Restoration

Throughout his career, Dionisio Cimarelli has restored significant sculptural works at some of Europe’s most important historical sites, deepening his expertise in traditional techniques while preserving cultural heritage. His meticulous reconstruction of sculptures and architectural elements has provided a profound understanding of the methodologies of the masters, allowing him to seamlessly integrate historical methods with contemporary restoration practices. This approach ensures the preservation of these cultural treasures for future generations.

The following projects showcase some of the most prestigious restoration efforts undertaken across Europe, reflecting the cultural significance and complexity of each work. Each intervention contributes uniquely to the ongoing preservation of Europe’s artistic heritage.

Projects:

Louvre Museum, Paris, France
Royal Palace, Stockholm, Sweden
Royal Church “Christiansborg Slotskirke”, Copenhagen, Denmark
Riddarhuset Palace “The House of Nobility”, Stockholm, Sweden
One Great George Street, London, UK
Strasbourg Cathedral, France
Bonde Palace, Supreme Court, Stockholm, Sweden
Triumphal Arch, Marseille, France
Historical Sculpture, Metz, France
Historical Building, Helsinki, Finland
Reproductions of Sculptures after Great Masters

Louvre Museum, Paris, France

Between 1990 and 1992, he undertook significant restoration efforts on the external sculptures and architectural decorations of the Cour Napoléon, including work on the Pavillon Denon, an area where the glass pyramid designed by architect I.M. Pei is located. These efforts were part of a broader restoration initiative that began earlier, aimed at addressing severe deterioration caused by time and environmental factors while preserving the historical integrity of the museum's facade.

The restoration process involved the careful replacement of the most damaged elements using Pierre de Paris (Paris stone), chosen for its compatibility with the original materials. The reconstructions were guided by detailed historical records and existing models to ensure faithful reproduction of the original designs. Plaster models were crafted to serve as guides for the carving, allowing the sculptures to be seamlessly integrated into the original structure by carving directly onto the building's walls.

For sections where damage was less extensive, a specialized restoration mortar was applied to match the texture and color of the original stonework. Steel and brass armatures were incorporated to strengthen the reconstructed elements and ensure their long-term stability.

The work carried out between 1990 and 1992 significantly contributed to the preservation of the Louvre's architectural and artistic heritage, setting a benchmark for future conservation efforts.

Before-and-after images of a restored architectural ornamentation at [site name], showing the damaged condition on the left and the completed restoration on the right, where the details have been carefully reconstructed.

Before-and-after images of a restored architectural ornamentation at Louvre Museum, showing the damaged condition on the left and the completed restoration on the right, where the details have been carefully reconstructed.

Artist reconstructing damaged architectural decorations with restoration mortar, followed by a photo of the completed restoration.

Three images showing the reconstruction process of a decorative mask sculpture: the first image shows a new stone block prepared for carving, the second image captures the sculptor carving details into the stone, and the third image displays the completed decorative mask sculpture.

Sculptor working on the restoration of a large stone bust, refining details during an architectural conservation project.

Royal Palace, Stockholm, Sweden

Reconstruction of the original 17th-century palace decorations.

In 2003, significant restoration efforts were undertaken to reconstruct the 17th-century decorative elements of the Royal Palace in Stockholm, one of the city’s most important architectural landmarks. The project focused on replicating the original details that had deteriorated over time, using a specialized restoration mortar to rebuild the palace's ornate features. This approach ensured that the new elements were in harmony with the original designs in both form and texture.

The restoration process involved a meticulous study of historical documents and surviving fragments to achieve a high level of accuracy and historical fidelity. To strengthen the reconstructed elements and ensure their long-term stability, steel reinforcements were strategically incorporated. The surface finish of the restored decorations was carefully treated to replicate the appearance of limestone, ensuring a seamless integration with the existing structure. The result was a restoration that preserved the architectural integrity and historical significance of this iconic palace.

A close-up view of a deteriorated 17th-century decorative element, showing erosion, cracks, and missing details.

A close-up view of the restored 17th-century decorative element, reconstructed with restoration mortar to match the original design seamlessly.

Close-up of damaged leaf ornaments with two arrows indicating missing and deteriorated sections due to time and weather damage

Close-up of two newly reconstructed leaf elements, appearing lighter than the surrounding aged stonework, carefully shaped and finished to match the original design using cement.

Royal Church “Christiansborg Slotskirke”, Copenhagen, Denmark

Built in 1826, the Christiansborg Slotskirke was designed by Christian Frederik Hansen, a prominent Danish architect known for his neoclassical style. Serving as the personal church of the Danish Royal Family, the church underwent a significant restoration in 1995 following a devastating fire that caused the dome to collapse, leading to severe damage to the neoclassical stucco sculptures and bas-reliefs inside. The restoration project aimed to restore the church’s historical and artistic integrity, with a focus on meticulously reconstructing four large sculptures that had been heavily damaged or lost entirely.

