Romae mmx-mmxi analecta romana instituti danici XXXV-XXXVI
Download 339.37 Kb. Pdf ko'rish
|
|
scratched lines had been wider, the lines would also have been wider today, and the scenes would therefore have been more complete. Conclusions “The exterior of Thorvaldsens Museum can- not do without colour or pictures. One can only hope that they can be restored in a way that makes them more durable than they have been so far. Then they will renew the memory of joyous and happy days for our little na- tion and homeland for future generations.” 32
about the history of Thorvaldsens Museum in 1892. The comment, which was prompt- ed by Sonne’s original frieze, is also relevant today, when the deterioration of Salto’s Reconstruction is starting to affect the co- lours and images of the frieze. Once again, it is time to have a closer look at the frieze on Thorvaldsens Museum in order to prevent one of Copenhagen’s landmarks from dete- riorating beyond recognition. The work on the test piece has shown that, while we currently have the skills and crafts- manship to reconstruct the frieze, it would not be possible to create a faithful or dura- ble reconstruction at this stage, due to pro- blems with materials. However, thanks to the cooperation between Thorvaldsens Museum and the School of Conservation at the Royal Danish Academy of Fine Arts, we have taken an important step towards making a recon- struction: the work carried out with the test piece has in fact shown that it is possible to create a reconstruction of the frieze, once the problems regarding materials are overcome. The work with the test piece, and thus the co- operation with the artist Jens Urup, has also made it possible to fulfil a hope expressed by Salto and the former director of Thorvaldsens Museum, Sigurd Schultz, since the cement plastering technique has now been passed on to a new generation: “One would hope that the technical knowledge and practical expe- rience possessed by Axel Salto and his assi- stant bricklayer foreman Hans Pedersen will not be buried with them, resulting in Sonne’s Fig. 39. Salto’s work tracing, panel 21. Notice the few and uniform lines. Approx 42 x 40 cm 1954. Thorvald- sen Museum’s archives (photo: author). Fig. 40. Salto’s work tracing, panel 20: details of the back of the tracing, showing impressed lines. Approx 20 x 17 cm 1957. Thorvaldsen Museum’s archives (photo: author). 80 M ette M idtgård
M adsen
sgraffito technique dying out once again, but that other artists will take up this technique”. 33
take place, new tests would be necessary to find suitable materials. It would not be an easy task, especially regarding a suitable type of cement. The range of cement available in Denmark and Europe is quite limited because of the standardization of the market. An exa- mination of the types of cements currently available in Denmark shows that there is no ideal cement for this task – either they hydrate too fast, are too weak, too dark (which ma- kes colouring too difficult), or have an unde- sirable micro filler added to them. The most suitable cement types available in Denmark seem to be the type of white cement called Aalborg ®
called Mester ® Aalborg Cement. Aalborg ®
White is suitable because it would be easy to tint due to its white colour and high final strength. Unfortunately, Aalborg ® White har- dens too fast. Mester ® Aalborg Cement, on the other hand, is relatively slow in its hydrati- sation as it is a coarse type of cement, but on the downside it is dark and not very strong. The best solution would be a coarse- ly ground white cement comparable to that originally used by Sonne. Unfortunately, it is highly unlikely that such cement is available in Europe due to the standardization in the cement industry. Because of this, an alternati- ve solution is necessary: the many possibilities of cement additives such as retarders, micro fillers and plasticisers would have to be exa- mined. It would take a lot of testing to achie- ve the right result, but by using one of these materials it should be possible to create the ideal mixture. Advice should also be sought in other countries known for their use of ce- ment decorations such as Germany and Italy. Yet, as the cement intarsia technique is unique to Thorvaldsens Museum and is much more time consuming than e.g. the
que used in Italy, this may not be of any help. Once the most suitable materials have been found, these should be tested over a number of years. Through the making of samples, the materials should be tested out- doors for continuous evaluation of their be- haviour when exposed to atmospheric agents. If the chosen materials turn out to be durable, the reconstruction process could then be ini- tiated by reconstructing parts of the heavily deteriorated cement-plastered courtyard of Thorvaldsens Museum. This would help clari- fy whether it would be possible to reconstruct parts of the polychrome frieze. To find the right materials and to test them will undoub- tedly prove very time consuming. The pro- cess ought therefore to be initiated as soon as possible, so that the results may be availa- ble, if it is should be decided to reconstruct parts of the courtyard or the frieze. Sufficient time must be devoted to the evaluation of the materials, as it would be disastrous if mate- rials with significant weaknesses were chosen. Hopefully, Thorvaldsens Museum will now initiate new tests with suitable materials and with the unique cement intarsia technique. Having thus gained a fuller knowledge about the required materials and techniques, it will have prepared the ground for a partial or full reconstruction to be attempted by conserva- tors, a reconstruction which may restore glory not only to a remarkable museum building in Copenhagen, but also to one of Denmark’s most outstanding landmarks in time and space.
