Uncovering, complex restoration of paintings and stucco accompanied by research and replication of authentic technologies: In the southeastern part of the chateau, a part of the vault early baroque The Banquet Hall has been preserved. The second stage was carried out by the workshop of Innocenzo Cometa (1651-1681), who worked at Lhota in 1675. The early Baroque painting, dated to 1678, the work of the Ticino painter Giacomo Tencalla, complemented the vault with figurative scenes of the Slavata´s apotheosis, accompanied by figures inspired by Cesare Ripa. The restoration work lasted four winter seasons. The main problem of the intervention consisted of the full-scale removal of massive secondary layers. The cleaning methods were aimed at efficiency while minimizing intervention in the work, which was only fulfilled by the combination of the use of an ultrasonic scalpel, a micro-engraving pen, an electric micro-cutter, a restoration hammer, and a blade scalpel. The extent of preservation and authenticity of the stucco and paintings are extraordinary, but the stucco was lacking small shapes and some elements were separated from the background. The restoration work was expanded to include research into the original techniques (supported by ITAM CAS), so that the additions would meet maximum technological and visual compatibility (CT scanning, composition of binders, fillers, adhesive mortars, application, used tools). The replica of a part of the stucco was created at the experimental workplace in the Solvay Quarrie. The verified procedure was subsequently used to glue the missing or transferred parts of the stucco (fruits and leaves) to the lime-gypsum mortar without additional reinforcement. The study of the tracings resulted in replicas of shapes made of pure lime mortar, such as the leaves on a special moulds. The zinc white used differentiated the accessories from the original. The aim of the restoration intervention was to present the exceptionally preserved authentic surface of both the stucco and the paintings and to conduct the intervention conservatively. The consolidation of the plaster was carried out using a combination of lime nanosuspension and ethyl silicate, and the separated plaster was filled with hydraulic grout pressure point grouting. The retouch was carried out locally, under tone, with pigments bonded with a water-soluble binder. Reconstructions made on the putty are supported by analogous works of G. Tencalla, the reversible reconstruction of gilding on the pearl works and roses is made with gold leaf on gelatin glue. The work is exceptional in its authenticity after the intervention. There are minimal examples of Cometa's stuccoes and Tencalla's paintings without overpainting and other distorting secondary interventions, both in this country and abroad. The innovative approach in restoration by authentic technological methods has not only served to achieve compatibility and artistic unity, but has demonstrated that original methods are often preferable to the use of modern materials.
Both the research and its application in restoration have been certified by the Ministry of Culture and Heritage as a conservation practice, and have been published in books with specialist content and in professional articles.