Traditional techniques were employed in the restoration, beginning with clay models to recreate the original forms. Many intricate details were directly sculpted and modeled onto the sculptures using stucco, ensuring precise restoration in situ. Steel reinforcements were also added internally to guarantee the long-term durability and structural stability of the new elements.

In addition to the sculptures, the damaged bas-reliefs were carefully cleaned and restored to their original condition, preserving the church's neoclassical character. The comprehensive restoration not only protected the artistic heritage of Christiansborg Slotskirke but also ensured that the new elements harmonized seamlessly with the original architecture.

Side-by-side images showing the restoration of a damaged sculpture's foot at Christiansborg Slotskirke. The left image shows the foot before restoration, with visible deterioration, while the right image depicts the fully restored foot, sculpted to match the original form using traditional techniques.

A close-up of a damaged hand on a sculpture, showing significant wear and deterioration before restoration.

Full view of a restored sculpture with a reconstructed hand, depicting a standing figure holding a scroll and accompanied by an eagle.

Damaged sculpture missing the angel's head.

Restored sculpture of an angel, with the newly crafted head in place.

Sculptor modeling an angel's head in clay.

Riddarhuset Palace “The House of Nobility”, Stockholm, Sweden

Riddarhuset Palace, designed by Simon de la Vallée, is renowned for its stunning 17th-century architecture, characterized by brick construction and elaborate limestone decorations. In 2003, the restoration project aimed to revitalize the palace’s architectural details, focusing on the reconstruction of fruit motifs and capitals that had suffered from weathering and aging.

To replicate the original limestone appearance, a specially formulated restoration mortar was applied, carefully matched in texture and color to ensure authenticity. Steel reinforcements were discreetly integrated within the newly reconstructed elements to enhance their structural stability without compromising the aesthetic.

The process also involved an in-depth analysis of historical references and surviving architectural fragments, allowing for a faithful recreation that respects the palace's artistic heritage while ensuring resilience for the future.

Damaged decorative leaves on an architectural element, showing areas where the original leaves are missing due to weathering and time.

Steel armature installed to support the reconstruction of missing architectural leaves, providing a framework for the restoration work.

Completed reconstruction of decorative leaves, shown lighter in color and crafted with restoration mortar to match the original limestone texture.

View from below showing newly restored leaves on the right, reconstructed with restoration mortar, contrasted with older, rough cement repairs on the left.

Close-up of severely damaged lime stone fruit sculptures, with arrows indicating areas of significant erosion and deterioration.

Close-up of fully restored lime stone fruit sculptures with lighter-colored sections showing where repairs were made.

Decorative floral sculpture with visible cracks and time-induced damage.

Restored decorative floral sculpture, showing newly applied restoration mortar with a lighter tone.

One Great George Street, London, UK

In 2002, restoration efforts at One Great George Street, a prominent building in Westminster completed in 1910, focused on the cleaning and reconstruction of stucco sculptures and the cleaning of Carrara marble sculptures in the Great Hall. The project also included the application of new gold leaf gilding to restore the original decorative details.

The building, which has hosted many significant events throughout its history, including the signing of the UNESCO charter in 1945 and a visit from Queen Elizabeth II in 1978, required careful restoration to preserve its cultural and architectural significance. The work involved replicating traditional gilding techniques and ensuring that the restored sculptures were seamlessly integrated with the historic character of the building.

Restoration of a stucco angel sculpture at the main portal of the Great Hall in One Great George Street, London. The image shows scaffolding around the sculpture, with detailed work on minor reconstruction and cleaning of both the stucco and gold leaf decoration.

Close-up of a stucco angel sculpture after restoration at the main portal of the Great Hall in One Great George Street, London. The gold leaf accents have been carefully reapplied, and the restored areas blend seamlessly with the surrounding historic elements.

A restorer is carefully cleaning a marble decoration on the main portal, surrounded by scaffolding.

Restored Carrara marble decoration with intricate details after cleaning and minor repairs.

Fully restored upper section of the main portal, with marble sculptures and gold leaf gilding.

Strasbourg Cathedral, France

In 1998, restoration work was carried out on Strasbourg Cathedral, one of France's most important Gothic landmarks, renowned for its distinctive pink and yellow limestone. The project focused on reconstructing damaged decorative elements, with meticulous attention to preserving the Gothic style unique to both the era and the cathedral itself.

Large blocks of pink and yellow limestone were carefully selected to match the original materials, and the pieces were sculpted using the traditional chisel finish technique, typical of the Gothic period. This method was employed to replicate the precision of the original stonework, ensuring that the new elements harmonized with the historic architecture.

