparati decorativi di Giovanni
Vacchetta.
Giovanni Vacchetta
(Cuneo 1863 - Benevagienna 1940) cooperated with Alfredo d’Andrade, Cesare
Bertea, Carlo Nigra e Riccardo Brayda to the development of arts, monuments and
decorative applications in Piemonte (North – West, Italy). He
used to draw every fine art examples and monuments seen during his cultural
journeys, like all protagonists of Eclecticism.
He was an important drawing master in many
secondary schools in Piemonte at the beginning of 20th century: Accademia Albertina, Museo Industriale
Italiano, Scuola di Applicazione per Ingegneri and Regio Politecnico in
Torino.
He used to collect every sketche and notes in lots of dossier, divided by subjects, that now form the Vacchetta archives. Dossiers about stuccos are: Stucco, dorature, lacche, tecnica, Materiali, e le camicie Decorazioni sec. XVII, Pareti esterne a stucco ’600 – Decorazioni XVII, Stucco Luigi XIV, Stucco Luigi XV, Stucco Luigi XVI.
Everything in his dossiers can today be a good
help for monument restorers. A significant example are the stucco drawings of
the Castello del Valentino in Torino, recently restored.
KEY-WORD
Stucco, plaster, fine arts, monuments, secondary education, techniques.
Gli stucchi tra '800 e '900 nella produzione
del nuovo e nel restauro in Piemonte: prescrizioni, trattati e cataloghi.
The usage of stucco in architecture has very
far origins. Vitruvio wrote the first recipes to suggest how to make it in the
best way. After him, many architects and scholars (Quatremere de Quincy,
Appiani, Rondelet) proposed their own ones, but the main ingredients remained
more or less the same: lime, marble powder, plaster and thin sand. In addition
to treaties, many indications about the way of realising mouldings come from the
contracts as it is in the documents about the Borgo Nuovo Church in Turin and
from the experience of workshops where craftsmen work and pass their knowledge
to young people, even trough handwritings containing the prescriptions of the
traditional way of operating.
At the beginning of the Twentieth Century,
great changes involve the industrial sector which lead to serial production and
to the publication of catalogues containing the images of the stucco
decorations available.
KEY-WORD Stucco, treatises, mouldings, San
Massimo church, workshop, catalogues, serial production
B. Adembri, S. Gizzi, C. Giovannone
Problemi storici e di conservazione degli
stucchi romani del cosiddetto "tempio della Sibilla" sull'Acropoli di
Tivoli.
n.d.
Lo stucco nella trattatistica: varianti
tecniche e modalità operative nell'Italia dell'ottocento
Historical texts about building art, from
Vitruvio to manuals of the end of the XIX century, define stucco as cleaner and
more elegant encrusts than what is ordinary plasters. Analyzing the treatises,
the communication tries to understand the meaning of stucco, the methodology to
realize these plastique ornaments utilized as outside as inside the buidings
with various techniques and materials. Besides the research studies in depth
all the instruments used for the profile, to give a stiffer skeleton, to
realize decorative motives on yard.
From these texts a lot of technical changes
adupted until the end of the XIX century stands out, when the progressive loss
of specialized labourers and the felt requirements of faster executions
determined a radical transformation in the operative pratique.
KEY WORDS:
traditional techniques, treatise writing, plaster, stucco.
Gli stucchi in Santa Maria della Colonna. Creazione,
manutenzione, distruzione e restauro di un apparato scenografico.
To the end of the 1700’s, the Chapter decides
to give to the church a new image, in accordance with the time, and on
indication of the Domenico Carella painter, he assignes the stuccoing of the
whole construction to the masters Giovanni Pepe and Domenico Cannone. But in
the course of two years of working, the intervention involves all the fabric,
almost decupling the costs. Reach such objective result constant the
maintenance through the dusting and the bleaching of the church until to the
manifacture of a ”machine” in 1836.
In 1963 during a restoration, at the research
of the primitive Romanesque, it is decided to remove the stucco, save those of
the high side of the church only why they are superpose to the paraments in
tuff and not in stone, they come, however rendered all white in the conviction
who that one was the original color, while the accounts have revealed the
buying of the earths and the glazes.
The fall of the angel’s head from the dome, in
1996, reopens the problem of the consolidation of the stucco, rediscover their
color. The interventions proceed to small steps and today it is being proceeded
whit an intervention of recovery of the Cappellone del Santissimo. After the
detachment of the canvas of the Last Supper, already the first surprise. Under
a glory of a angels in plaster, in relief – obtain in the old apse – for the
solemn occasions of the exhibition of the Holy Sacrament, a simple and very
assembled ”machine”, is enough to remove or put the canvas.
KEY-WORD:
baroque, romanesque, church, stucco, maintenance
La composizione degli stucchi a Genova tra
Cinquecento e Novecento.
The “Genoa Old City Cultural Map”, made inside
European Program "Life", referred at 2.344 building, and the analysis
of many mortars coming from front of some of the most important building of the
town, made for restoring, are the foundation of this article. The 13 % of about
5000 fronts exhibits, on one side at least, decorations like frames and
plasters. They are buildings of the period between XVI and XIX century when
were used mortars made of lime and sand, with the progressive substitution of
magnesian lime with pure lime and the complete elimination of the chalk.
