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PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

preservation of wallpapers as parts of interiors - Eesti ...

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Task of conservation. Case studies<br />

furnished with high bookshelves and accessible only by special<br />

permission. (Fig. 154)<br />

Closer examination revealed that the wallpaper was the<br />

first decorative layer of the room and had probably been applied<br />

at the beginning of the 1890s, when the building was erected.<br />

After the removal of the shelves it became apparent that 90%<br />

of the wallpaper was in good condition. Since the room is the<br />

best preserved and largest of its kind in Estonia, it was decided<br />

to reconstruct the missing areas to unify the representative<br />

appearance of the object. The reconstructions were made by<br />

Kristiina Ribelus.<br />

The general condition of the object, various types of damages<br />

and exact details of the conservation process are provided<br />

in the documentation form.<br />

5.5.3. Conservation concept and treatment<br />

It was decided to conserve the wallpaper in situ, since it had<br />

survived almost intact and its condition was stable. Moreover<br />

it is the only known monument of its kind that has survived to<br />

such an extent in Estonia. Thus it was not reasonable to destroy<br />

its unity and the original method of mounting. If there is any<br />

need for additional treatment later on, the wallpaper can be<br />

removed and treated more thoroughly.<br />

During the process of conservation it became apparent that<br />

the greatest damage was caused by misunderstanding and the<br />

lack of co-operation between different responsible parties.<br />

Besides detailed research on an object and historical materials<br />

available in archives and libraries, it is important to communicate<br />

with long-term employees working in a historic building,<br />

as well as with representatives of different parties involved in<br />

the preservation project. Communication may reveal essential<br />

information about the object and prevent further damage.<br />

In the case of the Estonian Literary Museum, the most extensive<br />

damage was caused by careless handling and lack of communication.<br />

It would have been possible to avoid the damage<br />

if there had been an open discussion and all of those involved<br />

had been thoroughly informed. To avoid mishandling, there is a<br />

274

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