《文化遗产保护的历史与哲学问题22》第六部分 保罗·莫拉，劳拉·莫拉，保罗·菲利普特《表现的问题》
《文化遗产保护的历史与哲学问题（Historical and Philosophical Issues in the Conservation of Cultural Heritage）》是文化遗产保护领域的经典之作，该书按照不同的专题收录了文化遗产保护领域的诸多名家名篇。
本人3年前初译了一下，也曾在同济大学“历史建筑保护概论”课上作为辅助材料分发给“历史建筑保护工程”专业07级的本科生翻译过（每人10多页）。
应众多建筑遗产保护爱好者的要求，从今日起连载译稿（草稿）。由于本来只作为内部学习用，本人翻译和校核的次序并没有按照原文的次序，故此次连载亦不按次序，望谅解。
注意：只作为内部交流，请勿转载。同时请广大同道对译文进行纠错。
同济大学建筑系副教授 陆地
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Reading 36
Problems of Presentation
PAOLO MORA, LAURA MORA, AND PAUL PH I LIPPOT
阅读文献36
表现的问题
保罗·莫拉，劳拉·莫拉，保罗·菲利普特
From PAOLO MORA, LAURA MORA, and PAUL PHILIPPOT. "Problems of Presentation." in (Conservation of Wall Paintings, chap. 13 (London: Butterworths, 1984), 30l-10; originally published as "Die Behandlung von Fehlstellen in der Wandmalerei," in Beiträge zur Kunstgeschichte und Denkmalpflege, Walter Frodl, zum 65 Geburtstag gewidmet (Vienna-Stuttgart: W. Braumüller. 1975), 204-18. Used by permission of Butterworth-Heinemann, Stoneham. Mass.
Treatment of Losses
General Principles
对缺失部分的护理
总原则
——————（省略符）
Historical conscience today demands that the authenticity of the documents of the past be respected. Modern aesthetics, on the other hand, in its emphasis on the unique character of the work of art as the creation of an individual consciousness at a given historical moment, has in turn proved that it cannot be reproduced, not even by the artist himself who in attempting to do so would either make a replica--or even a fake--or else create a new work.
如今的历史道德心要求尊重对过去的真实记录。另一方面，现代美学强调艺术品独一无二的特征，将其视为在某个既定历史时刻个体意识的创造物，这反过来证明了艺术品的不可复制性，即便是原来的艺术家自己也不可能，试图这么做的艺术家自己要么是在做一个复制品——甚或是赝品——要么就是在创造一个新作。
……Aesthetic reality lies entirely in the appearance of the work of art and its understanding cannot be dissociated from the presentation of the work……
……美学现实性完全在于艺术品的外观，对他的理解不能脱离艺术工作的表现……
There are two levels of disturbance caused by losses in a painting. On one hand, the loss makes it difficult to perceive the image because, to follow Brandi's use of the terminology of Gestalt psychology, it has a tendency to become the pattern while the painting as a whole then becomes the ground [Figs. 1, 2].1 On the other hand, the loss seems, from the formal point of view, to be an interruption of the continuity of the form.2 The minimization of this disturbance in order to restore to the image the maximum presence possible, while respecting its authenticity as a creation and as a historical document is the real critical problem of the reintegration of lost areas.
画作中的缺失导致两个层面的干扰。一方面，缺失导致对图像的感知困难，因为根据勃兰迪对格式塔（Gestalt）心理学术语的应用，他造成了一种倾向，缺失成为“图（pattern）”，与此同时，整个画作成为了“底（ground）”[图1、2]。1另一方面，从形式上看，缺失部分是一种形式连续性的中断。2为了恢复图像可能的最大化表现而最小化这种干扰，同时将图像的真实性作为一种创造，作为一种历史记录而加以尊重，这就是整合缺失部分真正的评判性问题。
1. [4] CESARE BRANDI, "Il trattamento delle lacune e la Gestalt-psychology," Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, ed. Millard Meiss et al., Problems of the Nineteenth and Twentieth Centuries, vol. 4 (Princeton, N.J.: Princeton University Press, 1963), 146-51.
2. [5] CESARE BRANDI, "Il ristablimento dell'unità potenziale dell'opera d'arte," Bollettinzo dell'Istitutto Centrale del Restauro 2 (1950): 3-9.
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Figure 1 Roman Forum, Oratory of the Forty Martyrs. Reinforcement of the edges of the losses, executed in hands that are too wide and too light in color, completely obliterates the ensemble by reducing it to the status of "ground" on which the reinforcing borders stand out as "figures."
图1。罗马广场，四十烈士的演讲。缺失部分边缘手工实施的加固过宽，而且色彩上太亮，完全破坏了整体效果，整体效果退化为了“底”，而加固边缘突出为了“图”。
Figure 2 Ajanta. The composition of the painting has been rendered illegible by the manner in which the losses have been treated, so that the losses appear as the foreground and disrupt the unity of the image. The image would reestablish itself naturally if the losses were treated as fragments of a single ground plane situated optically behind the image.
图2 阿旃陀。这幅画的构图已经被缺失部分的处理方式搞得难以辨别了，缺失部分似乎变成了前景，破坏了图像的整体性。如果缺失部分被处理为视觉上位于图像之后的单纯底面性质的碎片，图像就会自然的重建其自身。
Ajanta：阿旃陀(位于印度中西部, 阿姆拉瓦蒂西南部的村庄。附近岩洞可追溯到约公元前 200年至 公元 650, 藏有辉煌的佛教艺术典范 )
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Figure 3 Tarquinia, Tomb of the Lionesses. The losses, filled with cement without any effort to integrate them, stand out as a pattern in front of the original composition, which is thereby fragmented and reduced to the status of "ground."
图3。塔尔奎尼亚，母狮之墓。缺失部分被用毫无旨在整合他们的水泥填补起来，在原始构图前面突出为“图”，原始构图由此破碎并退化为了“底”。
Tarquinia：[地名] [意大利] 塔尔奎尼亚
Conceived in this way, and not as an intervention which aims to complete the work, it is obvious that the reconstruction of the missing parts is justified within well-defined limits and practical means. This has been proved by Cesare Brandi, who based his argument on the notion of the potential unity of the mutilated work. From an aesthetic viewpoint, the work of art is characterized by the unity of the form as a whole. The image created by the artist differs from the object which is its physical support in that it is not equal to the sum of its parts and is therefore not divisible. Consequently, even when the work is mutilated or reduced to fragments something of its original totality always remains. This continues to exist in the remaining fragments, in varying degrees of potentiality according to the extent and nature of the mutilations. Reconstruction as a critical interpretation is thus aesthetically justifiable as long as it aims only at making it easier to see the potential formal unity of the work which exists within the fragments. This last restriction implies that the operation should stop where hypothesis begins. At that moment, since the loss can no longer be reintegrated by reconstruction, it will have to be considered only insofar as it disturbs the legibility of the image. Reintegration should then be limited to treating the loss in such a way that instead of coming forward in space as a pattern it will on the contrary become part of the ground, thereby restoring the image's preeminence as a figure [Fig. 3].3
以这种方式而不是以旨在完成工作的保护处理方式进行构思，显然，对缺失部分的重构只有在明确界定的限制条件和实践手段下才是正当的。切萨雷·勃兰迪已经证明了这一点，他的论点基于残损艺术品潜在统一性的概念。从美学角度看，艺术品具有形式作为整体的统一性特点。艺术家创造的图像不同于图像中现实支持的对象，不等于其各个部分的总和，因此是不可分割的。因此，即使艺术品残损了或变成了碎片，其原始全体性的一些部分仍旧存在。这种全体性继续存在于残存碎片中，根据残损部分的范围和性质有着变化程度不同的潜在性。作为一种评判性的解读，只要重构仅仅旨在更容易看到艺术品存在于碎片中的潜在形式统一性，他就具有美学上的正当性。这最后的限制条件意味着一旦要开始猜想了就应终止保护操作。在这个时候，由于不再能通过重构整合缺失部分，缺失部分将不得不被视为仅仅是扰乱了图像可读性的缺失。因此，重新整合应被限定于以这样一种方式处理缺失部分，即不是在空间上作为突出的“图”，相反，他应成为“底”的一部分，由此恢复作为图形的图像优势[图3 ]。3
Moreover, from the historical point of view, respect for the authenticity of the work imposes a second limitation on reconstruction. This must always be distinguished, as a critical interpretation, from the original work.4 A comparison may be drawn with the restitution of a word in an incompletely preserved text, although in the case of a text, transmission of the word is ensured by the published edition, which is physically different from the original document. This means that the critical restitution never takes place on the manuscript itself but only on the published text, where it is indicated by a footnote. In a work of art, on the other hand, the reconstruction of the image is only possible on the original. Consequently, reconstructed parts must be intrinsically distinguishable from the original and also integrated with the formal totality of the work. The technical procedures recommended for reconciling these apparently contradictory requirements will be described later.
