Palais de Compigne et chteau de Versailles, muses nationaux, France7-11 octobre 2014

Confrence internationale / International Conferenceicom demhist-arre

The Truth is rarely pure and never simple.

Oscar Wilde

Lauthenticit dans la conservation

des demeures historiques et chteaux-muses

Authenticity in the Conservation of Historic Houses

and Palace-Museums

3 Foreword

4 Compigne, Restitution and Its Nuances emmanuel starcky

5 session 1 Reconstruction, Restitution or Restoration: Its All in the Archives

5 Authenticity in the Restoration of Pavlovsk Palace from the Post-war Period to the Present Day alexey GuzanOv

6 The Reconstruction of the Royal Castle in Warsaw PrzemysaW mrOzOWski

7 Sixty Years of Lost and Regained Authenticity in Presentation of Historic Houses in the Czech Republic katerina cichrOv

8 The Quest for Authenticity in the Restoration of Champs-sur-Marne: The Cahen dAnvers Chteau renaud serrette and sbastien bOudry

9 Authenticity in Modern Museum Houses: Scope and Clarity of Interventions rOberta GriGnOlO

10 session 2 Spirit of Place

10 Historic House Museums in Italy: A New Frontier in Conservation silvia cecchini and lanfrancO seccO suardO

11 Twenty-Five Years of Changing Views on Authenticity Jurn buisman

12 Spirit of Place the Golden Thread That Runs through the Management of Historic Places sarah stanifOrth

13 Spirit of Place Re-kindled: The Temple Newsam Story ian fraser

14 session 3 Reconciling Authenticity and Museography

14 Authenticity Regained in the Lwenburg in Kassel: The Reconstruction of an Artificial Ruin. Possibilities and Limitations astrid arnOld-WeGener

15 Are Authenticity, Identity and Museography Compatible? El Escorial and Yuste Monasteries as Paradigms of Recreation and Authenticity Paz cabellO-carrO

16 session 4 Challenges and Theories

16 The Restitution of Former Historical States at Fontainebleau Jean-Pierre samOyault

17 Should the Chteau of Chambord Remain Empty? From a Historical Layout to Rational Refurnishing luc fOrlivesi

18 Authenticity in Palace-Museums: Versailles between the Ideal and the Possible batrix saule

19 Kirby Hall: A Methodology for Digital Anastylosis JOnathan GratiOn and dOuGlas caWthOrne

20 The Seventh Sense: Authenticity or What are the Consequences for the Gesamtkunstwerk Neues Palais in Potsdam? Gabriele hOrn and samuel WittWer

21 Reconstructing Authenticity: the Erimtan Archaeology and Arts Museum in the Ankara citadel aysen savas

22 Science or Faith? Doubtful Truths in House Museums linda yOunG

23 Workshops

25 Speakers and Moderators Biographies

sommaire contents

Avant-propos

Compigne, la notion de restitution et ses nuances emmanuel starcky

session 1 Reconstruction, restitution, restauration : une question darchives

Lauthenticit dans la restauration du palais de Pavlovsk, de laprs-guerre nos jours alexey GuzanOv

La reconstruction du chteau royal de Varsovie PrzemysaW mrOzOWski

Soixante ans dauthenticit perdue et retrouve dans les demeures historiques de la Rpublique tchque katerina cichrOv

La recherche dauthenticit dans le projet de restauration de Champs-sur-Marne : le chteau des Cahen dAnvers renaud serrette et sbastien bOudry

Authenticit dans les demeures-muses modernes : tendue et lisibilit des interventions rOberta GriGnOlO

session 2 Lesprit des lieux

Demeures-muses en Italie : une nouvelle frontire pour la conservation silvia cecchini et lanfrancO seccO suardO

Lvolution de la perception de lauthenticit : vingt-cinq ans dexprience Jurn buisman

Lesprit du lieu le fil rouge de la gestion des lieux historiques sarah stanifOrth

Lesprit dun lieu raviv : lhistoire de Temple Newsam ian fraser

session 3 Concilier authenticit et musographie

Authenticit retrouve du Lwenburg Kassel : la reconstruction dune ruine artificielle. Possibilits et limites astrid arnOld-WeGener

Authenticit, identit et musographie sont-elles compatibles ? Les monastres de lEscurial et de Yuste comme paradigmes de la reconstitution et de lauthenticit Paz cabellO-carrO

session 4 Dfis et thories

La restitution des tats historiques Fontainebleau Jean-Pierre samOyault

Le chteau de Chambord doit-il rester vide ? De lamnagement historique au remeublement raisonn luc fOrlivesi

Lauthenticit dans les chteaux-muses : Versailles entre lidal et le possible batrix saule

Kirby Hall : une mthodologie pour lanastylose numrique JOnathan GratiOn et dOuGlas caWthOrne

Le septime sens : lauthenticit ses consquences pour le Gesamtkunstwerk Neues Palais Potsdam Gabriele hOrn et samuel WittWer

Reconstruire lauthenticit : le muse dart et darchologie Erimtan au sein de la citadelle dAnkara aysen savas

Science ou foi ? Vrits incertaines dans les demeures-muses linda yOunG

Ateliers

Biographies des intervenants et des modrateurs

3avant-propos

Organise conjointement par le Comit International pour les Demeures Historiques-Muses (ICOM DEMHIST) et l Association des Rsidences Royales Europennes (ARRE), la confrence Lauthenticit dans la conservation des demeures historiques et chteaux-muses aura lieu du 7 au 11 octobre 2014 au palais de Compigne (France).

Pluridisciplinaire et internationale, cette confrence a pour ambition de contribuer au dbat sur lauthenticit dans la conservation des demeures historiques et chteaux-muses, dchanger sur la dfinition de cette notion ayant volu au fil du temps et de participer la diffusion de bonnes pratiques.

Pour explorer ce thme, le programme sera compos de deux journes de colloque au palais de Compigne, les 7 et 9 octobre et de trois journes de visites des rsidences parmi les plus emblmatiques dle-de-France, les 8, 10 et 11 octobre.

Le palais de Compigne, conu par Jacques-Ange Gabriel pour Louis XV, achev par Louis XVI, puis remeubl par Napolon Ier, illustre parfaitement la complexit de la notion dauthenticit dans la conservation lie, notamment, aux mul-tiples strates historiques. Les interventions du colloque seront assures par des spcialistes internationaux de divers hori-zons, chercheurs, praticiens et acteurs culturels. Quatre ate-liers constitueront galement un forum de discussion consa-cr plusieurs problmatiques relevant du thme.

Des visites exceptionnelles des anciennes rsidences de la monarchie, Compigne, Fontainebleau et Versailles, des ch-teaux du duc dAumale Chantilly et des Cahen dAnvers Champs-sur-Marne, de la forteresse de Pierrefonds restaure par Viollet-Le-Duc pour Napolon III et de la demeure prive du Fayel, permettront aux participants de discuter in situ de cas significatifs.

Cette rencontre sadresse aux professionnels, acteurs de la conservation des demeures historiques et chteaux-muses mais aussi un public plus large dsireux de se former.

Les interventions en franais ou en anglais seront traduites simultanment dans ces deux langues.

Foreword

Organised jointly by the International Committee for Historic House Museums (ICOM DEMHIST) and the Associa-tion of European Royal Residences (ARRE), the conference Authenticity in the Conservation of Historic Houses and Palace- Museums will take place from 7-11 October 2014 at the Palace of Compigne (France).

This multidisciplinary, international conference aims to contribute to the debate on authenticity in the conservation of historic house museums and palaces, to discuss how the idea has changed over time and to participate in the dissemination of best practices.

In order to explore the subject properly, the programme will last five days: two conference days at the Palace of Compigne on 7 and 9 October and three days visiting some of the most emblematic residences of the le-de-France region on 8, 10 and 11 October.

The Palace of Compigne designed by Jacques-Ange Gabriel for Louis XV, completed by Louis XVI, then refurbished by Napoleon I, perfectly illustrates the complexity involved in the notion of authenticity in conservation, particularly in rela-tion to multiple historical layers across time. Speakers at the conference will be international specialists, researchers, prac-titioners and professionals in the field. Four workshops will also provide a forum for discussion on specific subjects.

Exclusive visits to other significant sites in the region will enable participants to discuss the issues of authenticity that they raise: the former royal residences of Fontainebleau and Versailles; the Duke of Aumales castle in Chantilly and the Cahen dAnvers chteau in Champs-sur-Marne; the castle of Pierrefonds (restored by Viollet-Le-Duc for Napoleon III) and the privately-owned chteau du Fayel.

This meeting is for professionals employed in the field of his-toric house museum conservation and anyone who wishes to contribute to this fascinating subject at some of Frances most outstanding sites.

Presentations will be in French or in English and translated simultaneously into either of the two languages.

En couverture :

En haut droite : Neues Palais, Potsdam SPSGAu milieu gauche : Palais de Compigne, salon de Famille RMN-Grand Palais/Thierry OllivierAu milieu droite :Chteau de Versailles, salon des jeux de Louis XVI chteau de Versailles, Th. GarnierEn bas gauche : Polesden Lacey National Trust Images/John Millar

On the cover:

Top right: Neues Palais, Potsdam SPSGMiddle left: Palace of Compigne, Salon de Famille RMN-Grand Palais/Thierry OllivierMiddle right: Chteau de Versailles, salon des jeux (game room) of Louis XVI chteau de Versailles, Th. GarnierBottom left: Polesden Lacey National Trust Images/John Millar

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compigne, restitution and its nuances

emmanuel starcky

Pierre Verlets ideas on the restitution of a former historical state were implemented in the Chteau de Compigne as from the Second World War. He aimed to present only the objects, furniture and wall-hangings from a particular room at a given time, to the exclusion of any other contents. The period retained had to match the surviving wall coverings and the furnishings had to match them as well.

