What is the restoration and conservation
work of art heritage?

First of all it consists in a natural reflex to fight against the degradation and destruction. It plays a key role in the affirmation of cultural identity of a country or region.
Secondly correspond it into an outlet of conscience on our cultural memory. Today there is agreement in principle on the need to restore rather than rebuild what has disappeared.
A good formula for restoration of ancient monuments and works of art in general will be to make them usable and functional but without altering their spirit, their architecture, their identity. Technically:

To do this it is necessary to have a human potential and structures adapted to these needs.

Restoration and its acceptance threshold

Before Restoration
After Restoration

It is underpinned by aesthetic criteria, he adds historical criteria,
geographical, ethnic, climatic and readability. That is why each case is a case
matter because it is difficult to have a general policy.
(Theater of Morlaix, Restoration of the curtain scene of the nineteenth century)

The conservation


It is strictly a cleaning, treatment, consolidations, polymerizations, refixings, and valued the work. (Virgin glory of the XVIe century, Plélo, Côte d'Armor)

The techniques and implemented must be based on respect for the former substance and authenticity. (Caen, Church of the old Saint Sauveur, Restoration of wall paintings and vaults of the nave, keystone XVIe century)

Studies Graphics

Legibility restorations

Generally, they consist of artistic drawings,
plans, elevations, recorded statements, statements projected
(Chapel of Sacré Coeur, raising state projected church of St. Etienne de Beauvais)

The need for power, while harmonizing, to distinguish the original parties who have had to be replaced and not to tolerate additions in respect of the work.
(Statue of st. François, XVIIe century, Pyrénées Orientales)

The reconstruction

Science and technology relief Heritage

The intervention

It is the mark of our time and must be approached with enormous caution.
(Connection moulding on a ridge, Senior altar XVIIe century, the church of st. Martin, Palalda, Pyrénées Orientales)

To erase the effects of ageing on our monuments, fresh techniques have been developed: the micro-sablage, laser, biomineralisation. (Laser cleaning, Tomb of "Raymond de la Porte" XIVe century, cathedral of Limoges)

It must respect the valid contributions of successive eras,
we must not fall into the temptation of misleading the unity of style.(Restoration of the master altar, XVII century, reassembled in the XIXe century, Lantic, Côte d'Armor)

Mechanical alterations

Some alterations weaken the artwork irreversibly.
Left unchecked on the parties reached, the work is lost.
(Restoring a bas-relief of the XVIIe century in marble, Cathedral of Bourges, Cher)

Bas-relief seen before intervention Collage fragments and
cleanup underway
Final state

Preventive conservation

We note for many years the scarcity of resources, too rarely
historic monuments department was able to intervene quickly to replace the
initiatives volunteers. Due to lack of expertise and information, prevention does
are not failed. (Restoration of the Madonna and Child XVe century in kersanton,
Basilica Folgoet, Finistère)

Views before intervention, structural deficiencies Final state

ARTS CULTURE & PATRIMOINE - BP 86 - Parc Technologique Lavaur La Bechade - 63503 Issoire Cedex
Tel : (33) 04 73 89 59 31 - Fax : (33) 04 73 89 28 74 - Mail : karoutzos.christian@wanadoo.fr