此外，从历史角度而言，对艺术品真实性的尊重为重构加诸了第二重限制。这一点必须总是被视为一种从原始艺术品而得出的评判性解读。4 我们可以和在一个保存不完整的文本中对一个词汇的重构进行比较，尽管在一个文本的案例中，词汇的传递通过版本的发行而得以确保，但在物质实体上已经不同于原始文献。这意味着对原始手稿自身的评判性复原从未发生，仅是通过一个脚注而表明的对被出版文本的复原罢了。另一方面，对于艺术品，对图像重构只可能发生于原件身上。因此，重构部分必须本质上与原件有所区别，并且与艺术品的形式整体性整合起来。为了调和这些看似矛盾的要求，下面将讨论建议的技术程序。
3. [6] BRANDI, "Il trattamento delle lacune."
4. [7] CESARE BRANDI, "Il restauro dell'opera d'arte secondo l'istanza della storicità," Bollettino dell'Istituto Centrale del Restauro 11-12 (1952): 115--19; and his Struttura e architettura (Turin: Einaudi, 1967), 225-32.
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Figure 4 Annunciation by an anonymous master (early fifteenth century) from the church of S. Marco at Tuscania, from which it had to be removed after the earthquake of 1971. General state after the filling of those losses that were to be reintegrated with tratteggio.
图4 无名大师所绘制的“天使报喜（Annunciation）”（十五世纪初），1971年的地震后从图斯卡尼亚的圣马可教堂迁出。缺失部分被填补后的整体状态，正待以“垂直影线法（tratteggio）”进行重新整合。
Tuscania： [地名] [意大利] 图斯卡尼亚
tratteggio：一种修画技法，运用细密、垂直及与周围原本颜色匹配的线条进行补色。
Based on the potential unity of the mutilated work, reintegration must therefore treat each loss in consideration of the totality of the work [Figs. 4-6]. This is exactly where mural painting presents a particular problem, distinct from an altarpiece or an easel painting. Indeed, insofar as the mural painting is an integral part of the architecture, it is subordinate to a larger totality in which the losses may sometimes affect more than the painting alone……
基于残损作品的潜在统一性，重整由此必须以考虑作品整体的方式而处理每个缺失部分[图4 - 6]。这正是壁画呈现出的，不同于祭坛背壁装饰画或架上画的一个特别问题。的确，只要壁画是建筑的有机组成部分，他就从属于一个更大的整体，其缺失部分的影响有时超过了画作本身……
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Figure 5 Annunciation. After a general treatment of the losses, worn areas have been integrated with a watercolor wash, small losses with tratteggio; large losses and those situated in areas that could not be reconstructed have been treated so they recede behind the image and serve as a uniform ground.
图5“天使报喜（Annunciation）”。经过对缺失部分的总体处理之后，以水彩薄涂层整合了磨损区域，以“垂直影线法（tratteggio）”处理了小面积的缺失；大面积的缺失以及其所处的区域无法用以上方法处理，因此他们后退到“图”之后并作为统一的“底”。
Of course, the problem reaches its height when, as in the Late Baroque in central Europe, pictorial space and architectural space, both based on perspective, tend to merge, the privileged viewpoints of the architecture coinciding with those of the pictorial perspectives. The preservation of the illusion indispensable to the unity of the whole will surely justify the reconstruction of the extensive losses. However, a complete reconstruction, as has sometimes been carried out after war damage, will never be anything else but a stylistic falsification and will soon be outdated, whatever the quality of the documentation on which it is based and no matter how perfect it may be. We must resign ourselves, here, not only to the loss of the painting, but also the irremediable mutilation of the architecture.
当然，在中欧巴洛克晚期的时候，这个问题达到了一定的高度，同时基于透视的绘画空间和建筑空间趋向于融合，建筑更高级的观点与绘画透视更高级的观点协调了起来。保存对统一整体而言不可或缺的幻象必然证明了重建大面积缺失的正当性。然而，正如在战争破坏后有时进行的完整重建那样，除了是一个风格伪证外就永远不是其他任何东西了，并将很快过时，无论这种做法所基于的文献质量如何，无论这种做法可能多么完美。在这种情况下，我们必须不仅仅接受画作的缺失，也要接受无可补救的建筑残损。
——————（省略符）
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Figure 6 Assisi, lower church. Simone Martini, chapel of St. Martin. Details of the vaults, before and after restoration. The losses, limited to the paint layer and due to the action of efflorescences of salts, have been integrated by lowering the tone of the losses and reestablishing formal continuity in worn areas, but without reconstructing the missing areas.
图6阿西尼，下堂（lower church）。西蒙·马尔蒂尼，圣马丁教堂。修复之前和之后的拱顶细部。限于绘画层的缺失部分源于盐分导致的分化，用降低缺失部分色调的方式进行了整合，在磨损区域重建了形式连续性，但并未重建缺失区域。
Assisi：阿西尼城(意大利中部佩鲁贾东南偏东一城镇。阿西尼的圣·弗朗西斯1182年生于此地, 1226年卒于此。该城是一个宗教和旅游中心。人口19, 000)
Practical Procedures
Various Types of Losses
The losses which damage a painting can be distinguished by their location and their size and by how deeply they penetrate the paint layer or the underlying rendering. When considering the problem of reintegration, losses may be divided into five different types [Fig. 7]:
1. Wear of the patina.
2. Wear of the pigment layer.
The term "wear" refers to the superficial alteration of the patina or of the actual pigment layer, due either to abrasion or to the loss of minute flakes of paint beneath which a part of the pigment layer or at least the original rendering remains.
3. Complete losses of the pigment layer or the rendering, limited in surface area and capable of being reconstructed.
4. Complete losses of the pigment layer or of the rendering which, because of their extent and/or localization, should not be reconstructed.
5. Losses of considerable extent, which should nevertheless be reconstructed because of their architectural significance.
实践程序
各种类型的缺失
损害一副画作的缺失可以根据他们的位置、大小、他们穿透绘画层或打底层（underlying rendering）的程度加以区分。考虑整合问题之时，缺失可分为五种不同类型[图7 ]：
1. 磨损的古锈。
2. 磨损的颜料层。
“磨损”指的是古锈或实际颜料层的表面改变，要么源于磨损，要么是损失了部分颜料层之下或至少是残存原始打底层的微小颜料碎片。
3. 局限于表面区域的颜料层或打底层的完全缺失可被重构。
4. 由于其范围和/或位置，完全缺失的颜料层或打底层不应重构。
5. 相当大范围的缺失，由于其建筑意义，仍并被重构。
——————（省略符）
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Figure 7 Types of losses according to the depth of the damage: (1) wear of the patina, (2) wear of the paint layer, (3) loss of the paint layer, (4) loss of the intonaco.