This approach to restitution, which was applied for the whole second half of the 20th century, aspired to a very pure kind of authenticity. However, it raised numerous questions: Where does authenticity begin and end? Today, this approach appears to have become more widely accepted, nonetheless, certain restitution policies can be called into question. The most obvious, controversial or dramatic cases concern the des-truction of existing decoration or ensembles on the pretext of creating a new, supposedly harmonious space from a chro-nological perspective, like in the Salle des Gardes. However, rigour and respect for what has been passed down to us, high standards and a desire to make the layers of time tangible have been the guiding principles behind the restoration of Empress Eugenies Salon de Th. These issues around restitution and authenticity have developed over time in Compigne and in other residences in France and abroad. It is therefore impor-tant today to consider the multiple layers of a code of conduct regarding authenticity. We believe that three essential ele-ments must be borne in mind when intervening on heritage sites: we must consider how posterity will view it, we must address the audience of today and clearly affirm that a respect for heritage and its development are not incompatible with the public interest.

compigne, la notion de restitution et ses nuances

emmanuel starcky

Au palais de Compigne fut mise en uvre, ds la Seconde Guerre mondiale, la conception de restitution dtats his-toriques, initie par Pierre Verlet, visant prsenter dans une salle les objets, meubles, tentures, ayant figur ensemble une date donne dans cet espace, lexclusion de tout autre objet. La priode retenue devait tre en correspondance avec le dcor mural subsistant, et lameublement devait saccorder ce dcor mural.

Cette conception de la restitution, applique pendant toute la seconde moiti du xxe, se fondait sur une aspiration une forme dauthenticit trs pure ; elle suscita nanmoins de nombreuses questions : o commence et o sarrte lau-thenticit ? Il apparat que cette notion a volu dans son acception. Certaines politiques de restitution peuvent tre aujourdhui remises en cause. Les cas les plus contestables et dramatiques concernent la destruction de dcors ou den-sembles existants sous prtexte de crer un nouvel espace, soi-disant harmonieux sur le plan chronologique, comme dans la salle des Gardes. En revanche, rigueur et respect de ce qui nous a t transmis, exigence et volont de rendre percep-tibles les strates du temps constituent les fils conducteurs qui ont guid la restauration rcente du Salon de th de limp-ratrice Eugnie. Ces questions de restitution et dauthenticit ont volu tant Compigne que dans dautres rsidences, en France comme ltranger. Aussi parat-il aujourdhui important daccepter une lecture plusieurs niveaux de cette dontologie de lauthenticit. Lors de toute intervention sur le patrimoine, trois paramtres essentiels nous semblent ainsi devoir tre pris en compte : envisager le regard de la postrit, sadresser au public daujourdhui et affirmer clairement que le respect et la mise en valeur du patrimoine ne sont pas oppo-ss aux intrts du public.

Palais de Compigne, salon de th de

limpratrice, aprs restauration en 2012

The Empress Salon de Th,

after restoration in 2012

Palais de Compigne, salle manger de lEmpereur, table dresse avec le Surtout des chasses Dining Room of the Emperor, table laid with the Surtout des chasses

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Session 1 Reconstruction, Restitution or Restoration: Its All in the Archives

authenticity in the restoration oF pavlovsk palace From the post-war period to the present day

alexey GuzanOv

Founded in 1777, Pavlovsk Palace belonged to Grand Duke Paul and his wife Maria Feodorovna. In 1782, they travelled to Europe under the names of Count and Countess du Nord using everything they had bought and received as gifts to fur-nish Pavlovsk in the most beautiful manner. After the 1917 Revolution, Pavlovsk Palace was nationalized and turned into a museum.

Between 1941 and 1944, Pavlovsk was occupied by the Ger-man and Spanish armies. In 1944, a fire raged for several days, destroying the palace, garden and park; all the pavi-lions, bridges, and statues were partly or completely damaged. 70,000 trees were cut down. In light of its great artistic and cultural value, it was decided to restore Pavlovsk Palace before opening it to visitors in 1957. Today, the Palace is still being restored. Pavlovsk has become a reference for cultural heri-tage preservation in Russia and a symbol of high professional skill. The restoration techniques of Pavlovsk Palace have been adopted as a model for the restoration of other sites. Pavlo-vsk provided the first school for postwar restorers and formed a team of researchers led by director A. Zelenova and Chief curator A. Kuchumov. They carefully developed a concept based on a painstaking study of archival documents, litera-ture, iconography, memoirs and other materials, restoring the integrity and artistic value of Pavlovsks interiors. Pavlovsk Palace Museum has therefore shaped fundamental principles of restoration in Russia. Today, Russia is still seeking ways to improve the preservation of its historic heritage. The ruins of some monuments still stand in Pavlovsk Park and many sculp-tures remain damaged, awaiting restoration.

Session 1 Reconstruction, restitution, restauration : une question darchives

lauthenticit dans la restauration du palais de pavlovsk, de laprs-guerre nos jours

alexey GuzanOv

Construit en 1777, le palais de Pavlovsk tait la proprit du grand-duc Paul et de son pouse Maria Feodorovna. En 1782, sillonnant lEurope sous les pseudonymes de comte et com-tesse du Nord, ils achetrent et reurent en cadeau de nom-breux objets dart qui servirent meubler magnifiquement Pavlovsk. Aprs la rvolution de 1917, le palais fut nationalis et transform en muse.

Entre 1941 et 1944, Pavlovsk fut occup par les armes alle-mandes et espagnoles. En 1944, un incendie de plusieurs jours dtruisit le palais, le jardin et le parc ; tous les pavillons, ponts et statues furent partiellement ou totalement endommags. 70 000 arbres furent coups. Du fait de son immense valeur artistique et culturelle, il fut dcid de restaurer Pavlovsk, pour le rouvrir au public en 1957. Aujourdhui encore, des restaura-tions sont toujours en cours dans le palais. Pavlovsk est devenu la fois une rfrence en matire de prservation du patrimoine culturel en Russie et le symbole dun haut niveau de profession-nalisme ; les techniques de restauration mises en uvre au palais de Pavlovsk servent de modle pour la restauration dautres sites. Pavlovsk a fond la premire cole de restaurateurs de laprs-guerre et form une quipe de chercheurs mene par A. Zele-nova, directeur, et A. Kuchumov, conservateur en chef. Grce une tude approfondie des documents darchives, de la littra-ture, de liconographie, des mmoires et autres tmoignages, ils ont dvelopp un concept de restauration veillant prserver lintgrit et la valeur artistique des intrieurs de Pavlovsk. Le palais-muse a ainsi particip la dfinition des principes les plus fondamentaux de la restauration. Aujourdhui, la Russie cherche toujours amliorer la prservation de son patrimoine historique. Les ruines de certains monuments se trouvent tou-jours dans le parc de Pavlovsk et de nombreuses sculptures en mauvais tat attendent encore dtre restaures.

Palais de Pavlovsk / Pavlovsk Palace Museum

Palais de Pavlovsk / Pavlovsk Palace Museum

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the reconstruction oF the royal castle in warsaw

PrzemysaW mrOzOWski

We could not talk of the restoration of the Royal Castle in Warsaw without the presence of the reintegrated original ele-ments. Following Polands extensive destruction during the Second World War, the preservation of authentic fragments became a central concern for the Polish school of restoration. Before 1939, neither the schools principles nor the funda-mentals of authenticity were clearly laid down. Thus, when the restoration of the Castle of Krakow was started after World War I and Renaissance elements were discovered, prio-rity was given to the stylistic unification of the whole building and original carved details were replaced.

The Royal Castle in Warsaw, razed to the ground in 1944 because it was a symbolic building, was reconstructed for the same reason. 35,000 original elements included during the reconstruction evidence its historic nature. Thanks to the elements salvaged during the war, some of the rooms have undergone an 80% historical reconstruction. In other rooms, the original elements have been used as a model. Generally, young Poles and visitors from abroad forget they are visiting a reconstruction, reflecting their perception that the Royal Castle of Warsaw is an original residence.

la reconstruction du chteau royal de varsovie

PrzemysaW mrOzOWski

On ne pourrait parler de restitution du chteau royal de Varso-vie sans la prsence dlments authentiques rintgrs. Dans la doctrine de lcole polonaise de restauration, lenjeu de la conservation des fragments authentiques est devenu primor-dial aprs la Seconde Guerre mondiale et les trs importantes destructions subies par la Pologne. Cette doctrine ntait pas, en effet, aussi clairement formule avant 1939 et le principe dauthenticit aussi fondamental. Ainsi, aprs la Premire Guerre Mondiale, la restauration du chteau du Wawel Cra-covie a entran la dcouverte dlments de la Renaissance. Il ft alors dcid de privilgier lunification stylistique de len-semble du btiment, conduisant au remplacement de dtails sculpts originaux mais postrieurs.

Le chteau royal de Varsovie, ras en 1944 du fait de sa sym-bolique, a t reconstruit pour la mme raison. Les 35 000 l-ments authentiques insrs lors de sa reconstruction attestent de son caractre historique. Dans certaines salles, les lments sauvs durant la guerre ont permis une restitution 80 %. Pour dautres pices, les lments originaux ont servi de modle. Mais en gnral, la jeunesse polonaise et les visiteurs trangers oublient quils visitent une reconstruction, ce qui confirme que leur perception du chteau royal de Varsovie est celle dune rsidence authentique.