It's evident that there is a discordance
between practic information from pre-industrial age, based of empiric methods,
and technical information from post-industrial age, based of analytical
observations.
KEY-WORD:
mortar, building, plaster, lime.
Le decorazioni in stucco delle facciate
genovesi: tecniche di realizzazione, fenomeni di degrado e problemi di
conservazione.
Genoa ’s facet is characterized by the presence
of many facades which are more or less strongly relief- decorated. Actually, we
get from almost all-round elements to high-relief and bas-relief, realized with
moulded plaster. The usage of this technique established itself during XVIth
century, when the town decided to give herself a new image, in accordance with the
great economic and politic changes around fifteen- thirties. Plaster, so more
versatile than stone material, was fit to decoration which could camouflage
profiles discontimcity and facades irregularity, due to unification and melting
of pre-existing buildings. In many
occasions plaster decoration, combined to the painted one, to stone
facing or to encrustment made of
different materials, concurs to gain illusionistic solutions with a
peculiar suggestion.
Plaster elements whose function is to regularize
facades are mostly string-courses, tympanums, window lahels and cornices – all
realized in lirne “armed” with digerent materials and elements. The decay often
occurring to these constructive and “ornamental” elements is generally due to
weathering and pollution, but even to
a lack of upkeep, to unplanned fixtures upgrading and, not least, to
“questionable” repairs. Intervention on plaster handmade elements surely puts
technical-practical problems, but also theorical- methodological questions, up
unitil now just incompletely faced.
In this contribution are shown tlte first
results of a census of Genoese outdoor elements made in moulded mortar.
Moreover, the aim is to suggest some hints of
reflections, solicited by concrete examples and by ’practices currently, and
ofien unsucccessfully, adopted to restore such handmade elements, just to think over the reasons for an intervention and the ways to
concretely operate on plasters.
Key-words
Genoa, plaster, decay, restoration
“Stucchi” neogotici col Portland bianco.
L’oratorio Pesenti in Montecchio (Alzano Lombardo).
The essay concerns the application of white
cement as a decorative material (artificial stone) in the small “neo-gothic”
chapel near Carlo Pesenti’s contry-house (in Alzano Lombardo), one of the most
important entrepreneur of hydraulic lime and cements in Italy between the XIX°
and the XX° Century: the relationship among is architectural language, the
study of its materials (based on the literature and on the analysis carried out
by Centro “Gino Bozza”), the construction technology of its ornamental surface,
its state of deterioration.
key-words: cement – Portland - artificial stone – neo-gothic – Pesenti – Alzano Lombardo.
C. Pastor, R. Ricci, S. Boj, G. Causa
Gli stucchi di Palazzo Spinola-Pessagno a
Genova.
Un caso peculiare del rapporto fra stucco e
ambiente. Analisi dei componenti e dei processi di trasformazione.
Spinola Pessagno Palace was built in XVI
century in the old city of Genoa, Luccoli ward. The plasters on the front of
the palace are very interesting on account of their architectural composition,
their restoring in XIX century, their processes of trasformation and natural
demage, exspecially comparing it with others buildings of the same age and similars,
like Podestà Palace in Garibaldi Street and Imperial Palace in Campetto.
Chemical and physical analysis were done to
know the processes of natural demage. At last there is a reflection about the
restoring.
Key-words: Genoa, restoring, natural demage, Spinola Pessagno palace.
F. Ferla, L. Giorgi, G. Montana
Gli stucchi di Giacomo Serpotta nella Cappella
della Vergine di Guadalupe (chiesa di Santa Maria degli Angeli, Palermo):
rilievo ed analisi mineralogico-petrografiche.
Object of this study are the decorations in
plaster realized from Giacomo Serpotta in the 1706 in Chapel of the Vergine di
Guadalupe, situated in the Church of Santa Maria degli Angeli (note also like
Gancia) in Palermo.
The relief was carried out using grates on
looms in wood that, combined to photographic assemblages performed on
scaffoldings and easels, have allowed a reconstruction as more possible
faithful of the real volumes. The punctual relief of all the elements has been
made functional to the following virtual restitution, realized with software of
vectorial graphics, with the aim of appraising the iconographic-architectural
aspects and of furnishing a precise indication of the points of sampling as
well as of the zones interest from the phenomena of deterioration.
Mineralogical-petrographic analyses were
realized by means of X-ray diffractometry (XRD), polarising microscopy (thin cross sections) and electron scanning
microscopy (SEM/EDS). They have allowed to establish the startigraphic
succession in the plasters object of the study and define the compositions of
the sandy aggregate and of the binder, in the internal mortar layer as well as
in the external finishing layer. Through the same techniques, besides, has been
possible to characterize the products of deterioration (efflorescences of
soluble salts: mainly magnesium sulphates) which have also caused the break-up
and the separation of substantial parts of the sculptures.
Keywords:
cultural heritage / stucco / mineralogy / architectural rilief / baroque /
Sicily / Palermo / Giacomo Serpotta
L. Mavilia, M.A. Oteri, S. Aragona
Gli stucchi della Villa Clemente-Caristo a
Stignano (RC): pratiche realizzative e diagnostica.
