History of Architectural Conservation (CONSERVATION AND MUSEOLOGY)
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A History of Architectural Conservation expands knowledge about the conservation of ancient monuments, works of art and historic buildings. It includes the origins of the interest in conservation within the European context, and the development of the concepts from Antiquity and the Renaissance to the present day. Jokilehto illustrates how this development has influenced international collaboration in the protection and conservation of cultural heritage, and how it has formed the principal concepts and approach to conservation and restoration in today's multi-cultural society.
This book is based on archival research of original documents and the study of key restoration examples in countries that have influenced the international conservation movement. Accessible and of great interest to students and the general public it includes conservation trends in Europe, the USA, India, Iran and Japan.
1341, a symbolic coronation ceremony was held on the Roman Capitol, in order to celebrate Petrarch’s merits as a poet. Linking this ceremony with the ancient centre also had political significance, underlining as it did Rome’s importance as a world capital. Petrarch made valiant attempts to convince the pope to return and re-establish the centre of Christianity in Rome; at the same time a friend of Petrarch’s, the self-taught antiquarian Cola di Rienzo, made patriotic attempts to revive Rome’s
the exact knowledge acquired through continuous practice, formed the basic message of the treatise. Alberti was concerned about the quality of architecture and advised great care in the preparation of projects. He was aware that large-scale construction could take more than a lifetime to achieve, and recommended that those responsible for continuing a building should examine it thoroughly and understand it well in order to ‘adhere to the original Design of the Inventor’, and not spoil the work
cure it. The defects could depend either on external causes or arise out of the construction itself. In the latter case, the architect was responsible. On the other hand he commented that we are all part of nature and mortal; even the hardest materials will deteriorate under the sun and in chilly shade, or due to frost and winds, not to mention disasters such as fire, lightning, earthquakes, and floods. Defects that could be improved by restoration are the subject of the tenth book of the
last trace of their form would disappear. He proposed to start excavation and restoration on the Acropolis immediately, and gave priority to the preservation of the Parthenon due to its position as a landmark in Athens and to the dignity it would lend to the status of the new nation. Klenze listed some thirty sites in Athens for protection, including together with the Acropolis, the Agora, the Thesion, the Gate of Hadrian and the Temple of Zeus. The list also contained less obvious but potential
conceptions of particular minds – a deposit left by a whole people – the accumulation of ages . . . Great edifices, like great mountains, are the work of ages. Often the art undergoes a transformation while they are yet pending – pendent opera interruptia – they go on again quietly, in accordance with the change in the art. The altered art takes up the fabric, encrusts itself upon it, assimilates it to itself, develops it after its own fashion, and finishes it if it can. (Hugo, 1953:101f) Hugo,