La salle des Chevaliers / The Knights Hall

Le chteau royal de Varsovie / The Royal Castle of Warsaw

7 Session 1 Reconstruction, Restitution or Restoration

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sixty years oF lost and regained authenticity in presentation oF historic houses in the czech republic

katerina cichrOv

Motto: Each element of a historic interior carries an irrepla-ceable, multi-layered message for future generations

Castles and historic houses became the property of the Czechoslovak state after World War II, and nationalisation as of 1948. In accordance with act No.137/1946, the National Cultural Committee for State Cultural Property was establi-shed to classify the movable items in aristocratic residences between 1946-1951. In the period between 1953-1958, deci-sions about further distribution of the contents of many aristo-cratic mansions were made by the State Monument Manage-ment Department. It was recommended that some collections be kept in their original location; others were moved to diffe-rent former houses to be shown in special exhibitions. Objects were selected for presentation to the public from more than 100 aristocratic houses with approximately 1 000 000 movable items. Was any provision made to protect these objects, lifted out of their original context?

Not only was physical damage a risk, but the total loss of his-torical, religious and social context seriously compromised any presentation of them in an objective manner.

In the Czech Republic the contents of former aristocra-tic houses, tainted by their association with hostile original owners, were mostly dismantled. On the other hand, a very positive factor was the accurate documentation of the collec-tions. Fortunately, in the period of totalitarianism there were very limited financial resources for any inappropriate resto-ration.

Systematic restoration began after 1989, aiming to rehabilitate castles and houses to their full integrity. The work of multi-disciplinary teams is based on a philosophy of respect for the social aspect of things and the reversibility of used conserva-tion techniques.

soixante ans dauthenticit perdue et retrouve dans les demeures historiques de la rpublique tchque

katerina cichrOv

Devise : Chaque lment dun intrieur historique porte en lui un message irremplaable, fait de strates multiples, pour les gnrations futures .

Les chteaux et demeures historiques devinrent la proprit de ltat tchcoslovaque aprs la Seconde Guerre mondiale et les nationalisations inities en 1948. Conformment lacte n 137/1946, le Comit national culturel pour la proprit cultu-relle de ltat fut mis en place pour classer les pices meubles des rsidences aristocratiques entre 1946 et 1951. Dans la priode allant de 1953 1958, les dcisions concernant la rpartition future du contenu des nombreux manoirs aristo-cratiques furent prises par le Dpartement dtat de lAdmi-nistration des Monuments. Il tait conseill de maintenir cer-taines collections dans leurs lieux dorigine ; dautres furent transfres dans diffrentes demeures, en vue dtre prsen-tes dans des expositions spcifiques. Parmi une centaine de chteaux contenant approximativement 1 000 000 de pices meubles, un certain nombre dobjets furent slectionns pour tre prsents au public. A-t-on pris des dispositions pour protger ces objets, extraits de leur contexte originel ? Outre le risque de dommage physique, labsence totale de contexte historique, religieux et social compromettait srieusement toute prsentation objective de ces pices. En Rpublique tchque, les contenus des anciennes demeures aristocratiques, ptissant de leurs anciennes appartenances, furent pour la plupart dmantels. En revanche, la documentation prcise de ces collections constitua un facteur positif. La faiblesse des ressources financires durant la priode du totalitarisme permit heureusement dviter toute restauration inadapte. La restauration systmatique qui dbuta aprs 1989, visait restituer aux chteaux leur intgrit. Le travail des quipes pluridisciplinaires est fond sur une philosophie du respect de la dimension sociale des uvres et sur la rversibilit des techniques de conservation utilises.

Chteau de Hlubok, salon du matin, dtail des boiseries restaures Hlubok Castle, Morning room, detail of reconstructed panelling

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the quest For authenticity in the restoration oF champs-sur-marne: the cahen danvers chteau

renaud serrette and sbastien bOudry

Built in 1703, the Chteau of Champs was given to the State in 1935. Due to major structural failings, the chteau was closed to the public in 2006 for refurbishment. As it had been modernised on several occasions throughout its long history, it was important to consider the issue of historical authen-ticity before starting restoration work. Is it right to retain the 1980s presentation recalling an 18th century chteau with decorations and furniture that are not original; the 1960s renovations designed to welcome the foreign heads of state invited by General de Gaulle, and evoke modern history; or the layout designed by the last private owners at the beginning of the 20th century?

Extensive research (bibliographies, archives) enabled us

to collect a considerable amount of information about these different historical stages and therefore to choose the most appropriate layout to preserve the authenticity of the monu-ment. Despite the 1960s modifications, the layout put into place by the Cahen dAnvers family, owners between 1898 and 1935, seemed to be the most relevant as the original decora-tions and collections amassed by the family had been preser-ved. Hence, the chteau and its interiors were restored and refurnished from 2009 to 2013 according to documents col-lected relating to this period.

la recherche dauthenticit dans le projet de restauration de champs-sur-marne : le chteau des cahen danvers

renaud serrette et sbastien bOudry

Le chteau de Champs, construit en 1703 et donn ltat en 1935, est ferm au public en 2006 la suite dimportants dsordres structurels. La restauration requise est alors locca-sion dune rflexion sur lauthenticit de ltat historique pro-pos au visiteur. Faut-il reconduire la prsentation des annes 1980, voquant un chteau du xviiie sicle avec des dcors et un ameublement qui ne sont pas ceux dorigine ? Doit-on sappuyer sur les amnagements raliss dans les annes 1960 pour accueillir les chefs dtat trangers invits par le gnral de Gaulle, et voquer ainsi une histoire plus contemporaine ? Peut-on revenir aux amnagements voulus par les derniers propritaires privs au dbut du xxe sicle ?

Dimportantes recherches (bibliographiques, archivis-tiques) ont permis de considrablement documenter ces

diffrents tats historiques, et de se demander quel tait celui qui pouvait tre le plus juste par rapport lauthenticit du monument. Malgr les modifications des annes 1960, ltat lpoque de la famille Cahen dAnvers, propritaire de 1898 1935, est apparu comme le plus pertinent, grce la prserva-tion des dcors dorigine et des collections constitues par la famille. Lensemble a ainsi t restaur et remeubl de 2009 2013 selon la documentation scientifique rassemble sur cette poque.

Salle manger / Dining room

Salon chinois / Chinese room

Fumoir / Smoking room

9 Session 1 Reconstruction, restitution, restauration

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authenticity in modern museum houses: scope and clarity oF interventions

rOberta GriGnOlO

The issue of authenticity in the conservation of house museums is especially challenging in Modern houses. Based on the idea that musealisation is one of the most effective tools we have today to acquaint future generations with architec-tural interiors from the recent past, the paper explores seve-ral conservation approaches in musealisation of 20th century houses.

From the 1980s when architects started to be concerned about the survival of modern heritage to today, one can recognise a general trend towards a greater focus on mate-rial authenticity, but this direction of travel is strongly influenced by the cultural, social and legal context of the nation and the time in which the works take place.

The paper will address the issue of the scope of interventions aiming to transform private houses into house museums, as well as the question of pursuing a diversified strategy (conser-vation/restoration/reconstruction) in the same building. The case studies presented include the Sonneveld Huis in Rot-terdam by Brinkman and Van der Vlugt (1933), Le Corbusiers Maison La Roche-Jeanneret in Paris (1925), Mallet-Stevens Villa Cavrois in Croix (1932), Villa Necchi Campiglio in Milan by Piero Portaluppi (1933-35) and Erno Goldfingers 2 Willow Road House in London (1938).

Finally the paper will tackle the issue of the legibility of inter-ventions. It will explore and question the means to inform visitors about the restoration work undertaken and to give them clues to read the interventions.

authenticit dans les demeures-muses modernes : tendue et lisibilit des interventions

rOberta GriGnOlO

La question de lauthenticit dans la conservation des demeures-muses reprsente un vritable dfi pour les demeures modernes. Sappuyant sur lide que la musali-sation est actuellement lun des outils les plus efficaces pour familiariser les gnrations futures avec les intrieurs archi-tecturaux dun pass rcent, cette intervention explore plu-sieurs approches de conservation dans la musalisation des demeures du xxe sicle.

Des annes 1980 lorsque les architectes ont commenc sinquiter de la survie du patrimoine moderne nos jours, on constate une tendance gnrale davantage centre sur lau-thenticit du matriau, mais cette orientation est fortement influence par le contexte culturel, social et juridique du pays et de lpoque laquelle les travaux ont lieu.

Cette tude abordera les questions de la porte des inter-ventions visant transformer les demeures prives en demeures-muses, ainsi que celle de la poursuite dune stra-tgie diversifie (conservation/restauration/reconstruction) dans un seul et mme difice. Les tudes de cas prsentes seront la maison Sonneveld de Brinkman et Van der Vlugt Rotterdam (1933), la maison La Roche-Jeanneret de Le Cor-busier Paris (1925), la villa Cavrois de Mallet-Stevens Croix (1932), la villa Necchi Campiglio de Piero Portaluppi Milan (1933-35) et la maison du 2 Willow Road dErn Gold-finger Londres (1938).

Enfin, cette prsentation traitera la question de la lisibilit des interventions. Elle explorera et interrogera les moyens din-former les visiteurs sur les travaux de restauration entrepris pour les aider reprer les interventions.

