Studi Di Conservazione Beni Culturali

The workshop of the Embriaghi, the restoration of a small triptych in the bone of the fifteenth century in the Christian Vatican Museum - Vatican Museums
La bottega degli Embriaghi, il restauro di un piccolo trittico in osso del XV secolo nel Museo Cristiano Vaticano - Musei Vaticani

Il numero 6/2020 della Rivista di Arte antica e contemporanea, presenta un dibattito sull’arte negli attuali scenari di guerra. Intervengono: Paolo Brusasco (Docente di Archeologia e Storia dell’Arte del Vicino Oriente, Università di Genova, Direttore della Missione Assiria), Massimo Carcione (Head Resercher del Maniscalco Center e direttore del Centro di Documentazione della Benedicta), Silvia Chiodi (Dirigente di ricerca, CNR), Franco D’Agostino (Docente di Assiriologia, Università di Roma La Sapienza, e Direttore degli scavi di Abu Tbeirah, Iraq), Michela De Berardin (Co-direttrice di The Journal of Cultural Heritage Crime), Elena Franchi (Storica dell’arte, ricercatrice, giornalista), Manlio Frigo (Ordinario di Diritto Internazionale, Università di Milano), Edoardo Greppi (Ordinario di Diritto Internazionale, Università di Torino), Marco Iamoni (Docente di Storia del Vicino Oriente e di Archeologia del Vicino Oriente e del Mediterraneo, Università di Udine; vicedirettore del Progetto Archeologico “Terra di Ninive”), Simona Maggiorelli (giornalista, direttrice di Left), Federica Mucci (Associato di Diritto Internazionale, Università di Roma Tor Vergata), Davide Nadali (Associato di Archeologia e storia dell’arte del Vicino Oriente antico, Università di Roma La Sapienza), Luca Peyronel (Ordinario di Archeologia e storia dell’arte del Vicino Oriente antico, Università di Milano; Direttore del Progetto Archeologico Italiano nella Piana di Erbil), Christopher Prescott (Archeologo, Università di Oslo; Direttore dell’Istituto Norvegese in Roma).

"The essay analyses the theoretical and practical work of Marco Dezzi Bardeschi in the field of architectural conservation, outlining the key concepts of his idea of restoration as "conservation and project" and suggesting its interpretation by a genealogical perspective, where restoration is understood as an ethical way for approaching design practice.
Linked teaching documents available at: teoriadelrestauro.altervista.org"

S.Guido, The Major Vatican Cross Reliquary, Città del Vaticano 2012, Bollettino d'archivio n-18-19,  pp.9-15, (ISBN: 9788863390230)
1- The Major Vatican Cross Reliquary is a precious testimony to the refined techniques of Byzantine Imperial goldsmiths in the centuries at the turn of the year 1000. The artwork has been analyzed down to the smallest details and its technical characteristics have been thoroughly investigated. It has been deprived of some of its decorative elements over the centuries, namely the precious stones and pearls embellishing its terminals, replaced by other extremely refined artifacts in the XVI century.
S.Guido, An artwork from Constantinople to the Vatican, pp.18-37;
2-An excursus into the production of Cross Reliquaries in the first- and middle-age Byzantium allows placing the examined artwork into a precise context. Some artworks inspired by the same culture are significantly similar in typology and technology used for the Major Vatican Cross Reliquary, which enables the establishment of a temporal relationship and, therefore, to date it to the end of the X century. Moreover, disassembling the artifacts and analyzing the techniques used to produce the refined decorative motifs, along with comparing them with those resorted to in the production of coeval artworks, allowed the formulation of a more precise hypothesis on the period it dates back to; that is the Reign of Emperor Romano II (959-963).
S.Guido, The Major Vatican Cross Reliquary. Technique of production and restoration, pp. 38-43.
3- All the necessary phases of the restoration works carried out on the Cross Reliquary are hereby outlined. More precisely, its dismantling allowed the investigation of its shape, dimensions as well as of the techniques resorted to in the production of the elements that make up an assemblage comprising of about twenty fragments in fusions with almost pure gold, for a total weight of 756 grams. The same investigations were also carried out on the shrine by Filippo Borgognoni in 1837.

Sante Guido, Il Gallo vaticano “grande di metallo indorato antichissimo”;
Sante Guido e Giuseppe Mantella, Il Gallo vaticano: l’intervento di restauro conservativo;
in S. Guido (a cura di) "Il Gallo Vaticano" , Testi:

Sante Guido, Il Gallo vaticano “grande di metallo indorato antichissimo”
Alexis Gauvain, Note d’archivio sul Gallo di bronzo della basilica vaticana
Sante Guido e Giuseppe Mantella, Il Gallo vaticano: l’intervento di restauro conservativo
I. Angelini, G. Artioli, C. Canovaro, D. Miriello, V. Pingitore, S.A. Ruffolo, M. Cappa, G.M. Crisci,
Analisi archeometriche sul Gallo conservato nei Musei Vaticani: un raro esempio di bronzo dorato basso-medievale, Città del Vaticano 2013, ISBN: 9788863390360.
CAPITOLO DI SAN PIETRO IN VATICANO
PALAZZO CAPITOLARE
LARGO DELLA SACRESTIA
00120 CITTA' DEL VATICANO
TEL. 0669883465 - FAX 0669883410
archiviostorico@capitolosp.va

Nazzareno Gabrielli, Sante Guido, Giuseppe Mantella, Monument of Sixtus IV
Description, tecnological analysis and restoration process, Bolletino d'Archivio Capitolo Vaticano, n.6-7, 2009.