图7 按照损害程度划分的缺失类型：（1）古锈的磨损，（2）颜料层的磨损，（3）颜料层的缺失，（4）灰泥层（intonaco）的缺失。
Reintegration of Losses
Since the painting to be restored normally presents losses of different types, it is important that the reintegration be adapted to them while respecting the above-mentioned principles [Figs. 4, 5]. These differences, however, should be considered within a coherent system, in order to restore the maximum presence and unity to the image without resorting to hypotheses. Indeed, the clarity of the restored image will depend just as much on the coherence and the critical logic of the system adopted as on the quality of the execution.
缺失的重新整合
由于要修复的画作通常表现为不同的缺失类型，因此重要的是重新整合要适应他们，与此同时尊重前述原则[图4、5 ]。然而，应该在一个连贯的系统内考虑这些差异，旨在最大程度的恢复图像的存在和统一性，同时绝不假设。事实上，被修复图像的明晰性既取决于对象的系统连贯性和对其的评判逻辑，也取决于实施的质量。
To attain this purpose it is generally advisable to proceed progressively, treating first the damage due to wear, which causes only a minor disturbance but which is easily reintegrated, thus clarifying the image so that the larger losses may be better assessed. Then one can decide which losses can be reconstructed and which cannot. The latter will consequently have to be treated in such a way that the restored image is disturbed as little as possible.
要达到这个目的，总的建议是一步步实施操作，首先处理源于磨损的损害，这仅仅导致了轻微干扰，很容易被重新整合，从而清晰化了图像，并由此，可以更好的评估较大的缺失。然后，人们可以决定哪些缺失可以重构，那些不行。后者将因此以这样一种方式加以处理，即他对图像的干扰尽可能少。
In theory, various different systems of reintegration can be considered. However, the range of practical possibilities is, in fact, very limited, owing to the great number of requirements which must be satisfied simultaneously.
在理论上，可以考虑各种不同的重新整合系统。然而，事实上，一系列的实践可能性是非常有限的，因为这必须同时满足大量的要求。
The method described here is based on very long experience, and although it may not be the only valid method, it seems to us the one that solves the problem in the most satisfactory manner. It will be described under the different types of losses established earlier.
这里描述的方法基于非常长期的经验，虽然这可能不是唯一有效的方法，但在我们看来这却是一个最令人满意的解决问题的方式。在前面所说的不同缺失类型的基础上，我们将讨论这种方式。
Reintegration of the Patina
Wear of the patina causes a discontinuity of the surface which alters the luster of the painting and, consequently, the depth of the tones and the spatial unity of the image. When the losses are very small and superficial they can be reintegrated by a light watercolor glaze, which reestablishes the uniformity of the surface without the risk of altering the remaining paint laver which it covers. The tint must be matched to the particular tone of the patina in each case. This patina, grayish in frescoes, should be reintegrated in a similar cool tint.
古锈的整合
古锈的磨损导致了表面的不连续，改变了画作的光泽，从而改变了色调的深度和图像的空间统一性。当缺失很小且表面化的时候，可以通过轻薄的水彩膜层重新整合，重建起表面的一致性，同时避免了改变其所覆盖的剩余颜料层的风险。色调要和每个案例中古锈的特殊色调相匹配。壁画的灰色古锈应被某种类似的冷色调重新整合。
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Figure 8 Detail of Fig. 4, Annunciation, illustrating the integration of worn areas using a watercolor wash. (The areas inside the rectangle have not yet been integrated.)
图8 图4的细部。“天使报喜（Annunciation）”，说明了如何以水彩薄涂层整合磨损区域。（矩形的区域还未进行整合）
Reintegration of Wear in the Pigment Layer
When wear due to abrasion or to flaking reaches the actual pigment layer, it affects the image, not only because it alters the state of the surface, but also because it causes small light spots (sometimes even white spots when the rendering is exposed) to appear optically in front of the original pictorial plane. These spots must be made to recede in space and thus the image will recover its continuity and its depth [Figs. 6, 8]. This can be achieved by lowering the tone of the losses by means of watercolor glazes. In order that the intervention may be distinguished, a tone of the exact value but very slightly lighter and cooler than the original should be used……
重新整合颜料层的磨损
当源于摩擦或脱落的磨损达到实际颜料层时，他对图像的影响不仅因为他改变了表面状态，而且还因为他产生了小光点（当打底层被暴露出来时有时甚至表现为白色斑点）视觉上显得“突出于”原始图画面。必须使这些小斑点在空间中消去，从而使图像恢复其连续性和深度[图6，8 ]。可以通过水彩膜层的手段降低缺失部分的色调从而达到这个目的。为了使处理措施可被区别，应使用比原始部分略微浅些、冷些、色值明确的色调……
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Reconstruction of Losses: Filling and Tratteggio
The reconstruction of limited losses is justified by the potential unity of the surrounding painting……The method which we consider has given the best results, and whose systematic character is probably best suited to the critical approach which is proposed here, is that of tratteggio. It was developed at the Istituto Centrale del Restauro during 1945-50 and inspired by Cesare Brandi's theory of restoration……
对缺失的重构：填补和“垂直影线法（tratteggio）”
从画作周边的潜在统一性来判明是否要重构有限范围的缺失……我们的考虑方式已经给出了最好的结果，即这里所提出的评判性方法，也就是“垂直影线法（tratteggio）”可能最适合于画作的系统特征。受到勃兰迪修复理论的激发，中央修复研究院于1945-50年发展出了这种方法……
The filling of losses in the rendering should not be undertaken until the adherence of the paint, especially along the edges of the losses, has been verified and until the necessary consolidation has been undertaken in order to avoid the risk of crumbling when ensuring a perfect bond at the edges. The essential purpose of such a filling is to serve as preparation for the pictorial reintegration; it must therefore reestablish, as exactly as possible, the level and the texture of the original rendering. Normally, materials identical or at least similar to those of the original rendering should be used.
不应进行打底层的“缺失填补”，除非已经确认了颜料层附着的地方，尤其是沿着缺失部分的边缘，除非已经开始进行了旨在避免碎裂风险从而确保边缘部分完善连接的必要加固。这种填补的本质目的是作为重新整合图面的准备；因此他必须尽可能准确的重建原始打底层的层次和质感。通常，应使用与原始打底层同样或起码相似的材料。
————（省略符）
Whatever formula is chosen, the wall must be soaked with water before applying the filling. Moreover, great care should be taken to avoid soiling the surrounding painted areas as this could produce stains after drying. In order to avoid such a risk and to facilitate the application of the filling, it is recommended to fix the paint around the loss with a 10% solution of Paraloid B72. In this way, the filling which might have spread beyond the edge of the loss during application can easily be eliminated without any damage to the painting. After the filling has dried, the fixative can be removed by means of an appropriate solvent.
无论选择了什么公式，在填补之前必须用水浸泡墙面。此外，要尤为注意避免污染填补的周边，因为这可能在干了之后产生污渍。为了避免这样的风险，利于填补的实施，建议用10%浓度的丙烯酸树脂（Paraloid）B27溶液修补缺失部分周围的画面。在这种方式下，可以轻易的清除在实施过程中可能蔓延过缺失部分边缘的填补，且不对画作造成任何损伤。填补部分干燥之后，可以利用合适的溶剂清除固着物。
Reconstruction in tratteggio consists in transposing the modeling and drawing of a painting into a system of hatchings based on the principle of the division of tones [Fig. 9]. This system, by its very nature, works like a kind of screen between the restorer and the original. Its purpose is firstly to differentiate the retouching from the original, in the same way as the use of a different typeface in a printed text can be distinguished; and secondly, to prevent or to filter, through the mechanical nature of the system, any personal expression of the restorer in the spontaneous continuity of the modeling, the brush stroke or the line, so that the intervention is structurally unmistakable as a critical interpretation. It is of course essential that the restorer should do his utmost, through that screen, to obtain the most complete and most rigorous reintegration of the loss by means of reconstruction. Otherwise the barrier would be meaningless and would only cause confusion and haziness of the image, which is exactly the opposite of the objective.
