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Detachment of wall paintings
The detachment of wall paintings involves the removal of a wall painting from the structure of which it formed part. Once a common practice, with the move towards preservation ''in situ'', detachment is now largely restricted to cases where the only alternative is total loss. According to the International Council on Monuments and Sites (ICOMOS), "detachment and transfer are dangerous, drastic and irreversible operations that severely affect the physical composition, material structure and aesthetic characteristics of wall paintings. These operations are, therefore, only justifiable in extreme cases when all options of in situ treatment are not viable."
==Origins==
Vitruvius records how in Sparta, in 59 BC, "paintings have been taken out of certain walls by cutting through the bricks, enclosed in wooden frames, and brought to the Comitium".〔(【引用サイトリンク】title=Vitruvius, ''De Architectura'' II.8.9 )〕 A century later, apprised of paintings of Atalanta and Helen without drapery and "enflamed with lust", Caligula attempted to carry them off, but was prevented by the makeup of the plaster.〔(【引用サイトリンク】title=Pliny the Elder, ''Natural History'' XXXV.6.17-18 )〕 Maiuri cites examples of wall paintings in wooden frames excavated at Pompeii, a precursor to what was to follow in the 18th and 19th centuries. The practice of detachment, in abeyance or undocumented for a millennium, was revived in Renaissance Italy, with several instances recorded by Vasari.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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