PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

Task of conservation. Case studies
old repairs, and extensive tears and cuts) were not limited to
one strip, but stretched over multiple pieces. As a result, if the
wallpaper strips had been placed next to each other randomly
in the wrong order, it would have broken the visual unity of
the object and left an uneven outcome. The visual properties
of damage become a part of a historic object. If it needs to be
reassembled, they can be used as helpful means of guidance
to complete the unity of the object. Since nothing was known
of the original mounting method and a new one needed to be
developed, decorative elements preserved in situ were observed
carefully. As the wallpaper had been mounted above a shallow
wooden dado, it was clear that there was not enough space for
a shoji or similar system. Thus it was decided that the wallpaper
would be mounted onto a lining applied directly to the plastered
wall. To ensure the option of subsequent safe and easy removal,
the lining system was a combination of a layer of cotton canvas
and two layers of acid-free lining paper, which created an even
surface for the wallpaper. (Fig. 135) These layers were attached
to the wall using an adhesive, Metylan Extra by Henkel. If the
object needed to be removed, it could be loosened from the wall
together with the canvas, which would provide the necessary
support and protection for the original.
Areas of extensive loss and damage had been retouched or
over-painted with an unknown paint (probably gouache) by the
local conservator. Since the background and various details of
the original were highlighted with metallic pigments, the appearance
of the shimmering surface depended on the angle of the
observer. As the over-painted and retouched areas were either
too dark or matte in comparison to the original, they broke the
visual unity of the object. (Fig. 136)
Since removing the paint would have caused further damage,
it was decided to hide the signs of the previous treatment
with a layer of glazing. Large losses of over-paint were filled with
streaking in neutral tones, and smaller losses were in-painted
using matching neutral tones. After testing various paints, such
as watercolours, gouache, gouache with acrylic binder, acrylic
paint, crayons and pastels, it was decided that the texture and
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