The long and precise restoration project, which went on for more than two years, has rendered the funeral monument realised by Pollaiolo readable again in its infinite details, allowing us to understand the different phases of the realisation of the work: from the creation of the models in wax and the resulting bronze casts, right up until the diligent work of chisel and burin of the final finishing. Once the surfaces had been liberated of their thick layer of black, applied in the early Seventies during the last century to cover the processes of corrosion of the metal, some preliminary diagnostic research and an attentive observation of the single casts have in fact led to a persuasive reconstruction of the chronological sequence of the work and the techniques used. We can decipher how, from the initial experimentations, not lacking in errors but skilfully camouflaged, the artist reaches technical perfection and the well-balanced composition of the metal alloy which is ideal for the refined quality of the modelling work and for obtaining the desired chromatic variant. To the monument for Pope Sixtus IV della Rovere, in fact, Pollaiolo gives the same attention and technical care usually reserved to the tiny and minute craft of the goldsmith, successfully applying his experience in that area to the completion of a work of monumental dimensions, enormously complex in its technique and material richness.

The Crux Vaticana or Cross of Justin II
The Crux Vaticana and ‘Byzantine’ Rome
The Crux Vaticana, the reliquary-cross of the passion of Our Lord, is as much a celebrated object as it is an enigmatic one. Its long-awaited restoration has finally allowed us to obtain a clear idea of its original state and subsequent alterations. Evidently a work of imperial patronage - from its ostentatious text which records the pious gift of the emperor Justin and his consort, as well as their images (significantly in the gesture of prayer) - we can consequently date the object (565-578) and define its place (Constantinople). It is a key work of reference among the silver objects produced in Byzantium in the 6th c., especially in the context of their often controversial attribution to Costantinople or Syria. Even if some of its iconographic choices (e.g. the duplication of the image of Christ, or the imperial garb) and stylistic comparisons with this work may still cause controversy, its genuine nature can no longer be denied.
The Cross was sent by the imperial couple to Rome, the city of the martyrs, whose most recent works of religious patronage had aligned it appropriately with the empire’s new capital. These monuments and the Crux Vaticana still testify powerfully today both to the links between Rome and Costantinople and to the faith of this pious emperor and of his wife.
The Crux Vaticana or Cross of Justin II
New data and technical observations emerging from restoration operations

The Crux Vaticana, a prestigious testimony to the skills of the Byzantine goldsmiths kept in the Treasury Museum of Saint Peter’s Basilica, represents a rare example of imperial patronage still in existence. Thanks to the preliminary phase of studies and to the subsequent works of recent restoration, the lively debate over its original consistency and the authenticity of the cross is today met by convincing responses and new certainties about its modification and substitution. Furthermore, on the basis of prime documents and images and following valuations of the materials that constitute the cross and its decorative elements, it has been possible to reattach the lost crown of pearls around the reliquary and add once again single pearls on its front, in an act of partial restoration. Whilst respecting the balance between original appearance and historical manipulation, this act helps us to better perceive the harmonious composition of the significant sequence of gemstones which are placed in a precisely alternating chromatic sequence.
The Crux Vaticana or Cross of Justin II
A Latin inscription carved in Constantinople

The inscription on the Crux Vatican qualifies the object as a donation to the city of Rome from the emperor Justin II and his wife Sophia, rightly mentioned as partner. The use of the Latin language, known in Constantinople well into the period of late antiquity, and the uncial style of writing “of type b”, adopted for the legendary Byzantine coin, prove the substantial authenticity of the cross, which, before becoming part of the Treasury of Saint Peters, was perhaps kept at least initially in the church of Santa Maria Antiqua, a palatine chapel in Rome dating to the time of the Byzantine duchy.

