VIRTUAL London Heritages Conference

Abstract

Reconstruction and retouching of polychromy on stone sculptures is a central issue in conservation, often the subject of controversial debate due to its great influence on the visual aesthetics of the artworks. In the past, many polychrome stone sculptures were simply painted over, often without accurately reconstructing the original colouring. This often meant considerable interference with the original substance. Misconceptions about the original appearance of stone sculptures in different periods, such as the supposed visibility of stone of ancient works, also caused the unfortunate destruction of paint layers. These earlier practices have resulted in many stone sculptures today showing only rudimentary traces of their original polychromy. It was not until the 1960s that theoretical principles for dealing with polychromy were developed. These suggested that works of art should be seen as historically evolved structures, independent of the style and taste of the time, and that their complexity should be preserved, while also considering the integrity of the polychrome from an aesthetic point of view. There are many traditional methods that have been used for a long time in the conservation of stone sculptures. These methods vary considerably and have specific advantages and disadvantages. Recent developments in digital technologies have opened new avenues for the reconstruction and restoration of colour. However, these technologies need to be critically evaluated from a conservation perspective. This paper compares the traditional methods of reconstructing and retouching polychromy on stone sculptures with modern approaches of 3D technology. The possibilities and limitations of these approaches are critically evaluated.