“以垂直影线法（tratteggio）进行的重建”在于将画作的塑造和绘制转变为一种基于色调分配原则的细线填充系统[图9]。由于其本身的特性，这个系统像介于修复者和原作之间的某种屏幕那样而起作用。其目的首先是将重饰从原作中区分开来，这是一种和印刷文本中使用不同字体从而得以识别的同样的方式。其次，是为了通过这个系统的机械特性，防止或过滤调修复者在无意识的连续性塑形、笔触或线条中的个性表达，从而使得实施措施在结构上不会被误解为某种评判性解读。当然，至关重要的是修复者应竭尽全力的这样做，通过这种屏幕，通过重构获得对缺失部分最完整、最严谨的重新整合。否则，这种屏障将毫无意义，只会导致混乱的、模糊的图像，而这与我们的目的恰恰相反。
Normally, tratteggio is applied with watercolor, which helps to distinguish it materially from the original painting and makes it easier to be removed, should this prove desirable. The technique of execution is determined by this method, since watercolor does not allow the use of impasto and all the light must therefore derive from tile ground through transparent layers.
通常，以水彩实施“垂直影线法（tratteggio）”，这有助于在材料上将填补部分和原始画作区分开来，并且假如需要的话，可以更容易被清除掉。这种方法决定了实施技术，由于水彩无法使用厚涂颜料技术（impasto），因此所有的光感必须来自于透明层的不断叠加。
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Figure 9 Figure of the Virgin from a church at Tuscania. Example of the integration of a loss in tratteggio during execution.
图9 来自图斯卡尼亚一个教堂的圣母画。这是一个以“垂直影线法（tratteggio）”整合缺失部分的实例。
Tuscania： [地名] [意大利] 图斯卡尼亚
Tratteggio is a system of small vertical lines averaging one centimeter in length. The first lines, which indicate the basic tone of the retouching, are placed at regular intervals equal to the width of one line. Next, these intervals are filled with a different color, and then again with a third color, in order to reconstitute the required tone and modeling by means of the juxtaposition and superposition of colors which are as pure as possible. Each line in itself should be weak in intensity, the desired intensity of the whole being obtained by the superposition of glazes of transparent lines rather than by strength of color, which would cause the retouching to lack the vibration indispensable for a good integration.
“垂直影线法（tratteggio）”是一个平均一厘米长的细小垂直线系统。用和与线条等宽间隔的规则方式安排表明重饰基本色调的第一层线条。接下来，在这些间隔中填充一种不同的颜色，然后再填充第三种颜色，通过尽可能纯净色彩的并列和叠加手段重建需要的色调和造型。每个线条在强度上应微弱，通过透明线条膜层的叠加而获得理想的整体强度，而不是通过色彩的强度，后者将导致重饰缺乏良好整合必不可少的震动性。
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In order to obtain neat hatchings, without discontinuity and without the formation of drops at the bottom, the following procedure is recommended:
为了获得整洁的线条填充，具有连续性，避免在基底上形成液滴，建议遵照以下步骤：
1. The brush must be sufficiently loaded to trace a full line without letting any paint run. To achieve this, as soon as the color has been taken, the brush should be wiped over an absorbent material such as slightly wet cotton wool, which has been fixed to the bottom right-hand corner of the palette. This operation controls the load of the brush by discharging it if necessary and, by its spiral movement, gives the brush the perfect point it had lost while preparing the tone on the palette.
1. 画笔必须添加足以描绘整根线条的颜料，且不能让任何颜料跑漏。要做到这一点，只要添加了颜料，画笔就应在像略湿的棉羊毛那样的吸水材料上擦拭一下，这种吸水材料应被固定在调色板的右下角。这种操作控制着画笔中的颜料数量，如有必要，应沥出多余颜料，控制着画笔的盘旋运动，在调色板上调色的时候，使画笔上缺少颜料的点恰好得以上色。
2. It must be pointed out that the use of a maulstick (hand support) is essential. It allows the correct movement of the hand which, while the upper part of the forearm remains still, must cause the point of the brush to trace an arc intercepting the picture plane along the length of the line, so that the line begins at the top and ends at the bottom in a very sharp point.
2. 必须指出的是，有必要使用一个腕木（手撑）。他确保了手部的正确动作，而前臂的一部分仍然悬停，必须使着笔点沿着与线条长度方向，和画作面接触部分呈弧度的描绘，从而使得线条在顶部开始的地方和底部结束的地方呈现出非常锐利的点。
The tone peculiar to frescoes, characterized by the light veil of superficial dust incorporated in the patina, can be easily reconstituted by starting the retouching with very low, slightly bluish tones produced by adding to the mixture the necessary quantity of blue.
通过在颜料中添加必要数量的蓝色可以产生非常低调的、轻微的蓝色调，从而可容易的重构壁画特有的、被整合进古锈的表面浮尘所产生的轻纱特征。
Limitations of tratteggio. The advantages of tratteggio naturally diminish as the surfaces to be reintegrated become larger and the forms less articulated for the vibration of the hatchings then contributes to a certain imprecision of the planes. In such cases other methods of identifiable retouching may be preferable. But tratteggio should not be combined with other methods because two methods of reconstructing losses applied in the same painting would certainly affect the visual unity of the image.
“垂直影线法（tratteggio）”的限制。随着要重新整合表面的扩大，以及由于线条填充的震动造成了更不清晰的形式，从而导致某种不精确的平面，“垂直影线法（tratteggio）”的优势开始自然的减少。在这种情况下，其他可识别的方法可能更为可取。但是“垂直影线法（tratteggio）”不应和其他方法结合使用，因为在同一个画作中使用两种缺失重构方法必然会影响图像的视觉统一性。
Moreover, it is essential that the reconstruction in tratteggio remain limited to losses with a neatly defined outline and not overlap the worn parts of the original……
此外，至关重要的是，以“垂直影线法（tratteggio）”进行的重构应被局限于有着整洁外清楚的轮廓，并且与原作的磨损部分并不重叠的缺失部分……
Losses That Should Not Be Reconstructed
The reconstruction of missing parts ceases to be justified when it becomes hypothetical and, generally speaking, when the loss exceeds a certain size.
不应被重构的缺失
当需要假设的时候，以及，通常而言，当缺失超过一定尺寸时候，就不再应该重构缺失部分。
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In this case, the problem is to reduce the disturbance caused by the loss by preventing it from interfering with the image. The loss, instead of being a pattern detaching itself in front of the image which has become a ground, must be transformed into a ground behind the image now restored to its role of figure.
在这种情况下，问题是通过防止缺失干扰图像从而减少缺失所导致的混乱。缺失部分不应成为将其自身转变为游离于被转变成“底”的“图”之上的东西，而是必须被转化为“图”之后的“底”，现在恢复其对于整个图面其自身应该担当的角色。
The ground of a mural painting must be interpreted here as being the wall that lies behind the painting. In relation to the painting and to the architecture, the wall constitutes a plane of reference and the best way to treat nonreconstructable losses is to act as if they were due to the fall of a layer of surface rendering which has laid bare the underlying arriccio.