Mette Midtgård Madsen
cand.scient.cons. Odins Tværgade 2, 2.th 2200 København N mettemm@gmail.com
s onne ’ s F rieze
versus s alto
’ s r econstruction
81 BIBLIOGRAPHY Beton-Teknik 1980
“Portlandcementer”, Beton-Teknik 1.01.1978,
Aalborg, 6. Beton-Teknik 1990 “Portlandcementer”,
Aalborg, 1-20. Brajer, I. 2002
Bramsen, H. 1959
Bramsen, H. 1959 “Vor Bygningskunsts smertensbarn”, Berling- ske Tidende 23.10.1959, Copenhagen. Bruun, C. & Fenger, L.P. 1892
penhagen. Cement & Beton 2002 17. ed., Aalborg, 12. Engberg, J. 2005
Copenhagen. Feilden, B. M. 1982
Hald, P. 1959 “Sonnes Frise: Farver og farveproble mer”, Farveteknik i Løse Blade 39, Copenhagen. Hansen, J. 1959 “Erindringsbilleder omkring Sonnes Frise”, Meddelelser fra Thorvaldsens Museum Copenha-
gen, 5-12. Henderson, J. 2005
The Triumph of Art at Thorvaldsens Museum. “Løve” in Copenhagen, Copenhagen. Holm, J. F. 1850
Jørnæs, B. 1993
Copenhagen. Kruse, M. 1959
Moltesen, E. 1926
Copenhagen. Monrad, K. 1989
Hverdagsbilleder. Dansk guldalder – kunstnerne og deres vilkår, Copenhagen. Olesen, I.A. 1954 “Farvepudsteknikken”, Kunst 2/2, Copenha-
gen, 56-57. Olesen, I.A. 1959
“Frise-interiør”, Meddelelser fra Thorvaldsens Museum, Copenhagen, 81-90. Pedersen, J. 1959 “Husets Istandsættelse”, Meddelelser fra Thor- valdsens Museum, Copenhagen, 25-48. Politiken 1952 “Salto tager fat paa sit livs største opgaver”, Politiken 10.09.1952, Copenhagen,
5. Ravn, A. 1931
“Thorvaldsens Museums Facadebilleder. En
Redegørelse for arbejdet paa deres bevaring og rekonstruktion”, Meddelelser fra Thorvaldsens Museum, Copenhagen, 59-71. Ravn, A. 1959 “Hvorledes den nye Sonnes frise kom til verden - Forhistorien”, Meddelelser fra Thorvaldsens Museum, Copenhagen, 13-24. Risebye, E. 1959
“Om at leve eller dø i skønhed”, Med delelser fra Thorvaldsens Museum, Copenhagen, 49-74. Schultz, S. 1946 “En ny Teknik”, Omkring Sonnes Frise, Copen- hagen, 2-8. Schultz, S. 1948
“Et Omtumlet Hus”, Meddelelser fra Thorvald- sens Museum, Copenhagen, 49-70. Thorvaldsens Museum 1889
Thygesen, A.L. 1998 “Bindesbøll og de polykrome facader”, Med- delelser fra Thorvaldsens Museum, Copenhagen,
39-45. 82 M ette M idtgård
M adsen
Carlsen, M. 2007
Kopiering af moderne skulptur – analyse og
diskussion af kopiers funktion i museal sam- menhæng, Konservatorskolen. Det Kongeli-
ge Danske Kunstakademi, Copenhagen. Thiesen, Th. 1949
Fortegnelser over Kartoner til Sonnes Frise
optaget December 1949 af Vagtmester Th. Thiesen, Thorvaldsen Museums Arkiv, Co-
penhagen. Thorvaldsens Museum 1952 Thorvaldsens Museums budgetforslag 1951- 52: vedr. Restaureringen af Facaden og Son-
