Reconstruction or original? In this room, the differences are very obvious. There’s the flawless reconstruction of the shell of the room, including the textiles. Everything is new, the colours bright and shiny, the fabric undamaged. Contrast that with the guéridons – the tall, portable stands for candle-holders. They have a past, and that’s very evident. In many cases, it was a chequered past that has left profound marks on the objects.
The guéridons are not only exceptional examples of the wood-carver’s art; they're also a piece of history. Take a closer look – the composition of the figures, their poses – it’s all very inventive, yet also clichéd. After all, they portray people from faraway countries in the role of servants. The figures characteristically display exaggerated facial features and stereotypical clothing – such as loincloths or feather skirts. At the time, they were meant to stand in marked contrast to a European culture styled as superior.
The gueridons display exquisite sculptural workmanship. But for a long time, none of the detail was visible – because their original appearance was literally buried under two layers of bronzing. These breathtakingly beautiful pieces had been reduced to shadows of their former selves.
So the aim of the conservation work was to bring the original gilding and the sculptural detail to light.
Which was easier said than done. The bronzing was stubborn. Wherever it came away, it left green discolourations on the layer of gilding below. And that was badly damaged anyway. In the end, a very complicated, multi-stage process was required to successfully remove the bronzing and uncover the original finish.
The design of the original gilding is once again easy to see. For instance, in the area of the feather skirt and head dress, it’s been very delicately and subtly worked to give a glossy finish. On the other hand, the skin areas were designed as mat surfaces. Since they were not polished and hence compressed, only a few areas of gilding have survived on those parts.
The restoration has meant that despite the scars inflicted by history, the guéridons can once again be appreciated as what they originally were: masterpieces of the sculptor’s art at the court of August the Strong.