The present paper deals with some preliminary
results obtained from an interdisciplinary research work, promoted by the
Patrimonio Urbanistico ed Architettonico (PAU) Department, Architectural
Faculty of Reggio Calabria, aiming to supply some fundamental knowledge on
historical building practices and techniques realized in the Calabria region.
The work has been focused to investigate the ornamental exterior plasters (or
stuccos) of a garden belonging to a seven-eighteenth century suburban villa
located in contrada Scina, Stignano, (RC). It has been prepared to provide
background information on the nature and composition of the ancient stuccos, as
well as to promote knowledge on the traditional practical methods of
construction of which the historical analysis appear incomplete or even totally
lacking. The required informations were obtained by using well established
methods of analysis including X-ray digraction, scanning electron microscopy
and optical microscopy. The results have shown the stucco has been applied as a
multiple-layer process (two coats), no gypsum was used as binder costituent
thus confirming the building techniques are comparable to the most known
employed, at that time, in other geographical zones, i.e., the Campania region.
The composition of stucco consisting primarily of hydrated or slaked lime, sand
and calcite comfirms the raw materials utilized for stuccoing are
representative of the local lithological typologies.
KEY- WORDS:
Historic garden, acknowledge, stucco, hydrated lime, building practices and
techniques
G. Bitossi, M. Mauro, D. Rossi
La maschera funebre di Lorenzo il Magnifico:
caratterizzazione chimico-fisica dello stucco originale e dei successivi
restauri.
Physicochemical measurements were carried on
some samples taken from the ”Maschera of Lorenzo Il Magnifico”; this stucco mask is situated at the ”Museo
degli Argenti” in Florence and it was made by Benintendi family in Florence
after the death of Lorenzo il Magnifico (8 April 1492). Our aim was mainly to
identify what kind of stucco was used
by the artists and to check the presence in some parts of the mask of some residual
traces of the original gold leaf coating. Moreover, as the mask is glued on a
wood panel, we analyzed the blue pigment of the panel. The experimental
techniques used were: Optical Microscopy (OM) on cross-sections, Scanning
Electron Microscopy coupled with Energy-Dispersive detection of X-rays
(SEM-EDX), and Fourier Transform InfraRed Spectroscopy (FT-IR). The composition
of the stucco was mainly gypsum with
a small amount of calcium carbonate. The blue pigment used was azzurite. In
some parts of the mask we analyzed and identified the presence of preceding
restorations.
Key-word: stucco,
gypsum, calcium carbonate, mask, mould, pigments, gilding.
L'influenza delle sostanze proteiche naturali
su alcune proprietà degli stucchi.
The use of additives in buildings materials and
more specifically in stucco is not a modern device, but something that had been
already used in ancient times. The addition of natural organic materials to
lime or gypsum based stucco mixtures, as disclosed in some ancient technical
reports, always aimed at improving the application and durability of those
materials.
Among the huge number of organic additives used
in the past, the natural protein substances were of greater importance.
Eggs, milk, blood, casein and substances
obtained from different types of legumes may influence some of the properties
of stucco like: water-repellence,
adhesion, air-entrainment and porosity, workability, setting, etc. Their
use in stucco formulations is the result of an empirical practice on a trial
and error basis over the past centuries that was more than manual ability, it
also involved reflection, experimentation, transmission, research and
invention.
Nowadays our modern and scientific methods give
us the opportunity to interpret and describe the mechanisms of action of
protein components of ancient organic additives.
The subject of the first part of this paper is
the investigation of the protein addition recipes in ancient times and their
application to stucco formulations. In part 2 a scientific explanation is
proposed concerning these old procedures and some of the possible modern
alternatives are also mentioned.
The disclosing and understanding of the old
methods is not only oriented to their application to the current restoration
materials in a sort of technological mimesis, but is mainly a starting point to
improve the actual and future restoration technology.
Key-words
Proteins, lime, gypsum, stucco, air entrainment, water repellence, setting
time, adhesion, workability
C. Bartolini, L. De Marco, G. Predieri, S. Sfrecola
La stazione marittima per passeggeri di ponte
dei Mille a Genova. Studi sui materiali, analisi dei fenomeni di degrado,
logiche di intervento.
I prospetti nord e ovest della Stazione marittima di ponte dei Mille, costruita tra il 1924 e il 1930, sono stati sottoposti nei mesi appena trascorsi ad un generale intervento di manutenzione e di consolidamento in vista del vertice G8 che si terrà, a Genova, nel luglio 2001.
L’intervento sulla Stazione Marittima ha offerto l’occasione per un esame dei materiali e delle tecniche esecutive impiegate per la realizzazione delle facciate, eseguite in pietra artificiale su disegni dell’Arch. Alberto Terenzio e del Prof. Chini che curarono anche la maggior parte delle decorazioni degli ambienti principali, che conservano decorazioni in pietra artificiale e in stucco. Tale studio ha potuto avvalersi, tra l’altro, di un ricco ed inedito apparato documentario conservato presso l’archivio storico del Consorzio Autonomo del porto di Genova.
L’esame delle materie prime, degli impasti e delle tecniche di lavorazione e di posa in opera degli elementi decorativi di “pietra Artificiale” scelti per la realizzazione della Stazione, permette non solo di approfondire la conoscenza di un edificio significativo anche per il notevole sviluppo superficiale dei suoi prospetti, ma offre l’occasione di arricchire il quadro di riferimento sui cementi artificiali moderni, oggi al centro di un dibattito che interessa, in generale, i materiali e le tecniche di restauro dell’architettura moderna.