nes Frise. Thorvaldsen Museums Arkiv: Bilag nr. 1: Tidstavle vedrørende spørgsmålet om
restaurering af Thorvaldsens Museums faca- dedekorationer, herunder om fornyelse af
Sonnes frise, 20-26. Bilag nr. 3: Fortegnelse over bevillinger, givne af Københavns kom-
munalbestyrelse, til forsøg, forarbejder og re- staurering af de dekorerede gård- og gadefa-
cader på Thorvaldsens Museum, 36-37, Co- penhagen. Unpublished literature NOTES
1 Thygesen 1998, 39; Bramsen 1959, 96; Schultz 1948, 60; Christiansen 2000, 36-49. 2
3
Engberg 2005, 13-16, 22, 112, 115-116; Jørnæs 1993, 190-199; Bruun & Fenger 1892, 15-16. 4
Bruun & Fenger 1892, 7, 15, 19-20; Engberg 2005, 116; Henderson 2005, 37-38. 5
Bruun & Fenger 1892, 106. 6
Bramsen 1959, 87; Moltesen 1926, 30. 7 The Nazarenes were a group of young German artists who took a great interest in religious art. They wanted to create a new and pure art based on the old masters, and they extensively studied the old techniques in Italy – such as the fresco technique. 8 The busts were made by Thorvaldsen in 1839 and in 1842, respectively. 9 Henderson 2005, 47. 10 Engberg 2005, 125. 11 Bruun & Fenger 1892, 106-107, 117; Thiesen 1949, 1-30 (unpublished). 12 Holm 1850, 83-94. 13 Ravn 1931, 60. 14 Olesen 1959, 83-84; Ravn 1959, 20-23; Hansen 1959, 6-12; T. M. Budget proposal 1951-1952. Appendix 1, 24-26 (un- published). 15
Hald 1959, 9-11. 16
Pedersen 1959, 40. 17
There are also tracings of Sonne’s cartoons among these cellophane tracings. 18
Olesen 1954, 56. 19
Risebye 1959, 64; Brajer 2002, 76-79. 20
Olesen 1954, 56; Olesen 1959, 86. 21
The thin section analyses, which I have made of the frieze, have clearly shown that the whitish surface deposit, seen on the surface of the decayed panels, is a result of an overconcentration of exposed quartz granule on the surface, which is in turn the result of a washing out of pigments and binding agent from the surface. 22 International Centre for the Study of the Preservation and Restoration of Cultural Property, Rome. 23 Feilden 1982, 6. 24 Monrad 1989, 237. 25 Carlsen 2007, 82 (unpublished). 26 Politiken 10.09.1952. 27 It was not possible to determine the exact composition in 1950. One source states that PC(A) cement, from before 1978, consists of 55% Alite and 20% Belite. In: Beton-Teknik 1.01.1978. Rev 1980, 6. 28
The ABC cement from Aalborg Portland contains 63% Alite and 19% Belite. Cf. Cement og Beton 2002. 29 Beton-Teknik 1.01.1983 Rev. 1990, 11 30
Berlingske Tidende 23.10.1959. 31 Conversation with J. Urup 12.06.2007. 32 Bruun & Fenger 1892, 168. 33 Schultz 1946, 8. Download 339.37 Kb. Do'stlaringiz bilan baham: 
|