Le Corbusier, maison La Roche, Paris (1925, transforme en 1936). La galerie aprs restauration des salles par Pierre Antoine Gatier (2005-2010) / Le Corbusier, maison La Roche, Paris (1925, changes in 1936). The Galerie after the interiors restoration by Pierre Antoine Gatier (2005-2010)

Erno Goldfinger, Maison 2 Willow Road, Londres (1938). Vue de lentre au rez-de-chausse/ Erno Goldfinger, 2 Willow Road House, London (1938). View of the groundfloor entrance

10

Session 2: Spirit of Place

historic house museums in italy: a new Frontier in conservation

silvia cecchini and lanfrancO seccO suardO

Since its national unification in 1860, Italy has developed a culture of conservation and relative legislation based on the notion of authenticity. Authenticity is validated through phi-lological and scientific verification carried out on the constitu-tive material of an object and on historical documents. Thus, Italy has found a distinctive approach reflecting its historical and cultural path.

From this concept, further theoretical reflection on conser-vation ensued, from Theory of Restoration written by Cesare Brandi in 1963 until the present time. However, already in the seventies one of Brandis pupils, Giovanni Urbani, expressed doubts about this concept of authenticity, thinking that it was symptomatic of trends at that time. With this critical aware-ness he started to work on planned and preventive conserva-tion, and this is now partially integrated into Italian law on the safeguard, conservation and enhancement of historical and artistic heritage in its natural context.

Until now the concept of authenticity, ascertained through philological and scientific means, has largely guided the conservation of monuments and of historic and artistic objects in Italian public museums; however, in recent years some rele-vant changes have taken place.

The historic house museum is increasingly a place for the deve-lopment of new approaches to museum management, with a focus on enhancement and communication, and an impact on conservation. The curators of historic houses museums must choose between the conservation of objects as unique speci-mens, such as works of art, and the preservation of the spirit of place. So what remains of Brandis ideas? Are they appli-cable to historic houses museums? Some recent cases illus-trate current developments in our approach to conservation.

Session 2 : Lesprit des lieux

demeures-muses en italie : une nouvelle Frontire pour la conservation

silvia cecchini et lanfrancO seccO suardO

Depuis son unification en 1860, lItalie a dvelopp une culture de la conservation et mis en place une lgislation reposant sur la notion dauthenticit. Celle-ci est vrifie au moyen de ltude approfondie de lobjet par lhistorien dart, de lanalyse scientifique des matriaux qui le constituent et de lexamen des documents historiques. Cest ainsi que se sont dfinis les traits distinctifs du parcours historique et culturel de lItalie.

Partant de ce concept, une nouvelle rflexion thorique sur la conservation, initie en 1963 par Cesare Brandi avec sa Thorie de la restauration, sest poursuivie jusqu nos jours. Cependant, ds les annes soixante-dix, un lve de Brandi, Giovanni Urbani, a mis en doute ce concept dauthenticit, au motif quil tait symptomatique des tendances de lpoque. Anim dun esprit critique, il a engag un travail de conser-vation planifie et prventive qui, depuis, a t partiellement pris en compte et intgr la loi italienne sur la sauvegarde, la conservation et la valorisation du patrimoine historique et artistique dans son milieu naturel.

Jusqu prsent, le concept dauthenticit, valid par ltude historico-artistique et lexamen scientifique, a orient la conservation des monuments, des uvres dart et des objets historiques dans les muses publics italiens ; ces dernires annes, on assiste toutefois des changements importants.

La demeure-muse historique est souvent devenue un lieu o se dveloppent de nouvelles approches de la gestion du muse qui, centres sur la valorisation et la communication, ont un impact sur la conservation des uvres. Les conserva-teurs des demeures-muses historiques doivent choisir entre la conservation dobjets considrs comme des spcimens uniques, telles les uvres dart, et la prservation de lesprit du lieu. Que reste-t-il donc des ides de Brandi ? Peuvent-elles tre appliques aux demeures-muses historiques ? Quelques exemples rcents illustrent lvolution actuelle de notre approche de la conservation.

11 Session 2 Spirit of Place

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twenty-Five years oF changing views on authenticity

Jurn buisman

Geelvinck Hinlopen Huis is a canal-side mansion in the area known as the Amsterdam Canal District, a UNESCO World Heritage Site. It dates back to 1687, when it was built for Albert Geelvinck and his young wife Sara Hinlopen, who were both important representatives of the Amsterdam city oligarchy. At the time, Amsterdam was the leading city of the Dutch Republic. In 1989, full renovation began to conserve and reconstruct the former splendour of the bel etage and the formal garden. The guidelines that served for this renova-tion were significantly different from those that would be fol-lowed today. In fact, the present design principles behind the museum format represent a near complete turnaround from those early years, when the focus was on objects (stressing aesthetics and authenticity) standing alone in a rather white cube decor. From now on, we try to capture the Spirit of the Place by primarily showing the history related to former inhabitants of the house and their extended families. From an emphasis on the authenticity of the objects, our museum has gradually moved to a focus on the authenticity of the sto-ries related to the place itself. This has seriously influenced our views on the museums collections. There is also a shift from the purely visual to a mixture of several senses, inclu-ding music, tasting etc. This expos will explain how views have changed with regard to the outside stakeholders of the house-museum.

lvolution de la perception de lauthenticit : vingt-cinq ans dexprience

Jurn buisman

Geelvinck Hinlopen Huis est un htel particulier situ le long dun canal dans le clbre quartier des canaux dAmsterdam, inscrit au patrimoine mondial de lUnesco. Il fut construit en 1687 pour Albert Geelvinck et sa jeune pouse Sara Hinlopen, tous deux reprsentants importants de loligarchie amstel-lodamoise ; lpoque, Amsterdam tait la ville dominante des Provinces-Unies. Une rnovation totale a t entreprise en 1989 afin dassurer la prservation du btiment et de res-tituer la splendeur dantan du bel tage et du jardin la franaise, selon des directives qui diffrent fortement de celles que lon suivrait aujourdhui. Dsormais, les principes qui guident le ramnagement du muse marquent un tournant radical par rapport au prcdent chantier o lattention tait porte sur les objets exposs de faon isole dans un dcor pur, qui mettait en avant leur esthtique et leur authenti-cit. Aujourdhui, on essaie en effet de saisir lesprit du lieu en voquant notamment lhistoire des anciens habitants de la demeure et de leur famille. Petit petit, le muse est pass dun accent mis sur lauthenticit des objets un autre mis sur lauthenticit des histoires du lieu lui-mme, ce qui a for-tement influenc la perception des collections du muse. On passe galement dune sollicitation purement visuelle lveil de plusieurs sens, notamment travers la musique, lexp-rience gustative, etc. Cette intervention expliquera comment les points de vue ont volu en tenant compte de la perception du public de la demeure-muse.

Geelvinck Hinlopen Huis, le salon chinois / Geelvinck Hinlopen Huis, the Chinese room

Geelvinck Hinlopen Huis, le jardin priv / Geelvinck Hinlopen Huis, the secluded garden

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Session 2 Lesprit des lieux

spirit oF place the golden thread that runs through the management oF historic places

sarah stanifOrth

Significance and spirit of place have long been vital concepts in understanding and looking after places of historic interest and natural beauty. The 1931 Athens Charter, 1964 Venice Charter and 1981 Burra Charter have informed and codified our conservation practice. The 2008 ICOMOS Quebec decla-ration on the preservation of the spirit of place has been parti-cularly helpful with its definition: Spirit of place (or genius loci) refers to the unique, distinctive and cherished aspects of a place. A short spirit of place statement for each National Trust property has been developed from the statement of signifi-cance, which defines what is unique and distinctive, and our insight into what visitors cherish about a place. This unders-tanding of spirit of place guides all activities to improve the quality of everything from conservation to presentation and interpretation, and from marketing to commercial activities in the shops and tea rooms. It is the golden thread that runs through good property management ensuring that all actions are respectful of and appropriate for the character of a place. Spirit of place brings together expert understanding of places with the views of a broad range of people who use the place.

lesprit du lieu le Fil rouge de la gestion des lieux historiques

sarah stanifOrth

La valeur et lesprit du lieu sont depuis longtemps des notions fondamentales la comprhension et la prservation des monuments historiques et des sites naturels. Les chartes dAthnes (1931), de Venise (1964) et de Burra (1981) ont influenc et codifi nos pratiques de conservation. Adopte en 2008 par lICOMOS, la dclaration de Qubec sur la sauve-garde de lesprit du lieu, qui dfinit lesprit du lieu (ou genius loci) comme rsidant dans lunicit, la particularit dun lieu et lattachement quil suscite, a t des plus utiles. Un bref mmoire sur lesprit du lieu a t rdig pour chaque pro-prit du National Trust partir du rsultat dune enqute qui dfinit ce qui est unique et particulier chaque lieu, et ce que les visiteurs y apprcient tout particulirement. Cette com-prhension de lesprit du lieu guide la mise en uvre dactions pour amliorer non seulement la qualit de la conservation, de la prsentation et de la mdiation, mais galement celle des activits commerciales et marketing dans les boutiques et salons de th. Cest le fil rouge qui permet la bonne ges-tion des proprits en sassurant que toutes les pratiques res-pectent le caractre dun lieu et sy accordent. Lesprit du lieu associe la comprhension experte des sites les divers points de vue des personnes qui en jouissent.