Key-words: Genova, cementi artistici, pietra artificiale, degradazione
C. Bertolini Cestari, R. Maspoli, JM. Tulliani
Stucchi del castello del Valentino. Conoscenza
dei processi di invecchiamento in relazione all'interamento tra differenti
componenti, all'interfaccia stucco/ambiente, al ruolo della manutenzione.
Monumental building, current place of the
Faculties of Architecture - Politecnico of Turin- built from 1620, after a
project of the duke's architect Carlo di Castellamonte and then of his son,
Amedeo, has been subsequently widened and redefined in its current
configuration in the middle of the XIXth Century. The Valentino's
Castle constitutes an emblematic case study of evolution, and of understanding
of ancient regime constructions methods and of alternative technologies for
restoration. The considered essential phases, object of appraisal of the ways
and the outcomes, regard the contemporary restorations, and the correlations
between structures and mantles of cover and state of the internal part of
vaults and roofs, decorated and sculptured with stucco. Baroque decorations,
attributed to Alessandro Casella and its school, are deteriorated due not only
to the crystallisation of superficial salts, but also to the rupture of the
inner porous mass by a process of crushing, having led to deep interconnected
cavities. Thermo-hygrometric, and thermal analysis, X-ray diffraction technique
and scanning electron microscopy were very useful to understand the process of
decay of the stucco.
KEY WORD Diagnosis, technology, chemical and physical
analysis, patology
L. Dei, M. Favaro, R. Giorgi, R. Portieri
Gli stucchi della Cappella della Madonna di
Lourdes nella chiesa di S. Giovanni Evangelista in Venezia: caratterizzazione
del degrado e pre-consolidamento mediante dispersioni alcoliche di calce.
Our contribution shows the results of the study
and the physico-chemical characterization of Venetian stuccoes coming from
Mother Mary’s chapel of Saint John the Evangelist church in Venice. This work
has been devoted to the analysis of the performance of an innovative
methodology for conservation of lime stuccoes based on stable dispersions of
nanosized Ca(OH)2 particles. We studied the proper kind of
application and performed some experimental tests on decorative stuccoes. The
peculiar microclimate condition of the chapel suggested the opportunity to
apply inorganic fixative, which warrants greater resistance than polymeric
resins. Moreover the advanced decay
status of the materials obliged to a pre-consolidation treatment. Ca(OH)2
dispersions have been applied for all these situations.
XRD, FT-IR, IC, SEM analysis have been
performed for physico-chemical characterization of stuccoes. XRD, STT test and
kinetic water sorption curve have been also performed in order to evaluate the
efficacy of the treatment. The setting up of the application procedure for
experimental tests have been carried out with the scientific co-operation of
students of the three-year course for Restorers of IVBC, Venice.
Key-word: stucco, calcium hydroxide, dispersion, consolidation.
Lo stucco e l'acqua nella Villa Doria Pamphilj
a Roma: scelte tecniche a rischio, processi di trasformazione e interventi
storici di manutenzione della fontana di Venere di Alessandro Algardi e della
stanza dell'Organo di Francesco Nicoletti.
Alessandro Algardi has decorated the most
important fountain of the Villa Doria Pamphilj at Rome, the fountain of Venus
of the XVIIth century, with a series of ovate-panels maked of stucco, painted
“a mezzo fresco”, representing Cupid and various gods. Although the fountain is
leant against a wall that supports an embankmen without an air space and above
the vault there is a bed of soil with a lot of elements (mosaic, marble etc.),
the select technique has allowed the preservation both of stucco than pictures.
Instead Francesco Nicoletti has maked at the 1758 the “Stanza dell’Organo” in
the same “villa”, placed in similar condition and decorated with stucco but
painted not at fresco: the stucco has kept up only a small portion of pictures.
Keyword: Algardi, Nicoletti, stucco, “mezzo fresco”, Villa Doria Pamphilj
M. D'Orazio, E. Quagliarini, A. Stazi
La conservazione di stucchi e ornati su
strutture ad incannucciato: aspetti meccanici ed igrometrici.
The present communication deals with the study
of the conservation technologies of stuccoes on dith-reed structures used in
Italy after the 1997 Marche-Umbria earthquake. We analized the effect of any of
the actual techniques of intervention on the mechanical and hygrometric
behavior of the “adorned - dith-reed” system. We found that the use of
composite for prevent the separation of the embossed and adorned figures from
the dith-reed structures carry to undesired effects from the mechanical point
of view, for the stiffening of the system, and from the hygrometric point of
view, for the reduction of the traspirability that derives. It is underlined
the possibility to operate by means of mortars in the upper side for which
experimentations from laboratory are still in course.
KEY-WORD: dith-reed; plasters; conservation,
composites.
M. Scognamiglio, G. Fanelli, P. Palermo
Progetto “Serpotta” - I restauri per la
salvaguardia di un “intinerario unico” del settecento Palermitano.
