The completion of the Church of Santa Engrácia in the context of the valorization of the Baroque style in Portugal and the principles of the international Charters of Athens and Venice (1953-1966)
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引用次数: 0
Abstract
This article aims to frame, nationally and internationally, the intervention criteria adopted in the Church of Santa Engrácia, when, in the midst of the Estado Novo regime, it was decided to complete the unfinished Baroque building, interrupted more than two centuries ago. In the challenge faced, the advances of the History of Art proved to be fundamental, in particular the new status given to the Portuguese Baroque from the 1950s onwards, and the knowledge of the principles for the conservation and restoration of heritage disseminated, both, in the Athens (1931) and in the Venice (1964) Charters. These combined circumstances, in which we documented the interdisciplinary collaboration between architect and art historian, reinforce Santa Engrácia's condition as a paradigmatic example of monumental restoration in Portugal, coordinated by the Direção Geral dos Edifícios e Monumentos Nacionais [General Directorate of National Buildings and Monuments] (DGEMN), under the maxim widely spread since the Athens Charter that “each case is a particular case".
本文旨在构建国内和国际上对Santa Church Engrácia采用的干预标准,当时,在Estado Novo政权期间,决定完成未完成的巴洛克式建筑,该建筑在两个多世纪前中断。面对挑战,艺术史的进步被证明是根本性的,特别是从20世纪50年代起葡萄牙巴洛克风格的新地位,以及在雅典(1931年)和威尼斯(1964年)宪章中传播的遗产保护和修复原则的知识。在这些综合的情况下,我们记录了建筑师和艺术历史学家之间的跨学科合作,巩固了圣诞老人Engrácia的条件,使其成为葡萄牙纪念性修复的典范,由国家建筑和纪念碑总局(DGEMN)协调,遵循自雅典宪章以来广泛传播的格言“每个案例都是一个特殊的案例”。
期刊介绍:
Conservar Património is a journal, published three times a year, that intends to create a space for the diffusion of conservator-restorers’ studies and activities. However, at a time when Conservation-Restoration pretends to develop further through collaboration with other areas of knowledge, such as History of Art, Archaeology, Museum Studies, Chemistry, Physics, Biology and other related disciplines from the fields of the natural and social sciences, the journal also receives contributions from any other provenance as long as directed towards the multiple dimensions of the works that integrate our Cultural Heritage. Theoretical issues on the conservation activity may also be submitted.