Conservation and Restouration of "Ekalli House"Athens,Greece 2009/2010.
Introduction
Wall paintings have been cultural expressions of human creation throughout history, from the
earliest beginnings, such as rock art, extending up to present day murals. Their deterioration,
accidental or intentional destruction constitutes a loss affecting a significant part of the world’s
cultural heritage. The Venice Charter (1964) has provided general principles for the
conservation-restoration of cultural heritage. The Amsterdam Declaration (1975) introducing
the concept of integrated conservation, and the Nara Document on Authenticity (1994) dealing
with cultural diversity, have expanded these principles. Taking into account these and
additional relevant contributions, such as the ICOM-CC Code of Ethics (1984), Document of
Pavia (1997), and E.C.C.O. Professional Guidelines (1997), the aim of this document is to
provide more specific principles for the protection, preservation and the conservationrestoration
of wall paintings. This document, therefore, reflects basic and universally applicable
principles and practices, and does not take into account particular problems of regions or
countries, which can be supplemented at regional and national level by providing further
recommendations where necessary.
Wall paintings have been cultural expressions of human creation throughout history, from the
earliest beginnings, such as rock art, extending up to present day murals. Their deterioration,
accidental or intentional destruction constitutes a loss affecting a significant part of the world’s
cultural heritage. The Venice Charter (1964) has provided general principles for the
conservation-restoration of cultural heritage. The Amsterdam Declaration (1975) introducing
the concept of integrated conservation, and the Nara Document on Authenticity (1994) dealing
with cultural diversity, have expanded these principles. Taking into account these and
additional relevant contributions, such as the ICOM-CC Code of Ethics (1984), Document of
Pavia (1997), and E.C.C.O. Professional Guidelines (1997), the aim of this document is to
provide more specific principles for the protection, preservation and the conservationrestoration
of wall paintings. This document, therefore, reflects basic and universally applicable
principles and practices, and does not take into account particular problems of regions or
countries, which can be supplemented at regional and national level by providing further
recommendations where necessary.
The richness of wall paintings is founded on the variety of cultural expressions, aesthetic
achievements, and the diversity of materials and techniques used from ancient until present
times. The following articles refer to paintings created on inorganic supports, such as plaster,
brick, clay and stone, and do not include paintings executed on organic supports, such as
wood, paper and canvas. Composite materials in many historic buildings need special
consideration outside the scope of this document. Architectural surfaces and their finishing
layers, with their historical, aesthetic and technical values have to be considered as equally
important components of historic monuments.
Wall paintings are an integral part of monuments and sites and should be preserved in situ.
Many of the problems affecting wall paintings are linked to the poor condition of the building or
structure, its improper use, lack of maintenance, frequent repairs and alterations. Also
frequent restorations, unnecessary uncovering, and use of inappropriate methods and
materials can result in irreparable damage. Substandard and inadequate practices and
professional qualifications have led to unfortunate results. It is for this reason that an
appropriate document covering the principles of proper conservation-restoration of wall
paintings is necessary.
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Introduction - "Ekalli House"
The comlex treatment required is finished in only nine months by Art Matters
company.It was a big challeng for any Decorative painter.It is a perfecte ex
ample of 19th century Greek House.
This has been especially true for wall paintings, where indeed a number of special
factors make it essential: their physical and aesthetic unity with the architecture;
their particular vulnerability, in that they constitute an extremely thin layer which
is itself the interface between the support and the environment; the limitations on
controlling potential agents of deterioration; and the scale and expense not only of
intervention, but also of study and monitoring.
Treatment results is based on the philosophy of Historical shape of 19th century
Greek period houses. The Selection of Wall Paintings are decided by arh. office
Mr.Kokinos and owner of the house.
Bedroom 'friz' was painted with small symbolic scenes - celebrated nude figures
of young atlets - the so called "Iguudi". The real purpose of these figures is dificult
to determinate. They represent the Neoplatonic idea of the ideal Man, which may
be right, since the 18th and 19th century.
Staircase ceiling shows the image of "Triumph of Venice". Mainly the influence
of Veronese work from Venice period. Light colours in motions.Gips frames are
painted in dark rose colour with golden details.Hard and smooth finish is made by
varnish "Pratt & Lambert"
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Management
_ the author(s) of the document
_ the building owner or the individual or group responsible for its care
_ the architect, surveyor and/or engineer Mr. Georgios Papadopoulos
_ the Interior Designer & Decorative Painter: Mr. Sin isa Prvanov
_ the conservation team NUTUA, National Technical University of Athens