在这里，一幅壁画的“底”必须被解读为画作之后的墙面。这个墙面与画作和建筑有关，构成了一个参考平面以及处理本来就应该作为不可重构缺失的最好方式，如果他们源于表面打底层的脱落，使得下面的灰泥层裸露了出来。
arriccio：画壁画时用于打底的最厚最粗糙的灰泥层
本人3年前初译了一下，也曾在同济大学“历史建筑保护概论”课上作为辅助材料分发给“历史建筑保护工程”专业07级的本科生翻译过（每人10多页）。
应众多建筑遗产保护爱好者的要求，从今日起连载译稿（草稿）。由于本来只作为内部学习用，本人翻译和校核的次序并没有按照原文的次序，故此次连载亦不按次序，望谅解。
注意：只作为内部交流，请勿转载。同时请广大同道对译文进行纠错。
同济大学建筑系副教授 陆地
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Reading 36
Problems of Presentation
PAOLO MORA, LAURA MORA, AND PAUL PH I LIPPOT
阅读文献36
表现的问题
保罗·莫拉，劳拉·莫拉，保罗·菲利普特
From PAOLO MORA, LAURA MORA, and PAUL PHILIPPOT. "Problems of Presentation." in (Conservation of Wall Paintings, chap. 13 (London: Butterworths, 1984), 30l-10; originally published as "Die Behandlung von Fehlstellen in der Wandmalerei," in Beiträge zur Kunstgeschichte und Denkmalpflege, Walter Frodl, zum 65 Geburtstag gewidmet (Vienna-Stuttgart: W. Braumüller. 1975), 204-18. Used by permission of Butterworth-Heinemann, Stoneham. Mass.
Treatment of Losses
General Principles
对缺失部分的护理
总原则
——————（省略符）
Historical conscience today demands that the authenticity of the documents of the past be respected. Modern aesthetics, on the other hand, in its emphasis on the unique character of the work of art as the creation of an individual consciousness at a given historical moment, has in turn proved that it cannot be reproduced, not even by the artist himself who in attempting to do so would either make a replica--or even a fake--or else create a new work.
如今的历史道德心要求尊重对过去的真实记录。另一方面，现代美学强调艺术品独一无二的特征，将其视为在某个既定历史时刻个体意识的创造物，这反过来证明了艺术品的不可复制性，即便是原来的艺术家自己也不可能，试图这么做的艺术家自己要么是在做一个复制品——甚或是赝品——要么就是在创造一个新作。
……Aesthetic reality lies entirely in the appearance of the work of art and its understanding cannot be dissociated from the presentation of the work……
……美学现实性完全在于艺术品的外观，对他的理解不能脱离艺术工作的表现……
There are two levels of disturbance caused by losses in a painting. On one hand, the loss makes it difficult to perceive the image because, to follow Brandi's use of the terminology of Gestalt psychology, it has a tendency to become the pattern while the painting as a whole then becomes the ground [Figs. 1, 2].1 On the other hand, the loss seems, from the formal point of view, to be an interruption of the continuity of the form.2 The minimization of this disturbance in order to restore to the image the maximum presence possible, while respecting its authenticity as a creation and as a historical document is the real critical problem of the reintegration of lost areas.
画作中的缺失导致两个层面的干扰。一方面，缺失导致对图像的感知困难，因为根据勃兰迪对格式塔（Gestalt）心理学术语的应用，他造成了一种倾向，缺失成为“图（pattern）”，与此同时，整个画作成为了“底（ground）”[图1、2]。1另一方面，从形式上看，缺失部分是一种形式连续性的中断。2为了恢复图像可能的最大化表现而最小化这种干扰，同时将图像的真实性作为一种创造，作为一种历史记录而加以尊重，这就是整合缺失部分真正的评判性问题。
1. [4] CESARE BRANDI, "Il trattamento delle lacune e la Gestalt-psychology," Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, ed. Millard Meiss et al., Problems of the Nineteenth and Twentieth Centuries, vol. 4 (Princeton, N.J.: Princeton University Press, 1963), 146-51.
2. [5] CESARE BRANDI, "Il ristablimento dell'unità potenziale dell'opera d'arte," Bollettinzo dell'Istitutto Centrale del Restauro 2 (1950): 3-9.
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Figure 1 Roman Forum, Oratory of the Forty Martyrs. Reinforcement of the edges of the losses, executed in hands that are too wide and too light in color, completely obliterates the ensemble by reducing it to the status of "ground" on which the reinforcing borders stand out as "figures."
图1。罗马广场，四十烈士的演讲。缺失部分边缘手工实施的加固过宽，而且色彩上太亮，完全破坏了整体效果，整体效果退化为了“底”，而加固边缘突出为了“图”。
Figure 2 Ajanta. The composition of the painting has been rendered illegible by the manner in which the losses have been treated, so that the losses appear as the foreground and disrupt the unity of the image. The image would reestablish itself naturally if the losses were treated as fragments of a single ground plane situated optically behind the image.
图2 阿旃陀。这幅画的构图已经被缺失部分的处理方式搞得难以辨别了，缺失部分似乎变成了前景，破坏了图像的整体性。如果缺失部分被处理为视觉上位于图像之后的单纯底面性质的碎片，图像就会自然的重建其自身。
Ajanta：阿旃陀(位于印度中西部, 阿姆拉瓦蒂西南部的村庄。附近岩洞可追溯到约公元前 200年至 公元 650, 藏有辉煌的佛教艺术典范 )
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Figure 3 Tarquinia, Tomb of the Lionesses. The losses, filled with cement without any effort to integrate them, stand out as a pattern in front of the original composition, which is thereby fragmented and reduced to the status of "ground."
图3。塔尔奎尼亚，母狮之墓。缺失部分被用毫无旨在整合他们的水泥填补起来，在原始构图前面突出为“图”，原始构图由此破碎并退化为了“底”。
Tarquinia：[地名] [意大利] 塔尔奎尼亚
Conceived in this way, and not as an intervention which aims to complete the work, it is obvious that the reconstruction of the missing parts is justified within well-defined limits and practical means. This has been proved by Cesare Brandi, who based his argument on the notion of the potential unity of the mutilated work. From an aesthetic viewpoint, the work of art is characterized by the unity of the form as a whole. The image created by the artist differs from the object which is its physical support in that it is not equal to the sum of its parts and is therefore not divisible. Consequently, even when the work is mutilated or reduced to fragments something of its original totality always remains. This continues to exist in the remaining fragments, in varying degrees of potentiality according to the extent and nature of the mutilations. Reconstruction as a critical interpretation is thus aesthetically justifiable as long as it aims only at making it easier to see the potential formal unity of the work which exists within the fragments. This last restriction implies that the operation should stop where hypothesis begins. At that moment, since the loss can no longer be reintegrated by reconstruction, it will have to be considered only insofar as it disturbs the legibility of the image. Reintegration should then be limited to treating the loss in such a way that instead of coming forward in space as a pattern it will on the contrary become part of the ground, thereby restoring the image's preeminence as a figure [Fig. 3].3
以这种方式而不是以旨在完成工作的保护处理方式进行构思，显然，对缺失部分的重构只有在明确界定的限制条件和实践手段下才是正当的。切萨雷·勃兰迪已经证明了这一点，他的论点基于残损艺术品潜在统一性的概念。从美学角度看，艺术品具有形式作为整体的统一性特点。艺术家创造的图像不同于图像中现实支持的对象，不等于其各个部分的总和，因此是不可分割的。因此，即使艺术品残损了或变成了碎片，其原始全体性的一些部分仍旧存在。这种全体性继续存在于残存碎片中，根据残损部分的范围和性质有着变化程度不同的潜在性。作为一种评判性的解读，只要重构仅仅旨在更容易看到艺术品存在于碎片中的潜在形式统一性，他就具有美学上的正当性。这最后的限制条件意味着一旦要开始猜想了就应终止保护操作。在这个时候，由于不再能通过重构整合缺失部分，缺失部分将不得不被视为仅仅是扰乱了图像可读性的缺失。因此，重新整合应被限定于以这样一种方式处理缺失部分，即不是在空间上作为突出的“图”，相反，他应成为“底”的一部分，由此恢复作为图形的图像优势[图3 ]。3
Moreover, from the historical point of view, respect for the authenticity of the work imposes a second limitation on reconstruction. This must always be distinguished, as a critical interpretation, from the original work.4 A comparison may be drawn with the restitution of a word in an incompletely preserved text, although in the case of a text, transmission of the word is ensured by the published edition, which is physically different from the original document. This means that the critical restitution never takes place on the manuscript itself but only on the published text, where it is indicated by a footnote. In a work of art, on the other hand, the reconstruction of the image is only possible on the original. Consequently, reconstructed parts must be intrinsically distinguishable from the original and also integrated with the formal totality of the work. The technical procedures recommended for reconciling these apparently contradictory requirements will be described later.
