Examen Distinivo h which grave of the Nefertiti slot quote

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D'Auria, gave for the attentive eye in honor of Josephson

Ever since ancient, damaged marble images have been repaired and restored, but in Rome the restoration was omnipresent for a relatively short period between approximately 1750 and 1816 to meet the demand of a budding antiques market. Encouraged by the excitement of the excavations of Pompeii and Herculaneum, Grand Tourists wanted to own their own piece of antiquity, which resulted in an industry that focused on digging up, restoring and selling marble images of these sometimes ignorant buyers. At that time, restoration practices varied from simple cleaning to sanding with abrasives and tools, cutting away old stones, replacing missing limbs and heads or making new images from inexpensive fragments of marble. Because so many old marble images have been irrevocably changed by eighteenth-century restoration practices, they could be considered non-authentic, no longer the product of an original artist and period. However, such a position is an oversimplification of the complicated and versatile concept of authenticity. On the basis of the collection of antique sculptures of the Englishman Charles Townley (1737-1805), collected at the height of the period, this dissertation investigates how definitions of authenticity can be applied to restored antique marble images and how they are undermined by the actions From restorers and traders, the attitude of eighteenth-century collectors and modern preoccupation with the exhibition of authentic objects in museums. Townley's collection

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The Berlin Artist and His World: Michael Padgett, ed., Princeton University Art Museum and Yale University Press 2017, 21-39.

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We know relatively little about how sculpture was restored in ancient Greece and Rome, although it was certainly done, as writers of the time praise successful restorations and complain about unfinished works and ruined masterpieces. It is not until the Renaissance and the beginning of collecting as we recognize it today that we find hints of the conflicting desires to restore and refrain from restoring. For the almost feverish pace with which the 18th century at the end of the 19th century in the middle, lost arms, legs and noses were repaired and replaced, equaled only by the same fervor with which the 19th century at the end of the 20th century in the middle it was all removed. Tastes changed, and sculptures were scrubbed and sprayed, presumably to keep up with fashion. Sometimes the changes were reflected in the pose, sometimes in the attributes, and sometimes even in the gender. Today, the conservative has to make sense of all these layers and changes, additions and subtractions. Although analytical methods sometimes help distinguish what is and is not original, the question of whether ancient fragments and added restorations can coexist remains. Of the many values ​​that an object conveys, including historical and aesthetic values, the question of which one should be allowed to dominate, based on our contemporary preferences, is a complex one. Equally complex is the question of what is gained and what may be lost in this decision