Ten restoring yards will begin all togheter, in
the most important Palermo’s monuments, decorated by Giacomo Serpotta, plastic
sculptor of the baroque season between XVII and XVIII century in Sicily. The
project are all ready made by Soprintendenza per i Beni Culturali of Palermo;
the plan is about Giacomo Serpotta’s complete workstime, and about all the
typical and specific sickness of each monument. The specific methodology of
restoring and plans of analysis for diagnostics will coordinated and put
togheter for specific knowledge about typical material and specific tecnical
peculiarities in the original modelling and in the postwar restoration works.
Key words:Baroque
Stucco Project Restoration Physical – Chemical Analysis
R. Bianchini, C. Bustinto, M. Cilla, M. Li Castri, T. Martelli, G. Puleri
Gli ornati in stucco del teatro Politeama e
del Palazzo di Città a Palermo.
On the occasion of the United Nations
conference, an important campaign of restoration, aiming to repair beautiful
but damaged monuments, has been carried out in Palermo. Palazzo di Città or
delle Aquile (the town hall) and the Politeama Garibaldi Theatre projected by
the architect and engineer Giuseppe Damiani Almeyda, both built during the
second half of the XIX century, are among these monuments. The first was built
after a radical intervention on pre-existing buildings; the second was built ex novo, applying the principles of the
contemporary European polychrome architecture.
The projects for the restoration of both these
monuments have been planned by the technical staff of the Ufficio del Centro
Storico (Office for the historical centre of the town), in collaboration with
restoration consultants, trained at the I.C.R. In the executive phase, under
the supervision of the Superintendence, the method for the preservation of the
decorative elements has been focused and clearly outlined. Among these
elements, the attention has been particularly focused on the polychrome plaster
decorations, according to the results of the diagnostic surveys carried out by
the University of Florence. Other surveys have allowed us to acquire a wider
historical, artistic and technical knowledge of these two monuments.
Keywords:
polychrome architecture, polychrome plaster, restoration, preservation, repair
G. Oliva, L. Arone, G. Praticò, G. Repaci, F. Palmeri
Chiesa "Maria SS. Addolorata" in
Gerace (RC). Restauro degli stucchi.
This work regards a pan of the intervention of
recovery and restoration of the church Maria S.S. Addolorata in Gerace.
Initially the works began with the restoration of the covering in order to
remove the considerable water permeations. Afterwards, the attention moved to
the works of restoration of the stuccoes (frames, bas-relieves, floral
decorations, angels, etc.) which entirely
covered the four-arched vault. Our article will deal with this part. At
the present time the floor is the pan taken into consideration. The aim is that
of recreating the tiles with technique and materials (as much as possible)
similar to the originals.
The works on the stuccoes, instead, can be
recapitulated in interventions of cleaning as regards the complete ones,
strengthening of the friable parts and restoration of the missing pieces, once
they have been remade through casts.
This intervention of restoration has been
possible then as now, thanks to the project ”Adotta un monumento” stipulated
amongst the Soprmtendenza ai Beni Culturali della Calabria and the An School
Restoration Department ”A. Frangipane” in Reggio Calabria.
KEY-Word:
stuccoes; Gerace; restoration; bas-relieves.
La tecnica a stucco di Pietro Canonica:
problematiche sulle patine artificiali nell'intervento di restauro.
Abstract
This article presents a detailed investigation
of the plaster techniques used by the sculptor Pietro Canonica (1869-1959) who
works are conserved in the museum bearing his name in Villa Borghese in Rome.
These works all have an artificial patina upon
which a final layer was added which slightly altered the materials used in the
work, including those used in finishing,
and which included a false patina made up of an oily powder and adherent
sediment. This article proposes an
approach in the cleaning of works in plaster with such problems. Restoration, in this sense, becomes the critical act of distinguishing
between the different types of patina, and the ethical decision of how and to
what extent to intervene. The method described requires a critical analysis of
the relative documentary sources, manuals of the time and work of the critics,
as well as a careful examination
of the scientific data furnished by the
stratigraphic investigation of cross-sections of the layers, micro-chemical
tests for the identification of pigments, and
optical-mineralogical analyses using infrared photometry (FTIR) for the analysis of the elements present in
the patina attained in different samples.
KEY-WORD:Pietro
Canonica / Plaster Techniques / Patinas / Restoration
A. Alberti, F. Bevilacqua, G.C. Grillini, A.M. Iannucci, C. Muscolino, D. Pinna, A. Tucci
Le decorazioni in stucco della Basilica di San
Vitale a Ravenna. Studi in corso.
The decoration made up of plastic stucco was
widely utilised in Ravenna’s late Roman and Byzantine buildings, as historian
Andrea Agnello testified in his ”Liber pontificalis ecclesiae ravennatis”. Into
S. Vitale basilica for some years, various restorations have been undertaken
during which the research on the historical and material analysis of the
Byzantine decoration made up of stucco has been carried out. The
school-building site, structured in the triangular space belonging to the
ancient entrance of the basilica, gave the opportunity to study the executive
techniques and the materials constituting the ornate of the vault with vine
leaves and the oriental vegetable motifs adorning the walls and the arch.
Key-words:
stucco, Byzantine buildings, S. Vitale basilica, Ravenna, composition,
restoration.
Santa Apollonia già San Pietro a Ischia in
Pisa il restauro della facciata tardo Barocca.