Hardwick Hall, vue de la cour Est Hardwick Hall from East Court

Kedleston Hall, vue de la faade Nord Kedleston Hall North Front

13 Session 2 Spirit of Place

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spirit oF place re-kindled: the temple newsam house story

ian fraser

Temple Newsam House, a Grade One Listed Building, is both one of the great historic houses of the UK and the most important under local authority governance.

Acquired by Leeds Corporation in 1922, with most of its his-toric collections already sold, it was developed as a museum of art, and all but one of its historic interiors were destroyed in the 1940s to create gallery spaces. In the early 1980s new research resulted in a programme to restore rooms to pre-1922 decorative schemes; the collecting policy was altered to reflect what the house contained whilst still in private ownership and, when possible, repatriating objects with a Temple Newsam provenance. This gradual restoration of the houses character has been welcomed both by public and academics alike.

This restoration has been achieved by; re-creating and furni-shing Temple Newsam interiors, and restoring the exterior; and by the ways that the Temple Newsam narrative is made accessible to as wide a range of users as possible. Because sur-viving evidence is uneven, the house has not been restored back to one specific date and there are anomalies, with, for example, room schemes that never existed at the same time. The author proposes that an equally rich visitor experience with enough authenticity has been achieved through meticu-lous research, conservation of evidence, restoration and the ways the Temple Newsam House narrative has been brought to life for visitors by curatorial, conservation and learning and access staff.

lesprit dun lieu raviv : lhistoire de temple newsam house

ian fraser

Temple Newsam House, monument historique class, est la fois une grande demeure du Royaume-Uni et la plus impor-tante tre rgie par une collectivit locale.

Lorsque la municipalit de Leeds rachte la demeure en 1922, la plupart de ses collections historiques ont dj t vendues. Elle est alors transforme en muse dart, et dans les annes 1940, tous ses intrieurs historiques, sauf un, sont dtruits pour crer des espaces musographiques. Au dbut des annes 1980, la suite de nouvelles recherches, un programme de restauration est lanc pour revenir des tats anciens ; la politique dacquisition est modifie afin de pouvoir voquer lameublement de la demeure lorsque celle-ci tait encore une proprit prive et rapatrier, dans la mesure du possible, les objets provenant de Temple Newsam. Cette restauration progressive du caractre de la demeure a t accueillie favo-rablement, aussi bien par le public que par la communaut scientifique.

Le chantier sest attach la reconstitution et au remeuble-ment des intrieurs, la restauration des extrieurs et la mise en uvre de moyens pour rendre lhistoire du lieu accessible au plus grand nombre. Parce que les tmoignages conser-vs sont ingaux, la demeure na pas t restaure en choi-sissant une date spcifique et certaines anomalies persistent, comme, par exemple, la coexistence de salles dpoques dif-frentes. Une exprience aussi riche et authentique que pos-sible est dsormais propose au public. Elle sappuie sur des recherches approfondies, la prservation des tmoignages, la restauration ainsi que sur les moyens employs par les quipes de conservation, restauration, mdiation et ducation, pour faire renatre lhistoire de Temple Newsam House.

Temple Newsam House vue de lest Temple Newsam House from the east

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Session 3: Reconciling Authenticity and Museography

authenticity regained in the lwenburg in kassel: the reconstruction oF an artiFicial ruin. possibilities and limitations

astrid arnOld-WeGener

Rare are the opportunities to reconstruct, restore and com-plete historic castle ensembles, consisting of wall-mounted decorations as well as of movable art objects. This is the case with the Lwenburg in Kassel. This artificial ruin, commis-sioned by Landgrave Wilhelm IX of Hesse-Kassel, and built from 1793 to 1801, was not only conceived as a point de vue in the vast baroque and English park Wilhelmshhe, but also as fictitious ancestral seat and burial place for the dynasty of Hesse-Kassel. Furnished in the traditional aristocratic style with ancient objects and furniture derived from different Hes-sian castles of which more than 80 % has still survived a sort of museum was created to illustrate the dynastic vene-rability. During the 20th century, serious damage and altera-tions were inflicted both on the architecture and the interior. Refurnishing carried out after the war was rather basic, taking into account only the museological aspects. Since 2006, diffe-rent methods to regain a more authentic monument have been discussed: should we reconstruct the monument as it was in 1800? Should we preserve the present state to illustrate the his-tory of the castle or refurnish the interior as it was during the Prussian age? This paper will illustrate the different aspects of our reasoning and present the chosen project to be realized in the future, with regard to the importance of authenticity.

Session 3 : Concilier authenticit et musographie

authenticit retrouve du lwenburg kassel : la reconstruction dune ruine artiFicielle. possibilits et limites

astrid arnOld-WeGener

Rares sont les occasions de pouvoir reconstruire, restaurer et achever un chteau historique dans son ensemble, son dcor et ses objets dart. Tel est le cas pour le Lwenburg Kas-sel. Cette ruine artificielle fut btie entre 1793 et 1801 la demande du landgrave Guillaume IX de Hesse-Kassel, non seulement comme point de vue sur limmense parc baroque et langlaise de Wilhelmshhe, mais aussi comme sige ances-tral et spulcre fictifs de la dynastie des Hesse-Kassel. Meubl dans la tradition aristocratique, le chteau fut richement dot dobjets et meubles anciens provenant de divers chteaux de Hesse (dont plus de 80 % ont t conservs) constituant une sorte de muse attestant de la tradition dynastique. Au xxe sicle, larchitecture et lintrieur du chteau ont subi dimportants dgts et transformations. Aprs la guerre, le remeublement a t conduit de faon plutt sommaire, en privilgiant uniquement les aspects musologiques. Depuis 2006, diffrentes mthodes sont discutes pour retrouver un monument plus authentique : faut-il le reconstruire dans son tat 1800 ? Faut-il prserver son tat actuel pour tmoigner de lhistoire du monument ou remeubler lintrieur tel quil tait lpoque prussienne ? Cette intervention expliquera les dif-frents aspects de notre raisonnement et prsentera le projet qui sera ralis, au regard de limportance de lauthenticit.

Vue sud-ouest du Lwenburg The Lwenburg from South-West

15 Session 3 Reconciling Authenticity and Museography

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are authenticity, identity and museography compatible? el escorial and yuste monasteries as paradigms oF recreation and authenticity

Paz cabellO-carrO

El Escorial Monastery maintains its monumental 16th century structure, but its interior has been repeatedly transformed by the different kings. The public identifies it with its founder, Phillip II, and expects to meet with the king. But isnt this an expectation generated by museologists that has become gene-rally accepted?

At the beginning of the 20th century, when El Escorial was still the property of the Crown, one of its officers and the reigning monarch himself suggested a reform to open part of the buil-ding to the public, linking it with its founder, the most power-ful king in Spanish history. The Palace of the Habsburgs was stripped of its tapestries and other Bourbon decorations to rebuild what could have been the Palace of Phillip II. It has always been the most visited area and many generations of Spaniards associate it with the king. In contrast, the Bourbon wing of the Palace, which maintains its original structure and decorations, is seldom visited and often closed to the public who lack interest in it. The bold historical recreation of past times has become authentic, while the authentic rooms are sometimes difficult to display. A similar case is the recovery of Yuste Monastery, where Charles V decided to retire and died. This is the only monument in European collective memory that is associated with the Emperor.

An old building needs to convey its identity and history to the public through its furniture and decorations. Unfortuna-tely, most of them have deteriorated or have been lost over the years, making it difficult for museologists to link the past to contemporary audiences.

authenticit, identit et musographie sont-elles compatibles ? les monastres de lescurial et de yuste comme paradigmes de la reconstitution et de lauthenticit

Paz cabellO-carrO

Si le monastre de lEscurial conserve sa structure monumen-tale du xvie sicle, son intrieur a t transform maintes reprises par les diffrents rois. Le public lidentifie son com-manditaire, le roi Philippe II, et sattend ly croiser. Mais nest-ce pas juste un besoin cr par les musologues qui a t pleinement accept ?

Au dbut du xxe sicle, alors que lEscurial tait toujours la proprit de la Couronne, un de ses officiers et le monarque de lpoque proposrent une rforme afin douvrir au public une partie du btiment, le liant avec son commanditaire, le roi le plus puissant de lhistoire espagnole. Les tapisseries et autres dcors bourboniens du palais des Habsbourg furent enlevs pour restaurer ce qui avait probablement t le palais de Philippe II. Cette partie, que de nombreuses gnrations dEspagnols associent au roi, a toujours t la plus visite. En revanche, laile du palais, qui conserve une grande partie de son dcor et de son mobilier du temps des Bourbons, ne reoit que peu de visiteurs et est souvent ferme au public, qui ne semble gure intress. Laudacieuse reconstitution histo-rique du pass est devenue authentique, alors que les appar-tements authentiques semblent difficiles prsenter au public.

Il en va de mme pour la restauration du monastre de Yuste, o Charles Quint se retira jusqu sa mort. Ce monument est le seul que la mmoire collective europenne associe lem-pereur.

Cest grce son mobilier et ses dcors quun ancien bti-ment peut transmettre au public son identit et son histoire. Malheureusement, la plupart se sont dtriors ou ont t per-dus au fil du temps, rendant difficile pour les responsables des lieux dtablir un lien entre le pass et le public daujourdhui.

