PROBLEMS OF INTEGRATION IN POLYCHROME WOODEN SCULPTURE, EXAMPLES OF REPAIRING GAPS ON LARGE-SIZED, VERY INCOMPLETE ARTEFACTS.

In this paper I would like to focus the attention on the problems of integration in polychrome wooden sculptures, proposing some examples of repairing losses on large-sized, very incomplete artworks. The artifacts that are illustrated were also complicated by the heavy tampering that occurred over time and by the cultural value, as they were not musealized and object of devotion by the communities to which they belonged. The restoration of large gaps is one of the most complex themes of modern restoration. To try to better understand this aspect I propose four examples of reconstruction of large size losses. These extreme cases will be analysed in terms of severity of tampering, size and type of gaps, together with the solutions adopted in their formal recovery. They are three large wooden Venetian crucifixes, which are dated between the second half of the fourteenth century and the second half of the fifteenth century, and two sculptures from the casket of an altar with doors.