Paris, Dccemler 8, 1801.
You desire that I will favour you with a particular account of the means employed to transfer from pannel to canvas those celebrated pictures which I mentioned in my letter of the 13th ult°. Like many other, things that appear simple on being known, so is this process; but it is not, on that account, the less ingenious and difficult in execution.
Such is the great disadvantage of the art of painting that, while other productions of genius may survive the revolution of ages, the creations of the pencil are intrusted to perishable wood or canvas. From the effect of heat, humidity, various exhalations to which they may be carelessly exposed, and even an unperceived neglect in the priming of the pannel or cloth, master-pieces are in danger of disappearing for ever. Happy, then, is it for the arts that this invaluable discovery has been lately brought to so great a degree of perfection, and that the restoration of several capital pictures having been confided to men no less skilful than enlightened, they have thus succeeded in rescuing them from approaching and inevitable destruction.
Of all the fruits of the French conquests, not a painting was brought from Lombardy, Rome, Florence, or Venice, that was not covered with an accumulation of filth, occasioned by the smoke of the wax-tapers and incense used in the ceremonies of the catholic religion. It was therefore necessary to clean and repair them; for to bring them to France, without rendering them fit to be exhibited, would have answered no better purpose than to have left them in Italy. One of those which particularly fixed the attention of the Administration of the CENTRAL MUSEUM OF THE ARTS, was the famous picture by RAPHAEL, taken from the Chiesa delle Contesse at Foligno, and thence distinguished by the appellation of
MADONNA DI FOLIGNO.
This chef d'œuvre was in such a lamentable state of decay, that the French commissioners who selected it, wereunder the necessity of pasting paper over it in order to prevent the scales, which curled up on many parts of its surface, from falling off during its conveyance to to Paris. In short, had not the saving hand of art interposed, this, and other monuments of the transcendent powers of the Italian school, marked by the corroding tooth of Time, would soon have entirely perished.
As this picture could not be exhibited in its injured state, the Administration of the Museum determined that it should be repaired. They accordingly requested the Minister of the Interior to cause this important operation to be attended by Commissioners chosen from the National Institute. The Class of Physical and Mathematical Sciences of that learned Society appointed to this task, GUYTON and BERTHOLLET, chymists, and the Class of Literature and Fine Arts named VINCENT and TAUNAY, painters.
These Commissioners, in concert with the Administration, having ascertained the state of the picture, it was unanimously agreed that the only mean of saving it would be to remove it from the worm-eaten pannel on which it was painted. It was, besides, necessary to ascertain the safety of the process, in order that, without, exciting the apprehensions of the lovers of the arts, it might be applied to other pictures which required it.
The Report of the four Commissioners before named, respecting the restoration of the Madonna di Foligno, has been adopted by the Classes to which they respectively belong, and is to be made to the National Institute at their next public sitting on the 15th of Nivose (5th of January, 1802).
In order to make you perfectly acquainted with the whole of the process, I shall transcribe, for your satisfaction, that part of the Report immediately connected with the art of restoring damaged or decayed paintings. This labour, and the success by which it was attended, are really a memorial of what the genius and industry of the French can achieve. To all those who, like you, possess valuable collections, such information cannot but be particularly interesting.