Les appartements privs de Philippe II aujourdhui / Philip IIs private apartments today

Vue de lEscurial / View of El Escorial

16

Session 4: Challenges and Theories

the restitution oF Former historical states at Fontainebleau

Jean-Pierre samOyault

The restoration of the apartments of ancient French royal or imperial castles has only been an issue due to the nume-rous alterations carried out after the fall of Napoleon III. The third Republic and its civil servants did everything possible to deform the interior decoration preferred by the emperor, to such an extent (furniture was redistributed, sold or put into storage, or taken by the Mobilier national), that these palaces became, in part, museums of the decorative arts, complying with the taste of their successive curators.

Scientific studies drew attention to this misguided trend and put forward the idea of recreating the surroundings of a particular sovereign at a given time as authentically as pos-sible in order to show the public what a residence used to be like, which rooms were the most important, life at Court, etc. In order to achieve this, restoration policies had to be based on history, on the interior decoration and the survi-ving collections.

At Fontainebleau after 1965, it became obvious after some trial and error, that guiding principles needed to be establi-shed and these led to some informed choices: priority was given to the existing interior decoration over furniture and to the concept of an apartment as opposed to a room in isolation; wall hangings were rewoven; it was suggested that different decors be presented in succession in certain cases, any idea of superposing or mixing former states was refuted; a complete ensemble of decoration and furniture was favoured over an

incomplete one; it was, in a word, a quest for the most accurate historical truth possible.

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Session 4 : Dfis et thories

la restitution des tats historiques Fontainebleau

Jean-Pierre samOyault

La question de la restitution des appartements des anciens chteaux royaux ou impriaux franais ne sest pose quen raison des vicissitudes quils ont connues depuis la chute de Napolon III. La IIIe Rpublique et ses fonctionnaires avaient tout fait pour dnaturer les amnagements voulus sous le rgne (dispersion et alination de meubles, ponctions du Mobilier national, mises en rserve) si bien que ces chteaux taient devenus, du moins en partie, des muses dart dcora-tif rpondant au got des conservateurs successifs.

Des travaux scientifiques attirrent lattention sur cette drive et suggrrent de recrer le cadre de vie de tel ou tel souve-rain un moment donn de la manire la plus authentique possible, pour faire comprendre au public ce qutait autrefois une rsidence, quelle tait la hirarchie des pices, comment sorganisait la vie de cour. Pour ce faire, la politique de resti-tution devait se fonder sur lhistoire, sur le dcor intrieur et sur les collections conserves.

Fontainebleau aprs 1965, il a paru ncessaire, aprs des ttonnements, dtablir des principes qui ont dtermin des choix rflchis : primaut du dcor mural existant sur les tats mobiliers, primaut de la notion dappartement sur celle de la pice isole, retissage des soieries, proposition de prsentation dtats mobiliers par roulement dans certains cas prcis, refus des superpositions dtats, primaut dun ensemble mobilier complet sur un ensemble incomplet, en un mot recherche de la vrit historique la plus exacte possible.

Chteau de Fontainebleau, salon des tapisseries The Tapestries Room

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should the chteau oF chambord remain empty? From a historical layout to rational reFurnishing

luc fOrlivesi

If we adhered to popular opinion, the chteau of Cham-bord would be empty and all the more charming for it. Let us consider the different elements that have influenced this so-called emptiness.

To what extent has history played a role, from the construc-tion of the castle in the 16th century to its acquisition by the State in 1930? And what about its successive administrators, each with their own ideas about furnishing some rooms and leaving others empty?

Whether the chteau of Chambord should remain empty is not simply a theoretical question but also one that needs to be considered from the perspective of cultural heritage media-tion. It is difficult to create a narrative for the public when the thought process behind different approaches is not clear and has varied constantly over the decades, leaving behind evi-dence of these discrepancies. It is also important to remember that the original work of art is the castle itself with its power-ful and distinctive architecture, set in the heart of its estate. Its different sovereigns and occupants have been careful to pre-serve the castle as it was originally, making only slight altera-tions in order to respect the initial design of Francis I. As the National Estate of Chambord implements its scientific and cultural policy, all these points require a clear and balanced position.

le chteau de chambord doit-il rester vide ? de lamnagement historique au remeublement raisonn

luc fOrlivesi

Si lon sen tient une opinion commune, le chteau de Cham-bord serait vide et cette situation ajouterait son charme Il

me semble utile de revenir en dtail sur cette vacuit res-sentie en analysant plusieurs lments de rponse.

Quelle part de cette situation ressortit lhistoire du chteau, de sa construction au xvie sicle son acquisition par ltat en 1930 ? Quelle part relve de la volont des gestionnaires successifs de prsenter des salles vides ou den amnager cer-taines ?

Cette question, qui ne pourrait tre que scientifique, touche galement la mdiation patrimoniale. Comment construire un discours pour les publics, si les bases de rflexion ne sont pas sres et quelles ont fluctu au fil des dcennies en laissant dans les salles des traces visibles de ces variations ? Il est une autre donne ne pas oublier dans ce dbat : luvre dart initiale, cest dabord le chteau au cur de son domaine et son architecture dont la puissance et la singularit ont incit les souverains et les occupants successifs respecter le choix initial de Franois Ier pour ne le corriger ou le parachever qu la marge. Autant de points sur lesquels une position quilibre et claire est attendue, au moment o le domaine national de Chambord met en uvre son projet scientifique et culturel.

Chteau de Chambord. Premier tage, appartement de parade, vue du salon de compagnie, tat vers 1750, restitution contemporaine / First floor, ceremonial apartment, view of the Salon de compagnie as it was ca. 1750, contemporary recontruction

Chteau de Chambord. Deuxime tage, vue du double escalier et des votes caissons sculpts / Second floor, view of the double staircase and of the sculpted coffered-vaults

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authenticity in palace-museums: versailles between the ideal and the possible

batrix saule

Conservation and transmission are the fundamental aims of a curator or an architect in charge of historical heritage. Eve-rywhere, time has taken its toll through a process of ageing, making the replacement of materials inescapable. As living spaces, palaces have undergone transformation by the succes-sive owners that have lived there. In addition, Versailles has been subjected to a series of changes that today need to be addressed with a campaign of restoration and refurnishing. The definition of the ideal historical phase to be reinstated has gradually become clearer over the 20th century and is still relevant now. The question of authenticity is at the heart of debates around intervention and museography.

These projects concern three chteaux, two gardens and a park for which the accepted historical states of reference are diffe-rent but the aims are the same: to achieve an ideal, coherent, beautiful and intelligible state. The method is based on histori-cal knowledge enriched by abundant sources in order to unco-ver as accurately as possible what has gone before. Ideally, this research leads naturally to a project and its implementation.

But this passage from historical research to the project itself raises a whole series of questions related to the sources (gaps, information that is hard to understand and even contradic-tory), the real condition of the monument and collections as opposed to the original, the continued existence (or not) of certain ancient arts and crafts, the need for protection against environmental damage particularly in a context of high visitor traffic, the desire to communicate to a wide variety of visitors. Hence, the original material authenticity can be enhanced by other sorts of authenticity, through materials which are alike and of similar provenance or similarity of form and spirit. What can these alternative forms of authenticity be and how can they be implemented?

lauthenticit dans les chteaux-muses : versailles entre lidal et le possible

batrix saule

Conserver et transmettre est la base du mtier des conserva-teurs et architectes en charge de tout patrimoine historique. Partout le temps a fait son uvre par le vieillissement, rendant les remplacements de matire inexorables ; et les chteaux, tant des lieux de vie, ont t lobjet de transformations au gr de leurs propritaires successifs. Mais Versailles a, de surcrot, subi un enchanement de mutations qui impose aujourdhui des campagnes de restitution et de remeublement. La dfi-nition dtats idaux retrouver sest peu peu dgage au cours du xxe sicle et continue de slaborer. La question de lauthenticit est au cur des dbats qui nourrissent les pro-jets dinterventions et de musographie.

Ces projets concernent trois chteaux, deux jardins et un parc pour lesquels les tats historiques de rfrence dsor-mais admis sont diffrents, mais dont lobjectif est identique : tendre vers un tat idal, cohrent, beau et intelligible. La mthode se fonde sur la connaissance historique, nourrie de sources abondantes, pour retrouver au plus prs ce qui a pu tre. Dans lidal, de cette recherche, le projet et sa ralisation sinduisent naturellement.

Mais ce passage de la recherche historique au projet laisse tout un champ dinterrogations qui tiennent aux sources (lacunaires, difficiles interprter, voire contradictoires), la confrontation avec ltat rel du patrimoine et des collec-tions, la survivance incertaine des anciens mtiers dart, la ncessit de protger contre les atteintes climatiques (ou cologiques) et dans un contexte de haute frquentation, la volont de faire comprendre une grande diversit de publics De ce fait, lauthenticit matrielle, originelle,

senrichit dautres formes dauthenticit, par quivalence de provenance et de matriau, par identit de forme et desprit : quelles peuvent-elles tre ? Et quels sont les moyens de leur mise en uvre ?

La chambre de Madame Adlade / Madame Adelaides Bedchamber

Le grand cabinet de Madame Victoire / Madame Victoires Assembly Room

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kirby hall: a methodology For digital anastylosis

JOnathan GratiOn and dOuGlas caWthOrne

Kirby Hall in Northumberland is a place that time seems to have forgotten. Once the grand backdrop to the lives of the Hatton family and the stage of several Royal visits, it fell into a gentle form of decline when the family preferred using their other houses in the 19th century.

Although partly roofless it is now a wonderfully romantic site, rich with history and some of the most spectacular Elizabe-than and Jacobean architectural details one could hope for.

