Description of the phases of the operations of appliqué work and restoration.2>
Before any destructive intervention, we photograph the vestment in order to ensure a statement of our respect for this object. Then we proceed with manual cleaning and polishing of the yarn embroidery; we use artisanal methods and avoid worsen or corrosive substances. Therefore, we carefully examine the state of deterioration of the vestment and we establish the needed intervention. After that, we dismantle the canvas with the utmost care to avoid further damages. During this passage, we evaluate what we can recover from the original embellishments (fringes, laces, braids, bows, etc.), that it is possible to arrange again. We carry out the process of treatment with substances that we have learned to compose after three generations of experience.
Thereafter we cut the embroidery that can be appliqued and we remove its outline from the damaged tissue. Our most experienced staff performs this task manually, and then repositions the embroidery on the new towel by keeping the original location. Previously we had taken the original design and we had repositioned it on the new towel with techniques that will enable the complete disappearance when finished. These techniques are hand-crafted and they are manually controlled. After placing the parts of ancient embroidery, we proceed to the definitive design of all parts of the filiform drawing. Indeed, they cannot be restored, and so they will be embroidered again. At this point, the vestment is ready to be repositioned to the loom. Here, all the parts of appliqué embroidery are trimmed with gold or gold and colored silk. We will applique the silk parts with a technique called “dart silk”; it allows an end result in which only a trained eye is able to notice the operation, as the process is very long and meticulous.
The embroiders make again the missing or damaged parts of the embroidery and they ensure to use materials and processes similar to the original ones. A worthy restoration corresponds to the complete renovation of the deteriorated embroidery. Once the delicate work of restoration and appliqué embroidery is finished, we continue to consolidate the back of the cloth and we use special adhesives that arrest the extremities. Then we go on to the package; indeed, the vestment is packed by inserting crushproof and stiffening canaries. We sew manually the gold decorations and the new lining. The materials used are Rasi and Moelle, 100% pure silk, and the colors are as similar as possible to the original. For the yarns, we use all the variations in order of thickness and type. In this way, they will be in perfect harmony with what we have to restore and they always are the best quality on the market.
The sacred garments will then be repackaged with the insertion of non-deformable stiffening cannons and the gold gaskets and the new lined liner will be manually wrapped in tint. With regard to the materials used, 100% pure silk and moelle will be adopted in the colors as similar as possible to the originals. For yarns, all variations in thickness and type in the sacred linings will be used so that they are in perfect harmony with what is going to be restored, and yet the best quality available today on the market.
Prepositurale Collegiata Insigne dei Santi Nazaro e Celso in Brescia
Arciconfraternita del SS. Rosario di Mammola Arciconfraternita della Misericordia Arezzo Arciconfraternita della Misericordia di Firenze Arciconfraternita del SS. Rosario Sorrento Parrocchia San Giuseppe Ispica
Basilica di San Teodoro Pavia
Parrocchia San Pietro in Collina Pontelungo Pistoia
Basilica Magistrale di S Maria della Steccata di Parma per conto dell’Ordine Costantiniano di San Giorgio
Diocesi di Novara Direzione Artistica Don Carlo Scaciga Parrocchia di Monte Olimoino Como
Parrocchia Prepositurale SS.Pietro e Paolo Luino
Parrocchia di Barbarica Brescia
Diocesi di Milano
Mons. Valerio Vigorelli
Parrocchia San Ambrogio
Confraternita del SS. Sacramento Inverigo
Parrocchia di Mariano Comense
Parrocchia di Meda
Diocesi di Como
Mons. Alessandro Maggiolini, Vescovo di Como Seminario Vescovile di Como
Diocesi di Lugano
Parrocchia di Morbio Inferiore Mons. Eugenio Corecco , Vescovo di Lugano
Diocesi di Varese
Basilica di San Vittore Martire Mons. Don Pietro Giola
Collaborazione con:Museo Diocesano di Milano Allestimento mostra di Paramenti 2002
Carlotta Beccarla Studio Restauro Restauro parti pittoriche degli Stendardi
Casa D’Aste Sotheby’s Italia
Alcune Committenze di Riporti e Restauri di Parati, Stendardi Processionali e Paliotti D’Altare