In 1981, Burri created an artwork in Gibellina, on the site of an old village destroyed by the earthquake that
hit Belìce in 1968. Cretto, with its 65,000 square meters, is the largest known works of Land Art. It was realized in three
years. Its realization stopped in 1984, due to lack of funds, and remains unfinished for long time. After thirty years, the
work has nowadays been completed. This action is useless because it breaks the figurative unity, distorting the perception
of the landscaping work. Cretto just needs care. to enhance and promote this art work, conservation must try to
remove the degradation

TThe article concerns a leading member of Roman aristocracy, Gregorius Anicius, and his achievements as pope Gregory the Great (590-604) with regard to the peaceful transformation and, therefore, the preservation of countless ancient monuments which would otherwise have been destroyed. His work is illustrated bere only as far as pertains to the history of conservation and restoration of monuments, avoiding ali other digressions. Special attention is paid to the measures taken by the pope about the missions in Britain and the evangelisation of the local populations. The author confutes an unfair preconception of a literary nature, which depicts Gregory the Great as responsible for the destruction of many ancient monuments, and – un the contrary – illustrates the beneficial effects of the pope's prescriptions regarding a quantity of important artefacts, often forgotten despite their number and presence in Italy, such as dolmen and menhir, that have survived to this day mainly thanks to their conversion into Christian symbols.

S.Guido, Un tagliacarte di Alessandro Castellani su disegno di Michelangelo Caetani e l’utilizzo in oreficeria di un nuovo prezioso metallo: l’alluminio, in "OADI - Rivista dell'Osservatorio per le Arti Decorative in Italia", XX, dicembre 2019, pp. 111-133


http://www1.unipa.it/oadi/oadiriv/?page_id=3635

Baronissi è raggiungibile dalla vicina Salerno, passando per la località Fratte, area archeologica etrusco-sannitica ed importante in età contemporanea per le industrie cotoniere di fondazione belga.
Percorrendo la Spontumata, incontriamo la piccola località di Aiello, sulle quali alture i resti di una rocca; si affaccia la piccola chiesa dedicata a San Pietro Apostolo, rimaneggiata; sulla facciata una Madonna lactans franco borgognona.
Le tracce dell’antica fondazione sono visibili nel campanile.
Se percorriamo la strada che ci ha condotto sulle alture in senso inverso, ci troviamo in via Indipendenza, dove sono i resti di una chiesa un tempo dedicata alla Madonna del Rosario.
In località Acquamela la casa appartenuta alla Regina Margherita di Durazzo, scelta per la amenità del luogo, vista la vicinanza al fiume Nofilo, affluente dell’Irno dal quale la Valle prende il nome.
Accanto alla casa della Regina Margherita, una Chiesa già Convento dedicato alla Santissima Annunziata, oggi dedicata a San Domenico di Guzman.

Va di moda, oggi, ballare e praticare fitness nei musei. In Italia, a differenza degli altri paesi, questa moda ha assunto tutti i tratti dell’affare e ha ripercussioni culturali e sociali molto più gravi. Malagestione pubblica e interessi privati sono all’origine di questo fenomeno socio-culturale, che l’autore ha definito dei «Beni culturali da sballo». L’uso improprio del patrimonio culturale, sistematicamente adibito, per ragioni commerciali, a «location» per feste da ballo, attività ginniche e concerti rock e pop, nuoce non solo alla sua conservazione materiale, ma anche al suo decoro e contribuisce a traviare la (già fragile) coscienza civica dei cittadini italiani, in particolare dei giovani.
Dal Museo di Capodimonte al Parco archeologico di Selinunte, dal Museo Egizio di Torino a Villa Borghese, dalla Biblioteca nazionale centrale di Firenze al Colosseo, dall’Arena di Verona all’Archivio centrale dello Stato, dalla Basilica Palladiana di Vicenza al Castello Alfonsino di Brindisi, nessun monumento è al sicuro. I beni culturali sono stati asserviti alla logica del facile profitto, legata ad attività effimere incompatibili con il carattere storico-artistico dei luoghi e incuranti dei problemi conservativi.
Ma cosa dice la Legge in proposito? È consentito trasformare un monumento in discoteca, in palestra o in palco per concerti? Teodoro De Giorgio risponde a queste e altre domande passando in rassegna, con dovizia di particolari e di documenti inediti, tutti i principali casi che hanno visto musei, istituzioni, siti archeologici e monumenti pubblici italiani adibiti a «Beni culturali da sballo».

http://www.campisanoeditore.it/

LA NUVOLA DEL BERNINI.
NOVITA' E APPROFONDIMENTI NEL RESTAURO DELLA CAPPELLA CORNARO.
Giovedì 7 luglio 2016, ore 16:00
SALA CONFERENZE, MUSEI VATICANI
Introduce: ANTONIO PAOLUCCI
Intervengono:  LIA DI GIACOMO, SANTE GUIDO,
GIUSEPPE MANTELLA, ALESSANDRA RODOLFO

S. Guido - G.Mantella, Il Gruppo equestre di Locri Epizefiri tra tecnologia e intervento di restauro( il Cavaliere di Marafioti) - Relazione di restauro, in C.Bertelli - G.Bonsanti (a cura di) "Restituzioni 2016. Tesori d'arte restaurati - La bellezza ritrovata. Caravaggio, Rubens, Peruguno, Lotto e altri 140 capolavori restaurati", Galleria d'Italia a Piazza della Scala, 1 Aprile - 17 luglio 2016, Milano 2016, ed on line: http://www.restituzioni.com/wp-content/uploads/2016/03/2016.rest_.04.pdf