The current research project is a cooperation between English Heritage and De Montfort University which focuses on this property and the possibilities of combining conservation theory with the newest techniques in digital 3D modelling. The conservation theory developed by Cesare Brandi com-bined with the London Charter for the computer-based visualisation of cultural heritage are the foundations of the methodology used in this research. The paper will explore the methodology as it relates to Kirby Hall, with special attention given to how Authenticity and Spirit of place relate to this newest addition to the conservators toolkit.

Virtual conservation and restoration offer several advantages that are worthwhile considering when exploring conservation options. A key aspect in this approach is the fact that issues related to reversibility and physical intervention do not come into play. Another important aspect is the financial impact which is marginal compared to a traditional conservation pro-ject on this scale. The virtual reconstruction that comes out of the research is a flexible product. It can be adjusted and updated over time as new facts come to light. It is also a great tool to use for public engagement, making the most of what current advances in mobile technologies have to offer.

kirby hall : une mthodologie pour lanastylose numrique

JOnathan GratiOn et dOuGlas caWthOrne

Kirby Hall, situ dans le Northumberland, est un lieu que le temps semble avoir oubli. Autrefois rsidence de la famille Hatton o plusieurs visiteurs royaux ont sjourn, le manoir a doucement sombr dans loubli lorsque la famille a prfr se servir de ses autres demeures au xixe sicle.

Bien quune partie de son toit ait disparu, cest aujourdhui un lieu extrmement romantique, charg dhistoire et qui compte un nombre de dtails architecturaux parmi les plus spectacu-laires des poques lisabthaine et jacobenne.

En coopration avec lEnglish Heritage et luniversit De Montfort, le projet de recherche actuel sintresse cette proprit et aux possibilits dassocier la thorie de la conser-vation aux dernires techniques de modlisation numrique 3D. La thorie de la conservation dveloppe par Cesare Brandi et la Charte de Londres pour la visualisation informa-tise du patrimoine culturel sont les fondements de la mtho-dologie utilise pour cette recherche. Cette intervention tu-diera la mthodologie applique Kirby Hall, en accordant une attention toute particulire la faon dont lauthenti-cit et lesprit du lieu trouvent leur place dans ce nouvel outil des restaurateurs.

La conservation et la restauration virtuelles offrent plusieurs avantages qui valent la peine dtre pris en compte lorsque lon explore des options de conservation. Un aspect essentiel de cette approche est le fait que les problmes lis la rversi-bilit et lintervention physique nentrent pas en jeu. Un autre aspect important est limpact financier, minime compar celui dun projet de restauration traditionnel de mme chelle. La reconstruction virtuelle qui ressort de cette recherche est un produit flexible qui peut tre adapt et mis jour au fil du temps, mesure que de nouveaux faits sont dcouverts. Cest aussi un excellent outil pour dvelopper des actions destination du public et qui tire profit de ce que les progrs actuels en technologies mobiles ont offrir.

Kirby Hall, Northamptonshire, vue extrieure depuis le parterre

Kirby Hall, Northamptonshire, Exterior viewed from the parterre garden

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the seventh sense: authenticity or what are the consequences For the gesamtkunstwerk neues palais in potsdam?

Gabriele hOrn and samuel WittWer

The word authenticity is very often used to justify deci-sion-making in the process of restoration or reconstruction. Authenticity is used in the modern Western world in order to describe our ethics of preservation, to legitimate our deci-sions, and to distance ourselves from other ethics of restora-tion and reconstruction concepts. This lecture will focus on the building complex exterior and interior - of the Neues Palais (New Palace) in Sanssouci Park in Potsdam, Ger-many. What does it mean to describe the Neues Palais as a Gesamtkunstwerk in our times? The Neues Palais is a mish-mash of styles, and as such it has become an authentic testi-monial not of one time, but of a specific historical process. Visitors want to learn about the history or the individual fate of a house in some sort of time travel, but they may have other motivations, too: to enjoy an aesthetic experience, to feel the aura of a place formerly inhabited by historic personalities they have heard of, to dream in a nostalgic way of another time, or simply to visit a must-see place. Using the Neues Palais in Sanssouci gardens as an example, the lecture will dis-cuss the authenticity conflict between architects, restorers and curators, between historical record and expectation, between the material and the perceived, between the technical and ideological limits of a restoration.

le septime sens : lauthenticit ses consquences pour le gesamtkunstwerk neues palais potsdam

Gabriele hOrn et samuel WittWer

Le mot authenticit est trs souvent utilis pour justifier les dcisions prises au cours dune restauration ou dune reconstruction. Le monde occidental moderne a recours lauthenticit pour dcrire ses thiques de prservation, lgi-timer ses dcisions et se distancer des autres thiques rela-tives aux notions de restauration et de reconstruction. Cette intervention traitera de lensemble des btiments int-rieurs et extrieurs du Neues Palais (Nouveau Palais) dans le parc de Sanssouci Potsdam en Allemagne. Que veut-on dire aujourdhui lorsque lon dcrit le Neues Palais comme un Gesamtkunstwerk ? Le Neues Palais est un mli-mlo de styles, ce qui en fait un tmoignage authentique, non pas dune seule et mme poque, mais de tout un processus histo-rique particulier. Les visiteurs veulent connatre lhistoire ou le destin singulier dune demeure travers une sorte de voyage dans le temps, mais ils peuvent galement avoir envie de pro-fiter dune exprience esthtique, de sentir latmosphre dun lieu autrefois habit par des personnalits historiques dont ils ont entendu parler, davoir la nostalgie dune autre poque, ou de simplement visiter un lieu incontournable. Cette inter-vention sappuiera sur le Neues Palais pour tudier le conflit de lauthenticit entre architectes, restaurateurs et conserva-teurs, entre archives et attentes, entre matire et perception, entre limites techniques et idologiques dune restauration.

Neues Palais, salle de concert, Unteres Frstenquartier, ca. 1960 Neues Palais, Concert Room, Unteres Frstenquartier, ca. 1960

Neues Palais, salle de concert, Unteres Frstenquartier, ca. 1900 Neues Palais, Concert Room, Unteres Frstenquartier, ca. 1900

21 Session 4 Challenges and Theories

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reconstructing authenticity: the erimtan archaeology and arts museum in the ankara citadel

aysen savas

Three modest late 17th-century houses, partly destroyed after a severe fire and years of neglect, were transformed into the Erimtan Museum in the Citadel of Ankara. The major goal of the architectural and museographical interventions was the preservation of the historical and material qualities of the exis-ting houses and the surrounding historical fabric. Common conventions of restoration projects, such as the conservation of authentic details, the respect of construction techniques and the honesty of new additions were the guiding rules. If the old houses were authentic, their reconstructed ver-sion was based on a body of information about the functio-nal layout, architectural details and materials. This effort to preserve the historical houses highlights specific issues about authenticity itself. The act of preservation, as indicated in this example, can involve an intricate process which changes as the meaning of the term authenticity shifts from the recons-truction of a building to the reconstruction of an architectural artefact in a museological context. The study focuses on this transformation. The museographical layouts of the Erimtan Museum will demonstrate the changes affecting the notion of authenticity in museum architecture.

reconstruire lauthenticit : le muse dart et darchologie erimtan au sein de la citadelle dankara

aysen savas

Situes dans la citadelle dAnkara, trois demeures modestes de la fin du xviie sicle, en partie dtruites par un violent incendie et des annes de ngligence, ont t transformes pour abriter le muse Erimtan. Les interventions architec-turales et musographiques avaient pour principal objectif de prserver la valeur historique et matrielle des demeures existantes et le cadre des btiments historiques environnants. Les principes relatifs tout projet de restauration, tels que la conservation des dtails authentiques, le respect des tech-niques de construction, ainsi que la visibilit des adjonctions nouvelles, ont t suivis. Si les anciennes demeures ont t conues comme authentiques , leurs versions reconstruites sappuient sur un corpus dinformations prenant en compte lamnagement fonctionnel dorigine, les dtails architectu-raux et les matriaux. Cet effort pour prserver les demeures historiques souligne les problmes spcifiques lis lauthen-ticit. La prservation, comme dmontr dans cet exemple, peut entraner un processus volutif, tout comme la signifi-cation mme du terme authenticit qui change selon quil sapplique la reconstruction dun btiment ou la cration dun objet architectural dans un contexte musologique. Cette tude sintresse cette transformation. Les amnagements musographiques du muse dErimtan tmoignent des chan-gements qui affectent la notion dauthenticit dans larchitec-ture des muses.

Muse Erimtan, dessin de la faade ouest / Erimtan Museum, West faade drawing

Muse Erimtan, dessin de la faade ouest 2 / Erimtan Museum, West faade drawing 2

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Session 4 Dfis et thories

science or Faith? doubtFul truths in house museums

linda yOunG

Close evaluation of the standards of authenticity in house museums can make a rational person very uneasy. Conside-ring the houses of famous people, we find many dubious cases touching on the actual building, or the time period, when the great resident inhabited the house. Houses have often been altered considerably since the time of famous occupation, to the point of demolition and reconstruction; yet they are deemed suitable for museumization. We often find that the great resident passed a very short period of time in residence, but this is evidently not a problem in the museumizing pro-cess. Some famous characters are commemorated in multi-ple house museums, which surely exaggerates the impact of a home on the persona, or the degree of significance of a single famous person. After all, how many house museums does a national hero or heroine need or merit?

