Notas sobre a Carta de Veneza

This paper presents a critical reading of the Venice Charter, an Icomos key document, fruit of a conference held in 1964. The Charter is often quoted in Brazil but is not always properly understood. The conservation and restoration charters - especially those produced by international institutions - are documents that have an indicatory or, at the most, prescriptive character. They constitute the deontological foundation of many professionals involved in preservation, but they are not recipes for immediate use. In order to elaborate a well-founded reading of the document, its ideas must be understood in connection to the theoretical postulates of the time they were engendered and to the developments of the field. Thus this paper will examine these subjects, commenting and enlightening the Charter's articles and pointing out the origins of specific ideas. It also discusses how the Charter relates to previous documents and their theoretical foundations. This approach, based in a critical analysis, is necessary in order to reach a fuller interpretation of the Charter's indications so that they can be used in the present

Tecnica di esecuzione di alcuni affreschi della Farnesina

The epochal restoration of the entire interior decoration of the Villa Farnesina, which is currently underway by the Istituto Centrale del Restauro, is revealing the identification of a rich variety of technical issues. Specifically, the campaign in the Sala delle Prospettive, undertaken between 1976 and 1983, focuses on several new matters relating to the Renaissance tradition of Roman fresco painting. Chemical analysis of the intonaco coupled with the detailed reconstruction of the giornate results in a fascinating reevaluation of the frescoes themselves relating to their manufacture. The inspection of the surfaces reveals the exact manner in which the frescoes were constructed, making use of cartoni and spolveri, or on occasion of no final preparatory drawings at all. Secondly, the restoration of 14 pilasters a grottesche in the Sala della Galatea clearly demonstrates the exclusive use of spolveri. The remaining 11 pilasters will be cleaned in 1985. Once this campaign in the room is completed, then the exact nature of this early 16th-century cycle, with its 19th-century ‘restorations,’ will be identifiable, and will subsequently be integrated with the restoration of the Loggia di Psiche, which will commence in 1985.Le programme de restauration de la décoration murale de la Villa Farnésine, actuellement en cours sous la direction de l’Istituto Centrale del Restauro, nous révèle plusieurs aspects techniques de la fabrication de fresques pendant la Renaissance. En particulier, les travaux dans la Sala delle Prospettive, entrepris entre 1976 et 1983, ont permis l’étude approfondie de la décoration murale à Rome à cette époque. L’analyse chimique de l’intonaco et la reconstruction détaillée des giornate ont permis aux restaurateurs de reconsidérer les méthodes de fabrication de ces fresques. Suite à un examen de leur surface, qui a révélé parfois l’utilisation des cartoni et spolveri, ils ont également pu reconstituer le processus exact de la création de ces peintures. D’autre part, seuls les spolveri ont été utilisés dans les fresques a grottesche des quatorze pilastres de la Sala della Galatea. Onze pilastres dans cette salle restent à nettoyer : ces travaux doivent commencer en 1985. Une fois terminées, ces restaurations éclaireront la nature exacte d’un cycle de fresques du début du 16e siècle et ses « restaurations » du 19e siècle. Les renseignements ainsi recueillis pourront être appliqués aux travaux dans la Loggia di Psiche, prévus également pour 1985