此外，从历史角度而言，对艺术品真实性的尊重为重构加诸了第二重限制。这一点必须总是被视为一种从原始艺术品而得出的评判性解读。4 我们可以和在一个保存不完整的文本中对一个词汇的重构进行比较，尽管在一个文本的案例中，词汇的传递通过版本的发行而得以确保，但在物质实体上已经不同于原始文献。这意味着对原始手稿自身的评判性复原从未发生，仅是通过一个脚注而表明的对被出版文本的复原罢了。另一方面，对于艺术品，对图像重构只可能发生于原件身上。因此，重构部分必须本质上与原件有所区别，并且与艺术品的形式整体性整合起来。为了调和这些看似矛盾的要求，下面将讨论建议的技术程序。
3. [6] BRANDI, "Il trattamento delle lacune."
4. [7] CESARE BRANDI, "Il restauro dell'opera d'arte secondo l'istanza della storicità," Bollettino dell'Istituto Centrale del Restauro 11-12 (1952): 115--19; and his Struttura e architettura (Turin: Einaudi, 1967), 225-32.
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Figure 4 Annunciation by an anonymous master (early fifteenth century) from the church of S. Marco at Tuscania, from which it had to be removed after the earthquake of 1971. General state after the filling of those losses that were to be reintegrated with tratteggio.
图4 无名大师所绘制的“天使报喜（Annunciation）”（十五世纪初），1971年的地震后从图斯卡尼亚的圣马可教堂迁出。缺失部分被填补后的整体状态，正待以“垂直影线法（tratteggio）”进行重新整合。
Tuscania： [地名] [意大利] 图斯卡尼亚
tratteggio：一种修画技法，运用细密、垂直及与周围原本颜色匹配的线条进行补色。
Based on the potential unity of the mutilated work, reintegration must therefore treat each loss in consideration of the totality of the work [Figs. 4-6]. This is exactly where mural painting presents a particular problem, distinct from an altarpiece or an easel painting. Indeed, insofar as the mural painting is an integral part of the architecture, it is subordinate to a larger totality in which the losses may sometimes affect more than the painting alone……
基于残损作品的潜在统一性，重整由此必须以考虑作品整体的方式而处理每个缺失部分[图4 - 6]。这正是壁画呈现出的，不同于祭坛背壁装饰画或架上画的一个特别问题。的确，只要壁画是建筑的有机组成部分，他就从属于一个更大的整体，其缺失部分的影响有时超过了画作本身……
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Figure 5 Annunciation. After a general treatment of the losses, worn areas have been integrated with a watercolor wash, small losses with tratteggio; large losses and those situated in areas that could not be reconstructed have been treated so they recede behind the image and serve as a uniform ground.
图5“天使报喜（Annunciation）”。经过对缺失部分的总体处理之后，以水彩薄涂层整合了磨损区域，以“垂直影线法（tratteggio）”处理了小面积的缺失；大面积的缺失以及其所处的区域无法用以上方法处理，因此他们后退到“图”之后并作为统一的“底”。
Of course, the problem reaches its height when, as in the Late Baroque in central Europe, pictorial space and architectural space, both based on perspective, tend to merge, the privileged viewpoints of the architecture coinciding with those of the pictorial perspectives. The preservation of the illusion indispensable to the unity of the whole will surely justify the reconstruction of the extensive losses. However, a complete reconstruction, as has sometimes been carried out after war damage, will never be anything else but a stylistic falsification and will soon be outdated, whatever the quality of the documentation on which it is based and no matter how perfect it may be. We must resign ourselves, here, not only to the loss of the painting, but also the irremediable mutilation of the architecture.
当然，在中欧巴洛克晚期的时候，这个问题达到了一定的高度，同时基于透视的绘画空间和建筑空间趋向于融合，建筑更高级的观点与绘画透视更高级的观点协调了起来。保存对统一整体而言不可或缺的幻象必然证明了重建大面积缺失的正当性。然而，正如在战争破坏后有时进行的完整重建那样，除了是一个风格伪证外就永远不是其他任何东西了，并将很快过时，无论这种做法所基于的文献质量如何，无论这种做法可能多么完美。在这种情况下，我们必须不仅仅接受画作的缺失，也要接受无可补救的建筑残损。
——————（省略符）
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Figure 6 Assisi, lower church. Simone Martini, chapel of St. Martin. Details of the vaults, before and after restoration. The losses, limited to the paint layer and due to the action of efflorescences of salts, have been integrated by lowering the tone of the losses and reestablishing formal continuity in worn areas, but without reconstructing the missing areas.
图6阿西尼，下堂（lower church）。西蒙·马尔蒂尼，圣马丁教堂。修复之前和之后的拱顶细部。限于绘画层的缺失部分源于盐分导致的分化，用降低缺失部分色调的方式进行了整合，在磨损区域重建了形式连续性，但并未重建缺失区域。
Assisi：阿西尼城(意大利中部佩鲁贾东南偏东一城镇。阿西尼的圣·弗朗西斯1182年生于此地, 1226年卒于此。该城是一个宗教和旅游中心。人口19, 000)
Practical Procedures
Various Types of Losses
The losses which damage a painting can be distinguished by their location and their size and by how deeply they penetrate the paint layer or the underlying rendering. When considering the problem of reintegration, losses may be divided into five different types [Fig. 7]:
1. Wear of the patina.
2. Wear of the pigment layer.
The term "wear" refers to the superficial alteration of the patina or of the actual pigment layer, due either to abrasion or to the loss of minute flakes of paint beneath which a part of the pigment layer or at least the original rendering remains.
3. Complete losses of the pigment layer or the rendering, limited in surface area and capable of being reconstructed.
4. Complete losses of the pigment layer or of the rendering which, because of their extent and/or localization, should not be reconstructed.
5. Losses of considerable extent, which should nevertheless be reconstructed because of their architectural significance.
实践程序
各种类型的缺失
损害一副画作的缺失可以根据他们的位置、大小、他们穿透绘画层或打底层（underlying rendering）的程度加以区分。考虑整合问题之时，缺失可分为五种不同类型[图7 ]：
1. 磨损的古锈。
2. 磨损的颜料层。
“磨损”指的是古锈或实际颜料层的表面改变，要么源于磨损，要么是损失了部分颜料层之下或至少是残存原始打底层的微小颜料碎片。
3. 局限于表面区域的颜料层或打底层的完全缺失可被重构。
4. 由于其范围和/或位置，完全缺失的颜料层或打底层不应重构。
5. 相当大范围的缺失，由于其建筑意义，仍并被重构。
——————（省略符）
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Figure 7 Types of losses according to the depth of the damage: (1) wear of the patina, (2) wear of the paint layer, (3) loss of the paint layer, (4) loss of the intonaco.
