The true occupation of the restorer is to
put the work given to him in a condition as near as possible to its
original state, carefully abstaining from obliterating the legitimate
marks of age, and limiting himself to just what is sufficient for the
actual conservation of the picture. One of the chief needs of many old
pictures is the removal of old repaintings. This done, the less added
the better, unless, if a piece be wanting, it can be so harmonized with
the original as to escape observation. But this is a special art, and
to be done only by those acquainted with the old methods. In perfect
condition ancient paintings cannot be. We must receive them for what
they are, with the corrodings and changes of time upon them. How
interesting in this respect is the Sienese Gallery! Here the restorer
has been stayed, and we find the pictures genuine as time itself,
and more precious by far to the student than the most glaring and
"refreshed" surfaces of those works in other galleries which are the
wonder and admiration of superficial observers.
The greatest difficulty of the restorer is to harmonize _permanently_
the new vehicles with the old; for the fresh tints are always liable
to assume a different tone from the original, which have already been
chemically acted upon by time.
It may be said that the skill which can escape detection in restoration
is adequate to successful counterfeiting.
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