St. Appollonia’s church, built in Pisa, on a
smaller Medieval structure in the second half of the eighteenth century,
reveals a close connection with roman baroque.
The church façade is unique in Pisa, thanks to
its two-colour decoration, which gains rare expressiveness throught a
sophisticated painting technique.
Roman baroque can be found in the convex lines
of its facade, in the ornament of its interior, in the painted perspective
illusion of its apse, where a round baldachin on twisted colums encloses the
image of St.Peter himself.
The building technique of its moulded brick-structure,
fuctioning as the very skeleton of the ornamental system of the church, reminds
us of Borromini’s architecture.
The facade’s stuccoes- also thanks to some
plaster repairs from te past century- were so deteriorated to risk the facade’s
total loss.
Such decay was due to the presence of weeds on
the large frame, to widespread lichens on the facade, to wind erosion and to
various detachments of the marbled coating from its deteriorated plaster
back-up.
In the different restoration stages, drowings
and photo were essential to trace the original image of the frames, which- as
it often happens whith Baroque- were showing variable sections.
Key-words:
Pisa, restoration, baroque, stucco, marbled, moulded-brick-structure,
P. Parodi, R. Pizzone, S. Vassallo
Il restauro degli affreschi e degli stucchi
nella cripta del Santuario di nostra Signora del Monte a Genova.
Il restauro di una
porzione del decoro ad affreschi e stucchi della cripta del Santuario di Nostra
Signora del Monte, inizialmente motivato solo da esigenze conservative, ha poi
assunto i caratteri di un vero e proprio cantiere di studio. Sono state
analizzate le tecniche esecutive dell’ornato e le caratteristiche dei diversi
interventi di rifacimento sovrapposti nel corso dei secoli. Le informazioni più
interessanti hanno riguardato le tecniche pittoriche originali: è stata
individuata una doratura con oro vero a missione su buona parte degli stucchi
alternata a coloriture a tempera grigio chiaro e verde intenso. Il lavoro è
stato accompagnato da indagini scientifiche sui materiali costitutivi e sui
prodotti di degrado. Il restauro e le indagini sono state realizzate negli anni
1999-2000 dai due restauratori della Soprintendenza per i Beni Architettonici e
il Paesaggio e diretti dall’Ingegnere Rita Pizzone
Gli stucchi della cappella Sagredo in San
Francesco della Vigna: evoluzione della morfologia costruttiva tra tardo
Seicento e Settecento.
n.d.
C. Natali, G. Lorenzini
La
prassi del restauro dei manufatti in stucco. Un’analisi delle procedure di
intervento.
The
research analyses several works executed on stuccoes in order to know the type
of deterioration, and the techniques used the restoration works.
C. Portosa, A. Sansonetti, R. Segattini, F. Trivella
Indagini
diagnostiche ed intervento conservativo sugli stucchi del Battistero della
parrocchiale di S. Eufemia in Ossuccio (CO).
S.Eufemia
Church is located in Ossuccio on the shore of Como Lake. Aim of this paper is to describe conservation work regarding stuccoes- decorating
the Baptistery. The relieves can be attributed to a local school operating in
XVII century. Stuccoes conservation state was quite good, but the presence of
dark areas due to humidity were evident on left side. Locally pulverisation was
detected. Preliminary: diagnostics have been carried out with X
Ray,;Diffraction, FT-IR Spectrophotometry, SEM coupled to EDX Microanalysis.
Stratigraphies has been observed either in ’field or in laboratory by means of polished
cross sections. Numerous layers have been evidenced; they are composed by lime
and one of them is pigmented by azurite coarsely and roughly grinded. A paint
based on acrylic binder was applied onto stuccoes surfaces. It was removed by
means of Nd-YAG Q-switched laser, using
high fluences (1.8-2 J/cm2). In some case this technique wasn’t
sufficient and so it was followed by mechanic action. Finally ethyl silicate as
consolidant and acrylic emulsion as
fissative were used to reach the final result.
Key Words: Stuccoes, conservation work, laser cleaning.
Storia
dell’arte, tecnica e conservazione dello stucco nell’architettura Persiana.
In
order to know the meaning of plaster, it could be very useful to know about
preparing a good support for the structure which, one should keep in mind the
nature of the plaster on. If or as
usual the structure which is made of
bricks with a flat and regular surface then a coat of plaster mortar could be
enough. Instead one could try in Iran with the proportion of plaster to be
frescoed or will be made of lime and good washed fine sand in a 1:1 portion,
but they’ve done in different way. Which we’re going to cosidere under through
history and scientific referenced following. The thickness varies according to
the grain of the sand and to the ability of the undercoats for how to absorb
humidity, and with skill of the artist or for the different aim. For example, the finer sand, well, would
offer probably the finer work on plaster
and a kind of its applying as bigger amount and as the result could
create a kind of industrial portion but with cracks lacks. The structure’s made
of stone or mixed material, before the plaster (stucco), mortar should be
applied to smooth under the surface but above all to homogenize the degree of
absorption that is so different from brick to stone, naturally for the inner
side of building. So, the carbonfing consolidate of Naqqashi (painting) ,
Bas-rilief or the same with the alto-relief on it, it can depend more or less
on how absorbs or restitutes of environmental humidity around. So, by referring of history and scientifica
relation, I try to clearufy to get closer to the archictettural and artistic
values, for a better kwonledge at the bottom for a better respect or requalified
conservation. With a hope to make it a sort of good examplar in environmental
& conservation issues to others too.