This paper surveys the history of a number of house museums dedicated to famous people in the UK and the USA, gene-rically referred to as culture heroes (called by others cele-brities or personalities). The evidence suggests that the concept of authenticity contains a spectrum of meanings in various contexts, stretching between the poles of faith and science. What matters, therefore, is less an absolute standard of authenticity, and more an understanding of the expec-tations brought by managers and visitors to each site. In the light of inconsistent practice, is the notion of authenticity more aesthetic than substantial?

science ou Foi ? vrits incertaines dans les demeures-muses

linda yOunG

Nimporte quelle personne sense peut tre dconcerte en examinant avec attention les critres dauthenticit dans les demeures-muses. En effet, si lon regarde les rsidences des personnes clbres, on y trouve de nombreuses incohrences entre le btiment actuel et lpoque laquelle y rsidaient ces grands personnages. Depuis, ces demeures ont souvent t considrablement transformes, voire dtruites et recons-truites ; toutefois elles sont juges bonnes pour la musifica-tion. Nous dcouvrons souvent que cette minente personne ny a rsid que trs peu de temps mais de toute vidence, cela ne pose aucun problme au processus de musification. Cer-taines personnes clbres sont mises lhonneur dans de nom-breuses demeures-muses, ce qui amplifie coup sr limpact dune demeure sur le personnage, ou le degr dimportance de ce dernier. Aprs tout, de combien de demeures-muses une hrone ou un hros national a-t-il besoin, ou combien en mrite-t-il ?

Cette intervention passe en revue lhistoire dun certain nombre de demeures-muses ddies des personnes clbres au Royaume-Uni et aux tats-Unis, communment appeles culture heroes (ou encore clbrits ou personnalits ). Les tmoignages laissent entendre que le concept dauthen-ticit possde un ventail de sens dans plusieurs contextes, allant de la foi la science. De fait, ce qui compte, ce nest pas vraiment une norme absolue dauthenticit , mais plutt une comprhension des attentes des visiteurs envers chaque site. Au regard de pratiques incohrentes, la notion dauthen-ticit nest-elle pas plus esthtique que raisonne ?

Cottage du Capitaine Cook, Melbourne. Quest-ce quun cottage du Yorkshire dlocalis peut voquer aux Australiens ? (autocollant de 1970 : collection de lauteur) Captain Cooks Cottage, Melbourne. What can a relocated Yorkshire cottage say to Australians? (1970 sticker: authors coll.)

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Workshops

workshop 1: sustainable development and authenticity

edWard bOsley

This year, California has experienced the lowest rainfall since the 1920s, and average temperatures from January through May produced the hottest string of months the state has endured since 1895. Severe drought has affected every corner of the state for three years. As global climate change causes increasing environmental concern, what is the role of the house museum in balancing environmental responsibility with authenticity and the institutions broader educational mission? Using the Gamble House in Pasadena (California) as a point of departure, this workshop will address issues ran-ging from historic landscape management in drought years to substitutes for high-Volatile Organic Compound (VOC) pro-ducts traditionally required to conserve architectural finishes. The workshop will present the variety of problems encounte-red, provoke discussion, and suggest remedial approaches for house museums to simultaneously remain environmentally responsible and authentic in interpretation.

workshop 2: original, equivalent or copy?

vincent drOGuet

Very few houses and palaces have conserved their original furniture and collections, or to be precise, the furniture and collections we imagine they should contain. So a part of our work is to recover these contents when possible. However, this exercise often proves impossible as the originals have been destroyed, sold, dispersed or blocked in other institutions with no hope of their return Luckily, there are alterna-tives which help to preserve the authenticity of a place in the absence of the genuine objects: replacing missing items with a contemporary equivalent of the same style and from the same sphere or with copies made of the original model if it has been identified, or from representations, old photographs, sketches, etc. Should we focus on the period, using similar items as substitutes or on the physical aspect of objects nee-ding replacement, making copies? Today there is consensus that the reweaving of silks should be common practise, but what about copies of furniture and works of art?

Ateliers

atelier 1 : dveloppement durable et authenticit

edWard r. bOsley

Cette anne, la Californie a enregistr la plus faible pluvio-mtrie depuis les annes 1920, et les tempratures moyennes de janvier mai ont t les plus chaudes jamais supportes par ltat depuis 1895. Depuis trois ans, ltat tout entier est touch par une vague de scheresse svre. Dans un contexte o le changement climatique mondial devient une proccu-pation environnementale accrue, comment la demeure-muse peut-elle concilier la responsabilit environnementale avec lauthenticit et la mission ducative de plus en plus large de linstitution ? On sappuiera sur lexemple de la Gamble House Pasadena (Californie) comme point de dpart, dont les enjeux vont de la gestion des paysages historiques pendant les annes de scheresse la substitution des produits com-poss organiques hautement volatils (COV) traditionnelle-ment utiliss pour prserver les lments architecturaux. Cet atelier abordera la varit des problmes rencontrs, suscitera la discussion, et proposera des mesures correctives pour que les demeures-muses respectent la fois lenvironnement et lauthenticit de leur prsentation.

atelier 2 : original, quivalent, copie ?

vincent drOGuet

Comparativement, trs peu de maisons et chteaux ont conserv leur mobilier et collections dorigine, ou plus exacte-ment ceux qui correspondent limage que lon se fait des lieux. Une part importante du travail est alors de faire revenir dans la mesure du possible ces contenus. Mais de multiples raisons rendent souvent cet exercice impossible : destructions, ventes, dispersions, gel dans dautres institutions sans espoir de retour Heureusement, des alternatives existent qui tendent

leur manire de prserver lauthenticit dun lieu en lab-sence de ses uvres authentiques : remplacement des absents par des quivalents contemporains, issus du mme cercle et de mme style, ou copies faites daprs les modles lorsquils sont identifis, ou des reprsentations, photographies anciennes, dessins prparatoires Faut-il privilgier lpoque des cra-tions laide dquivalents ou laspect physique des uvres remplacer laide de copies ? Sil est convenu que le retissage des soieries est aujourdhui une pratique courante, quen est-il des copies de meubles et dobjets dart ?

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workshop 3: the public perception oF authenticity

michael day

It is commonplace for museum and heritage professionals to strive for authenticity in the conservation of objects, the pre-sentation of buildings and spaces and in the information that is provided to the public. This provides varying degrees of what is real from the view-point of the professionals. It is less common for professionals to look at authenticity through the eyes of the public, to discover how their work is perceived and what value is put on authenticity. Using new audience research based on responses to case studies at Hampton Court Palace in the United Kingdom, this workshop will explore what authenticity means to the public and how this might influence approaches to conservation, presentation and interpretation at historic sites. The findings of the research will be summarised during the workshop as the basis for dis-cussion.

workshop 4: museum constraints with regard to authenticity

amaury lefbure

The purpose of a house museum is to transmit the sense of a historical site to the general public as accurately as possible, but is its authenticity not partially lost through the very pro-cess of museumification? Indeed, a museum must balance various constraints which at first glance make it difficult to preserve the spirit of place: conservation measures for works of art, security measures against theft or damage, but also the reception and safety of the public Even mediation schemes

alter the authenticity of a visit in some way. Thus, a museum requires a certain regulated modernity, far from the unique and often intimate nature of a dwelling. But doesnt a visitor expect to enter into an unchanged world? How can we live up to his expectations while respecting the museographical constraints necessary for a satisfactory visit? This workshop aims to provide potential solutions to the constraints encoun-tered, while questioning the relationship between the museu-mification of a place and the conservation of its authenticity.

atelier 3 : perception de lauthenticit par le public

michael day

La recherche dauthenticit dans la conservation des objets, la prsentation des btiments et des espaces, ainsi que dans lin-formation destine au public, constitue le quotidien des pro-fessionnels des muses et du patrimoine. Elle fournit divers degrs de ce qui est rel du point de vue des profession-nels. Il est cependant moins courant pour eux de considrer lauthenticit travers le regard du public, de dcouvrir la manire dont leur travail est peru et la valeur qui est attri-bue lauthenticit. En exploitant les nouvelles investiga-tions menes sur le public partir des rponses aux tudes de cas conduites au palais de Hampton Court (Royaume-Uni), cet atelier explorera ce que la notion dauthenticit signifie pour le public et la faon dont elle pourrait influencer les approches de la conservation, de la prsentation et de lin-terprtation dans des lieux historiques. Les rsultats de cette recherche seront synthtiss au cours de latelier, comme base de discussion.

atelier 4 : contraintes du muse Face lauthenticit

amaury lefbure

Une demeure-muse, dont la vocation est de transmettre au public la perception dun lieu historique au plus prs de sa vrit, ne perd-elle pas, par sa musification mme, une partie de son authenticit ? En effet, le muse doit concilier nombre de contraintes qui, de prime abord, ne semblent gure faciliter la prservation de lesprit dun lieu : mesures de conservation des uvres, de protection contre le vol ou la dgradation, mais aussi accueil et scurit du public Mme les dispositifs de

mdiation altrent, dune certaine faon, lauthenticit de la visite. Le muse implique ainsi une modernit rglemente, bien loigne du caractre unique, et souvent intime, dune demeure. Or le visiteur ne sattend-il pas pntrer dans un univers inchang ? Comment ne pas le dcevoir tout en res-pectant les contraintes musographiques ncessaires au bon droulement de sa visite ? Cet atelier apportera des pistes de rponses aux contraintes rencontres, tout en questionnant le rapport entre musification dun lieu et conservation de son authenticit.

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speakers and moderators biographies

astrid arnold-wegener studied art history, classical archaeo-logy and French literature at the universities of Bonn (Germany), Paris IV