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Restoration of the Great Imperial Throne The year 2002 saw the completion of the programme for the restoration of the Great Imperial Throne created in 1731 for Empress Anna Ioannovna by the British craftsman Nicholas Klausen. The programme required the joint efforts of several laboratories of the Department for Scientific Restoration and Conservation (headed by K.F. Nikitina). Direction of the project was entrusted to M.N. Lopato, a leading research worker in the Department of Western European Art. The work was carried out in the Laboratory for the Scientific Restoration of Works of Applied Art (headed by A.I. Bantikov), the Laboratory for Scientific Restoration of Fabrics (headed by N.S. Piniaghina) and the Special Scientific Restoration Production Workshops of the State Hermitage (headed by N.I. Trubnikov). Restoration work began with the wood. The wooden surfaces were cleaned of grime and old glue at the sites of breakages and splits and constructional joints. Missing elements in the base of the throne and the footstool were made good using timber of the same variety from which the throne was made. The carved details on the base of the throne were recreated. Then came restoration of the gilding and gilding of the inner surface of the throne and footstool, as well as regilding of all surfaces where it had been lost and the toning of the newly applied areas to look like old gold. The restoration of the metal involved the removal of all the gilded silver ornaments as well as the fastenings, the removal of surface grime, correction of deformation, the production of a cross to go on the orb, silvering and gilding. The restoration of the fabrics was exceptionally difficult and painstaking. All the fabrics and needlework were in extremely poor condition - heavily stained, rubbed and faded. The fibres of the fabric were destructured and the velvet had practically lost its pile. The velvet elements were removed from the wooden frame and separated. The eagle, large crown and trimmings created in the gold embroidery technique over thick padding were separated from the velvet. Coloured natural silk threads of various shades were selected to reinforce the embroidery. Losses were made good using silvered and gilt thread, metal wire and sequins kept in the laboratory for use in restorations. The coats of arms were restored using appropriate fabrics: silver brocade, blue silk and red velvet. The trimmings were backed with tinted silk gauze. The materials used to make good losses were of the same age as the originals. The restored details of gold embroidery and trimmings were attached to new velvet matching the original in quality and colour as determined from fragments surviving beneath the metallic appliques. The velvet, cut taking account of the direction of the pile, was backed with a cotton fabric. The restoration process was completed by gilding, tinting and patinating, after which the assembled coats of arms were fastened onto the fabric. The project was sponsored by the Energy Standard Group S.A.. The Friends of the Hermitage Club also provided great assistance in its realization. |
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Copyright © 2006 State Hermitage Museum |