Key words: Plaster, Stucco, Bas-relief Ghachbori,
Muqarnas and Ainehkari
F. Pernice, L. Accurti, A. Princivalle
Gli
stucchi della chiesa di S. Umberto alla Venaria Reale: caratterizzazione
chimico-fisica, tecnologie realizzative, problematiche di conservazione e
restauro.
The
Superintendence of Piemonte for the architectural heritage and landscape is at
present undertaking the restoration of the Church of S. Uberto from Filippo
Juvarra, belonging to the Royal Mansion of Venaria. The stucco decoration of
the interiors has been repeatedly restored in the past, but still is deeply
deteriorated. The present restoration has been preceded by the so called
”cantiere della conoscenza”, with the aim of knowing deeply well history and
materials, dealing both with the original crea1ion and past restorations. This
stage, based on research undertaken in archives and on the direct study of the
manufacts, thanks to a systematic campaign of analysis made on site and on
samples of material, has been essential for understanding the reasons of
deterioration, and for taking a choice on methods and materials for restoration
Keywords: gypsum plasters, gypsum, decomtive stuccoes in Piemonte, stucco restoration, royal mansion of Venaria Reale
Chiesa
del Monastero “Matrix Domini” in Bergamo. Restauro conservativo apparato
decorativo.
The
church of Matris Domini’s Monastery was built during the XIII th century and
the present peculiarities became visible during the XVIIth century - the sole nave with three chapels
on each side and wide presbytery - moreover the apparatus decorative completely
composed with “tutto tondo” stucco relieves. The architectonic ornate of the presbytery and the four chapels were
interely realized with marbled stucco, while the first two chapels were covered
with gilt stucco. The conservative restoration according to the laboratory
studies and those studies made in the church tried to solve every questions of
degradation that were pointed out at the beginning of the works. After the
installation of the scaffoldings we had the confirmation that everything was repainted. Under the
paintings of the beginning of the XXth century there were the original colours
and we decided to ricuperare them. After the restoration the walls and the
vault became again bright and under a dark layer the stuccos were again with
their original warm tone. This work obtained the restoration of the original
colours and re-balancing of the decorative elements of the church.
KEY-WORD: The colours found in the “Matris Domini” Monastery.
La
figura dello stuccatore in epoca romana indagata attraverso le fonti
documentarie antiche.
It’s
not so common to meet informations about stucco in documents belonging to
ancient Rome, with the exception of few passages in Vitruvius’ De Architectura, or Plinius the Elder’s Naturalis Historia, where mostly
technical issues are reported.
But we
cannot miss to recognize how many beautiful and elegant works of art were born
from the use of this material. Walls and vaults surfaces of private and public buildings, such as thermal bath, anphitheater, tombs,
religious places, aristocratic dwellings and so on, were fullfilled by examples
of rare device, clear sign of high level craftsmenship. Very little we know
also about the artists/artisans who where responsible of stucco masterpieces.
So, the aim of this article will be that of giving as much light as possible on
this profession of the artisans of stucco reliefs. Thorough the aid of ancient
documents like books, but also, for example, epiy aphic inscriptions, it’s
possible to propose some ipothesis on this mysterious aspect of roman
decoration.
Key-words: Tector, alharius,
gypsarius, stucco
reliefs.
R. Binaghi, G. Chiari, O. Chiantore
Gli
stucchi in esterno del palazzo della “Reggia” Università di Torino.
The
palace of the University of Torino was constructed under the design and direct intervention
of major Baroque architects. In particular, the rich stucco decorations on the
courtyard walls and on the portico are attributed to Filippo Juvarra. During
the recent restoration of the external surfaces of the Palace, research has
been carried out on the materials employed for the stuccos. The results of the
scientific analyses have been complemented by historical research, in
particular by the documents found in the Kistorical Archives of the University,
which report the payments made for materials and craftmen involved in the
construction of the building.
Keywords: Baroque stucco, stucco marble, stucco
decorations, stucco characterization
Le
decorazioni a stucco del palazzo dei Grimani di Santa Maria Formosa a Venezia:
note storico-artistiche.
The palazzo built by the Grimani family in
the parish of Santa Maria Formosa in Venice was purchased by the State in 1981
to house the Superintendency and Museum of Archaeology.
Restoration
work began under the direction of the Superintendency of the Environmental and
Architectural Heritage of Venice in 1984.
The palazzo contains cycles of decorative
stucco and fresco work dating from different stages in the construction
(1537/1540); the 1560s; the XVIII and XIX centuries); most of the work was done
by artists and craftsmen from Central Italy.
As the
restoration was approaching completion the Superintendency, in association with
the Department of Industrial Chemistry of the University of Venice, Cà Foscari,
and the Department of Chemistry of the University of Parma, conducted a further
series of chemical and physical analyses of the stuccowork, designed to provide
comprehensive information on the nature and proportions of the constituent
materials and how the stucco was made and applied.
Key-words:Palazzo Grimani / Venice – stuccowork/
materials, techniques, decay
G. Biscontin, E. Zendri, I. Nardini, M. Pellizon Birelli
Le
decorazioni a stucco del palazzo dei Grimani di Santa Maria Formosa a Venezia:
i materiali e le tecnologie di preparazione.
n.d.
