Pinin Brambilla Barcilon Archive
Milan, Poldi Pezzoli Museum, Cosmè Tura, Tersicore, Painting on wood
Description Report in 2 copies with maps and drafts; phototypes (positive, negative).
consistency
Quantity 1|18|2|1|10
Type positive document(s) on paper up to 21x29 cm, slide(s) up to 10x12 cm, negative on film up to 10x15 cm, non-standard phototype(s)
Description restoration report. 19 positives b/w 18x24 cm, 7 positives in colour 10x20 cm, 26 positives in colour 18x24 cm, 12 positives in colour 20x25, 51 colour specimens 6x9 cm in strips of variable size (max. 9x21 cm). - colour slides 10x12 cm. - Negative on film 10x12 cm. - 2 positives b/w 30x40 cm, 8 positives in colour 30x40 cm (graphic mapping)
Reordering sign
APBB_CTRS_F77_9; APBB_CTRS_C14_9
Restoration report and photographic documentation related to the restoration of the painting Terpsichore by Cosmè Tura.
It also contains: Analytical study of the colour of Cosmè Tura’s painting ‘Tersicore’, Milan, Poldi Pezzoli Museum, survey carried out by the Politecnico di Milano (no. 2 copies, 13/06/1990 and 02/07/1990); "Allegory" by Cosmè Tura at the Poldi Pezzoli Museum, colour analysis carried out by Politecnico di Milano (12/12/1986), including 15 colour positives; Letter from Alessandra Mottola Molfino to Pinin Brambilla Barcilon (21/06/1988); copy of the publication by Pinin Brambilla Barcilon The restoration of the Tersicore at the Poldi Pezzoli Museum, in The Muses and the Prince. Court Art in the Po Valley Renaissance (Milan, 1991).
Facilitated description
The work "Tersicore" by Cosmé Tura, now known as "La musa Tersicore", is a painting on panel of about 1460 preserved at the Poldi Pezzoli Museum in Milan.
The restorer Pinin Brambilla Barcilon restored the work in 1986-1991.
Studies on this work and its restoration have been useful to compare the painting with other works by Cosmé Tura preserved at the Royal Academy in London, the National Gallery in London and the Szépmüvészeti Muzeum in Budapest.
After scientific analysis, the restorer fixed the most obvious lifts.
He chose cleaning materials that would not create infiltration (when water or other liquid substances enter a material, such as wood or wall, and create damage) through cracks.
He removed the repaintings with the scalpel and removed the gilding.
He putty the gaps (a white layer of gypsum and glue that stretches inside a gap and forms a smooth and uniform base on which to paint the additions).
The restorer made the pictorial additions (reconstruction of the material or color of missing parts) and integrated the wider loss with neutral color.
Finally, he applied three paints.
CCR and accessibility
