Hochschularbeit
| Franziska Sawatzky: | Zurück | |
| Sprache: | Original - Übersetzung | |
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| Zusammenfassung: | The architecture and decoration of the church of St. Lawrence in Erfurt reflect her past spanning eight centuries. The Renaissance epitaphs inside the church are a part of that past. Their history begins at the end of the 16th century. The epitaph for Wolf and Christoph von Milwitz lies in the centre of the examinations. The sculptural work of art presents a carefully executed statuary, which consists of a vertical and horizontal architectural frame and ornamental decoration elements, encasing a relief with narrative representations. As a result of the examination, four layers of polychrome surface were identified. They all show basically a composition of similar type: Relief and architectural framing are painted monochrome and decorated with partial polychrome paint layers and gold accents. Differences between the various polychrome surfaces can be found mainly in the colour of the monochrome layer and in the preference to use polychrome colours as well as the abundance of gilding. Based on research on historical polychromy in general and through comparison with concrete examples, the polychrome surfaces of the epitaph Milwitz are identified more detailed in terms of style and technique. The discussion on how to deal with the existing systems of polychrome surfaces revealed, that the presentation of the currently visible polychrome surface of the 20th century is to favour, both under conservation, restoration and composition aspects. The sparse light conditions in the church interior initially give the appearance of a paint layer almost without any creative will. With the appropriate light, however, a completely altered impression is revealed: The differentiated shades of colour created by decent polychromy and gilding can be increasingly experienced and reveal the compositional intentions. Methodological considerations introduce the chapter on the concept of measures. The removal of carelessly executed amendments and their replacement as well as the reducing of the surplus mortar with subsequent clean grouting are strongly recommended as restoration measures. These small interventions would have a huge effect on the overall composition and thus on the visibility of the aesthetic aspect. With regard to the polychrome surface, the focus is centred particularly on the issue of the degree of cleaning. Due to the numerous partial coatings and formative repairs of recent times, the definition of an intention in composition is currently not available. The darkening of the paint layer comprises of a variety of causes, so that a uniform cleaning result cannot be achieved. The measures carried out as part of this work initially set priority on the conservation of the sculptural work of art and their care. In addition to the securing of the polychrome surfaces, dust layers were decreased. The treatment of missing areas extends to the exposures made in the context of the examination of the polychrome surfaces. Furthermore it is applied to the occasionally appearing voids of bright colour standing in great contrast to the darker paint layer, so that their effect fades into the background. |
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