By Donatella Cinelli Colombini

As some people may already know, I am an art historian who has become a grape grower. For this reason  I take the liberty of writing a little note on the concept of conservation and restoration. It is a very ancient practice but until the mid-twentieth century the works of art – especially paintings and architecture – were integrated with ruined parts and “updated” with respect to the fashion. In other words, they were “embellished” but substantially falsified. Cesare Brandi was the father of modern restoration that must not << commit an artistic forgery or a historical forgery, and without erasing all traces of the passage of the work of art over time >> in other words, conservation must safeguard the integrity of the works.

TOO MUCH RESTORATION FALSIFIES

In painting, the concept of “conservative” restoration has been unanimously accepted, in construction, no. The farmhouse becomes a villa with architectural interventions aimed at accentuating the luxury. Certain stereotypes condition to the point of leading to “postcard” choices which, in Tuscany, make the fake- aged terracotta flooring seem real and the authentic one from the nineteenth-century grit seem less typical. A game of shadows that leads to results of great beauty, as in the Apulian farms, or creates new styles of ancient inspiration as in the Costa Smeralda by Luigi Vietti, Jacques and Savin Couelle and Michele Busiri Vici.…

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