图7 按照损害程度划分的缺失类型：（1）古锈的磨损，（2）颜料层的磨损，（3）颜料层的缺失，（4）灰泥层（intonaco）的缺失。
Reintegration of Losses
Since the painting to be restored normally presents losses of different types, it is important that the reintegration be adapted to them while respecting the above-mentioned principles [Figs. 4, 5]. These differences, however, should be considered within a coherent system, in order to restore the maximum presence and unity to the image without resorting to hypotheses. Indeed, the clarity of the restored image will depend just as much on the coherence and the critical logic of the system adopted as on the quality of the execution.
缺失的重新整合
由于要修复的画作通常表现为不同的缺失类型，因此重要的是重新整合要适应他们，与此同时尊重前述原则[图4、5 ]。然而，应该在一个连贯的系统内考虑这些差异，旨在最大程度的恢复图像的存在和统一性，同时绝不假设。事实上，被修复图像的明晰性既取决于对象的系统连贯性和对其的评判逻辑，也取决于实施的质量。
To attain this purpose it is generally advisable to proceed progressively, treating first the damage due to wear, which causes only a minor disturbance but which is easily reintegrated, thus clarifying the image so that the larger losses may be better assessed. Then one can decide which losses can be reconstructed and which cannot. The latter will consequently have to be treated in such a way that the restored image is disturbed as little as possible.
要达到这个目的，总的建议是一步步实施操作，首先处理源于磨损的损害，这仅仅导致了轻微干扰，很容易被重新整合，从而清晰化了图像，并由此，可以更好的评估较大的缺失。然后，人们可以决定哪些缺失可以重构，那些不行。后者将因此以这样一种方式加以处理，即他对图像的干扰尽可能少。
In theory, various different systems of reintegration can be considered. However, the range of practical possibilities is, in fact, very limited, owing to the great number of requirements which must be satisfied simultaneously.
在理论上，可以考虑各种不同的重新整合系统。然而，事实上，一系列的实践可能性是非常有限的，因为这必须同时满足大量的要求。
The method described here is based on very long experience, and although it may not be the only valid method, it seems to us the one that solves the problem in the most satisfactory manner. It will be described under the different types of losses established earlier.
这里描述的方法基于非常长期的经验，虽然这可能不是唯一有效的方法，但在我们看来这却是一个最令人满意的解决问题的方式。在前面所说的不同缺失类型的基础上，我们将讨论这种方式。
Reintegration of the Patina
Wear of the patina causes a discontinuity of the surface which alters the luster of the painting and, consequently, the depth of the tones and the spatial unity of the image. When the losses are very small and superficial they can be reintegrated by a light watercolor glaze, which reestablishes the uniformity of the surface without the risk of altering the remaining paint laver which it covers. The tint must be matched to the particular tone of the patina in each case. This patina, grayish in frescoes, should be reintegrated in a similar cool tint.
古锈的整合
古锈的磨损导致了表面的不连续，改变了画作的光泽，从而改变了色调的深度和图像的空间统一性。当缺失很小且表面化的时候，可以通过轻薄的水彩膜层重新整合，重建起表面的一致性，同时避免了改变其所覆盖的剩余颜料层的风险。色调要和每个案例中古锈的特殊色调相匹配。壁画的灰色古锈应被某种类似的冷色调重新整合。
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Figure 8 Detail of Fig. 4, Annunciation, illustrating the integration of worn areas using a watercolor wash. (The areas inside the rectangle have not yet been integrated.)
图8 图4的细部。“天使报喜（Annunciation）”，说明了如何以水彩薄涂层整合磨损区域。（矩形的区域还未进行整合）
Reintegration of Wear in the Pigment Layer
When wear due to abrasion or to flaking reaches the actual pigment layer, it affects the image, not only because it alters the state of the surface, but also because it causes small light spots (sometimes even white spots when the rendering is exposed) to appear optically in front of the original pictorial plane. These spots must be made to recede in space and thus the image will recover its continuity and its depth [Figs. 6, 8]. This can be achieved by lowering the tone of the losses by means of watercolor glazes. In order that the intervention may be distinguished, a tone of the exact value but very slightly lighter and cooler than the original should be used……
重新整合颜料层的磨损
当源于摩擦或脱落的磨损达到实际颜料层时，他对图像的影响不仅因为他改变了表面状态，而且还因为他产生了小光点（当打底层被暴露出来时有时甚至表现为白色斑点）视觉上显得“突出于”原始图画面。必须使这些小斑点在空间中消去，从而使图像恢复其连续性和深度[图6，8 ]。可以通过水彩膜层的手段降低缺失部分的色调从而达到这个目的。为了使处理措施可被区别，应使用比原始部分略微浅些、冷些、色值明确的色调……
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Reconstruction of Losses: Filling and Tratteggio
The reconstruction of limited losses is justified by the potential unity of the surrounding painting……The method which we consider has given the best results, and whose systematic character is probably best suited to the critical approach which is proposed here, is that of tratteggio. It was developed at the Istituto Centrale del Restauro during 1945-50 and inspired by Cesare Brandi's theory of restoration……
对缺失的重构：填补和“垂直影线法（tratteggio）”
从画作周边的潜在统一性来判明是否要重构有限范围的缺失……我们的考虑方式已经给出了最好的结果，即这里所提出的评判性方法，也就是“垂直影线法（tratteggio）”可能最适合于画作的系统特征。受到勃兰迪修复理论的激发，中央修复研究院于1945-50年发展出了这种方法……
The filling of losses in the rendering should not be undertaken until the adherence of the paint, especially along the edges of the losses, has been verified and until the necessary consolidation has been undertaken in order to avoid the risk of crumbling when ensuring a perfect bond at the edges. The essential purpose of such a filling is to serve as preparation for the pictorial reintegration; it must therefore reestablish, as exactly as possible, the level and the texture of the original rendering. Normally, materials identical or at least similar to those of the original rendering should be used.
不应进行打底层的“缺失填补”，除非已经确认了颜料层附着的地方，尤其是沿着缺失部分的边缘，除非已经开始进行了旨在避免碎裂风险从而确保边缘部分完善连接的必要加固。这种填补的本质目的是作为重新整合图面的准备；因此他必须尽可能准确的重建原始打底层的层次和质感。通常，应使用与原始打底层同样或起码相似的材料。
————（省略符）
Whatever formula is chosen, the wall must be soaked with water before applying the filling. Moreover, great care should be taken to avoid soiling the surrounding painted areas as this could produce stains after drying. In order to avoid such a risk and to facilitate the application of the filling, it is recommended to fix the paint around the loss with a 10% solution of Paraloid B72. In this way, the filling which might have spread beyond the edge of the loss during application can easily be eliminated without any damage to the painting. After the filling has dried, the fixative can be removed by means of an appropriate solvent.
无论选择了什么公式，在填补之前必须用水浸泡墙面。此外，要尤为注意避免污染填补的周边，因为这可能在干了之后产生污渍。为了避免这样的风险，利于填补的实施，建议用10%浓度的丙烯酸树脂（Paraloid）B27溶液修补缺失部分周围的画面。在这种方式下，可以轻易的清除在实施过程中可能蔓延过缺失部分边缘的填补，且不对画作造成任何损伤。填补部分干燥之后，可以利用合适的溶剂清除固着物。
Reconstruction in tratteggio consists in transposing the modeling and drawing of a painting into a system of hatchings based on the principle of the division of tones [Fig. 9]. This system, by its very nature, works like a kind of screen between the restorer and the original. Its purpose is firstly to differentiate the retouching from the original, in the same way as the use of a different typeface in a printed text can be distinguished; and secondly, to prevent or to filter, through the mechanical nature of the system, any personal expression of the restorer in the spontaneous continuity of the modeling, the brush stroke or the line, so that the intervention is structurally unmistakable as a critical interpretation. It is of course essential that the restorer should do his utmost, through that screen, to obtain the most complete and most rigorous reintegration of the loss by means of reconstruction. Otherwise the barrier would be meaningless and would only cause confusion and haziness of the image, which is exactly the opposite of the objective.