Annotazioni
circa le tecniche esecutive originarie delle superfici e degli apparati
plastici a stucco dell’interno della chiesa di San Carlino alle Quattro Fontane
in Roma.
The
repair of the inside of the Church of San Carlino alle Quattro Fontane in Rome,
has been carried out to allow the interpretation of the architectonic and
plastic appearance with “the complete recovery “ of the surface and of the
moulded “ in stucco”.
It has
also been possible to point out the superimpositions of paintings maintenance
made during the time for the necessary cognitive studies.
Sinc
from the initial checks and from the subsequent exhaustive researches with the
fundamental aid of the documentary and archives studies, reconsulted in the
occasion, a wiew has apparead of the condition of the insides of the monument,
and its repair and this has allowed, as far as it may be deduced, the
interpretation of the original executive techniques, of the subsequent
maintenances or alterations carried out during the time.
This
comunication would illustrate, in this meeting, some notes about the sequence
of the works concerning the drawing up of “stuccoes” on the frameworks, on the
surfaces and the conformation of the moulded of the inside Church.
Key-words: Annotazioni circa le opere per il “ recupero integrale” delle originarie superfici a stucco dell’interno della Chiesa
Il
soffitto in stucco nel sommoportico del Vittoriano in Roma.
The
lacunar ceiling over the portico of the Vittoriano in Rome was restored by
public funds for Great Jubilee 2000.
The
portico stretches 70 mt and has a plaster ceiling, which is subdivided into 17
low relief lacunars. The ceiling works out 1100 mq area, including frames and
relief and it is built-in the columns at a distance of 3 mt from the capitals.
Moreover the surface is entirely painted with materials very similar to golden
bronze.
It
showed damnages, that can be usually found outside, as well as inside the
monument, due to pollution and humidity.
The
restoration of the ceiling was planned taking into consideration both the
historical and artistical renewal and the preservation of the environment,
which made possible to enjoy this work of art.
Key-words: Roma - Vittoriano: the restoration
of the plaster lacunar ceiling over the portico
A. Moropoulou, A.
Bakolas, E.T. Delegou
Characterization of external decorative
stucco at neoclassic buildings in Athens.
In this
research, external decorative stucco from two neoclassical buildings situated
in the center of Athens was examined in order to acquire
information on facades decoration materials and technologies as long as their state of conservation. The materials
were examiaed using microscopic methods, X-ray diffraction (XRD),
infrared spectroscopy (FT-IR), simultaneous thermal analysis (DTA/TG) and
mercury intrusion porosimetry (MIP). From the results obtained it is
concluded that modern materials were employed based on cement and gypsum
for the replacement of the original ornaments, while the materials presented an initial state of decay due to the degradation of the
external protective coatings.
Roma
Palazzo Farnese il restauro degli stucchi dell’atrio.
n.d.
GC. Raddi delle Route, C. Manganelli del Fà, F. Toso, P. Pierattini
Il
rivestimento in scagliola dell’oratorio di San Tommaso d’Aquino a Firenze:
tecniche esecutive, processi alterativi e proposte di restauro.
Una succinta analisi storica, relativa all’arte della scagliola e ai suoi maggiori centri di produzione, introdurrà il caso specifico da noi trattato: il rivestimento dell’Oratorio di San Tommaso d’Aquino a Firenze di cui, grazie a fonti e documenti è giunto il nome dell’autore, lo scagliolista Carpigiano Carlo Gibertoni.
Sarà descritta la tecnica tradizionale di esecuzione di manufatti in scagliola, conosciuta grazie a preziosi manoscritti carpigiani, cercando, soprattutto tramite analisi scientifiche, puntuali rispondenze con la tecnica applicata dal Gibertoni nell’Oratorio fiorentino:
Partendo dai materiali di base impiegati nella lavorazione (gesso scagliola, colla animale e pigmenti), se ne esporranno le principali proprietà e il loro utilizzo nelle successive fasi esecutive.
Infine un resoconto dello stato di conservazione dell’Oratorio e dei processi alterativi in atto, causati per lo più all’alluvione del 1966 che ha sommerso la parte inferiore della decorazione parietale, costituirà una necessaria premessa ad un’ipotesi di restauro. Quest’ultima verrà affrontata in modo tale da evidenziare, per ciascuna operazione prevista, i materiali specifici e le modalità d’intervento.
It was
the scagliola craftsman C.Gibertoni from Carpi, who worked at the scaglila
covering of the San Tommaso d’Aquino Oratory in Firenze.
The
study of this work is procedeed by a brief historical analysis of the art of
scagliola and it most important centers of production. The traditional technics
of execution of scagliola goods are known thanks to precious manuscripts found
in Carpi.
In this
paper results of scientific analyses attempt to find agreements with
Gibertoni’s technics.
The
main properties of the basic materials used in the work (gypsum scagliola,
animal glue and pigments) and their utilization in the execution of the work
are illustrated.
A
report an the preservation of the Oratory and on the deteroration processes
mostly due to the submersion of the lower part of the wall decoration by the
Arno alluvion in 1966 introduces our hypothesis of restoration.