“以垂直影线法（tratteggio）进行的重建”在于将画作的塑造和绘制转变为一种基于色调分配原则的细线填充系统[图9]。由于其本身的特性，这个系统像介于修复者和原作之间的某种屏幕那样而起作用。其目的首先是将重饰从原作中区分开来，这是一种和印刷文本中使用不同字体从而得以识别的同样的方式。其次，是为了通过这个系统的机械特性，防止或过滤调修复者在无意识的连续性塑形、笔触或线条中的个性表达，从而使得实施措施在结构上不会被误解为某种评判性解读。当然，至关重要的是修复者应竭尽全力的这样做，通过这种屏幕，通过重构获得对缺失部分最完整、最严谨的重新整合。否则，这种屏障将毫无意义，只会导致混乱的、模糊的图像，而这与我们的目的恰恰相反。
Normally, tratteggio is applied with watercolor, which helps to distinguish it materially from the original painting and makes it easier to be removed, should this prove desirable. The technique of execution is determined by this method, since watercolor does not allow the use of impasto and all the light must therefore derive from tile ground through transparent layers.
通常，以水彩实施“垂直影线法（tratteggio）”，这有助于在材料上将填补部分和原始画作区分开来，并且假如需要的话，可以更容易被清除掉。这种方法决定了实施技术，由于水彩无法使用厚涂颜料技术（impasto），因此所有的光感必须来自于透明层的不断叠加。
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Figure 9 Figure of the Virgin from a church at Tuscania. Example of the integration of a loss in tratteggio during execution.
图9 来自图斯卡尼亚一个教堂的圣母画。这是一个以“垂直影线法（tratteggio）”整合缺失部分的实例。
Tuscania： [地名] [意大利] 图斯卡尼亚
Tratteggio is a system of small vertical lines averaging one centimeter in length. The first lines, which indicate the basic tone of the retouching, are placed at regular intervals equal to the width of one line. Next, these intervals are filled with a different color, and then again with a third color, in order to reconstitute the required tone and modeling by means of the juxtaposition and superposition of colors which are as pure as possible. Each line in itself should be weak in intensity, the desired intensity of the whole being obtained by the superposition of glazes of transparent lines rather than by strength of color, which would cause the retouching to lack the vibration indispensable for a good integration.
“垂直影线法（tratteggio）”是一个平均一厘米长的细小垂直线系统。用和与线条等宽间隔的规则方式安排表明重饰基本色调的第一层线条。接下来，在这些间隔中填充一种不同的颜色，然后再填充第三种颜色，通过尽可能纯净色彩的并列和叠加手段重建需要的色调和造型。每个线条在强度上应微弱，通过透明线条膜层的叠加而获得理想的整体强度，而不是通过色彩的强度，后者将导致重饰缺乏良好整合必不可少的震动性。
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In order to obtain neat hatchings, without discontinuity and without the formation of drops at the bottom, the following procedure is recommended:
为了获得整洁的线条填充，具有连续性，避免在基底上形成液滴，建议遵照以下步骤：
1. The brush must be sufficiently loaded to trace a full line without letting any paint run. To achieve this, as soon as the color has been taken, the brush should be wiped over an absorbent material such as slightly wet cotton wool, which has been fixed to the bottom right-hand corner of the palette. This operation controls the load of the brush by discharging it if necessary and, by its spiral movement, gives the brush the perfect point it had lost while preparing the tone on the palette.
1. 画笔必须添加足以描绘整根线条的颜料，且不能让任何颜料跑漏。要做到这一点，只要添加了颜料，画笔就应在像略湿的棉羊毛那样的吸水材料上擦拭一下，这种吸水材料应被固定在调色板的右下角。这种操作控制着画笔中的颜料数量，如有必要，应沥出多余颜料，控制着画笔的盘旋运动，在调色板上调色的时候，使画笔上缺少颜料的点恰好得以上色。
2. It must be pointed out that the use of a maulstick (hand support) is essential. It allows the correct movement of the hand which, while the upper part of the forearm remains still, must cause the point of the brush to trace an arc intercepting the picture plane along the length of the line, so that the line begins at the top and ends at the bottom in a very sharp point.
2. 必须指出的是，有必要使用一个腕木（手撑）。他确保了手部的正确动作，而前臂的一部分仍然悬停，必须使着笔点沿着与线条长度方向，和画作面接触部分呈弧度的描绘，从而使得线条在顶部开始的地方和底部结束的地方呈现出非常锐利的点。
The tone peculiar to frescoes, characterized by the light veil of superficial dust incorporated in the patina, can be easily reconstituted by starting the retouching with very low, slightly bluish tones produced by adding to the mixture the necessary quantity of blue.
通过在颜料中添加必要数量的蓝色可以产生非常低调的、轻微的蓝色调，从而可容易的重构壁画特有的、被整合进古锈的表面浮尘所产生的轻纱特征。
Limitations of tratteggio. The advantages of tratteggio naturally diminish as the surfaces to be reintegrated become larger and the forms less articulated for the vibration of the hatchings then contributes to a certain imprecision of the planes. In such cases other methods of identifiable retouching may be preferable. But tratteggio should not be combined with other methods because two methods of reconstructing losses applied in the same painting would certainly affect the visual unity of the image.
“垂直影线法（tratteggio）”的限制。随着要重新整合表面的扩大，以及由于线条填充的震动造成了更不清晰的形式，从而导致某种不精确的平面，“垂直影线法（tratteggio）”的优势开始自然的减少。在这种情况下，其他可识别的方法可能更为可取。但是“垂直影线法（tratteggio）”不应和其他方法结合使用，因为在同一个画作中使用两种缺失重构方法必然会影响图像的视觉统一性。
Moreover, it is essential that the reconstruction in tratteggio remain limited to losses with a neatly defined outline and not overlap the worn parts of the original……
此外，至关重要的是，以“垂直影线法（tratteggio）”进行的重构应被局限于有着整洁外清楚的轮廓，并且与原作的磨损部分并不重叠的缺失部分……
Losses That Should Not Be Reconstructed
The reconstruction of missing parts ceases to be justified when it becomes hypothetical and, generally speaking, when the loss exceeds a certain size.
不应被重构的缺失
当需要假设的时候，以及，通常而言，当缺失超过一定尺寸时候，就不再应该重构缺失部分。
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In this case, the problem is to reduce the disturbance caused by the loss by preventing it from interfering with the image. The loss, instead of being a pattern detaching itself in front of the image which has become a ground, must be transformed into a ground behind the image now restored to its role of figure.
在这种情况下，问题是通过防止缺失干扰图像从而减少缺失所导致的混乱。缺失部分不应成为将其自身转变为游离于被转变成“底”的“图”之上的东西，而是必须被转化为“图”之后的“底”，现在恢复其对于整个图面其自身应该担当的角色。
The ground of a mural painting must be interpreted here as being the wall that lies behind the painting. In relation to the painting and to the architecture, the wall constitutes a plane of reference and the best way to treat nonreconstructable losses is to act as if they were due to the fall of a layer of surface rendering which has laid bare the underlying arriccio.
在这里，一幅壁画的“底”必须被解读为画作之后的墙面。这个墙面与画作和建筑有关，构成了一个参考平面以及处理本来就应该作为不可重构缺失的最好方式，如果他们源于表面打底层的脱落，使得下面的灰泥层裸露了出来。
arriccio：画壁画时用于打底的最厚最粗糙的灰泥层