The decorative components were initially crafted in the studio before being transported to the cathedral, where they were mounted onto the structure. Final refinements were made on site to achieve seamless integration with the original architecture, preserving the cathedral's historical and artistic integrity for future generations.

A reconstructed decorative stone element from Strasbourg Cathedral, carved from red stone. The piece features floral patterns, replacing an original that was too damaged to repair, with the reconstruction based on similar, well-preserved sections.

A close-up view of the intricate chiseling work on a reconstructed stone element from Strasbourg Cathedral. The detailed carving demonstrates the traditional Gothic chiseling technique, carefully replicated to match the cathedral’s historical style.

Bonde Palace, Supreme Court, Stockholm, Sweden

In 2003, the Bonde Palace, originally designed by Nicodemus Tessin the Elder and now home to Sweden's Supreme Court, underwent a significant restoration to address the deterioration of its limestone decorations. The project presented unique challenges due to the delicate nature of the original stonework, which had suffered extensive damage from exposure to harsh weather conditions over the centuries.

The restoration focused on carefully reconstructing the damaged decorative elements, using a custom-formulated mortar that closely matched the appearance and texture of the original limestone. To ensure structural integrity, steel reinforcements were embedded discreetly within the newly restored features, providing support without compromising the aesthetic.

The work required a deep understanding of historical techniques, with the restoration team drawing on traditional methods and historical records to faithfully recreate the palace's distinctive architectural details. This careful approach allowed the new elements to blend seamlessly with the historic fabric of the building, preserving its cultural significance and the architectural legacy of Tessin for future generations.

A deteriorated limestone drapery ornament, showing significant weathering and damage. The surface has been cleaned, and steel reinforcements are planned to support the restoration process.

A fully restored limestone drapery ornament, with lighter-colored reconstruction areas made using restoration mortar. The restored sections replicate the original design, preserving historical accuracy.

Triumphal Arch, Marseille, France

In 1998, the Triumphal Arch of Marseille, also known as the "Porte d'Aix," underwent extensive restoration due to the severe deterioration of its classical decorations. Built in the 19th century to commemorate French military victories, this monumental arch is a significant example of Neoclassical architecture, drawing inspiration from ancient Roman triumphal arches.

The restoration project focused on the complete re-sculpting of the damaged marble decorations. The original material, a local white limestone known for its distinct appearance and durability, was carefully chosen for the new elements to ensure compatibility with the existing structure. Using traditional techniques, including the chisel finish typical of classical stonework, the new decorations were crafted with meticulous attention to detail to replicate the original motifs.

The restored pieces were later reinstalled on the arch in areas where the original decorations had been removed, and final refinements were completed on-site to achieve a seamless visual integration. This comprehensive restoration aimed to preserve the architectural and historical integrity of the monument, ensuring that it remains a symbol of Marseille's cultural heritage for future generations.

A detailed view of classical decorative motifs sculpted from white limestone, showcasing traditional Neoclassical patterns with chisel-finished details, ready for installation.

A close-up of stone steps featuring ornate classical decorations, with circular and floral motifs carved into the limestone, emphasizing the precision of traditional craftsmanship.

Historical Sculpture, Metz, France

In 1998, a significant restoration project was undertaken on this early 19th-century sculpture, which had suffered severe weathering and erosion over time. The damage was most evident in the lower sections, where the feet were almost completely corroded. To address this, the missing parts were first modeled in clay, providing a guide for the reconstruction process.

A new block of stone, weighing over one ton, was then carefully selected to match the original material. Using the traditional pointing machine technique, the entire section below the knees was resculpted with absolute precision. This method allowed for an exact reproduction of the missing portions, ensuring fidelity to the original design while replacing the heavily deteriorated elements.

Once the sculpting was complete, the reconstructed areas were carefully patinated to match the color and texture of the original stone, ensuring a seamless visual integration. The project aimed not only to restore the sculpture’s structural integrity but also to preserve its historical and artistic significance for future generations.

Clay Reconstruction of Missing Parts "Close-up of a statue's feet with visible damage. The missing sections are partially reconstructed using clay, showcasing the early stage of restoration work."

Comparison Between Original and Newly Sculpted Feet "Two side-by-side feet of a statue. One foot shows the original, damaged portion while the other displays the newly sculpted section in stone, placed next to the clay prototype."

Newly Sculpted Feet in Detail "Detailed close-up of a newly sculpted stone foot, showing fine chisel marks and craftsmanship. The foot replicates the style of the original statue with great precision."

Statue Awaiting Reattachment of the New Base "A full-length view of a standing statue with an Egyptian-inspired design, showing muscular arms and detailed features. The lower portion, including the feet, has been removed for reconstruction."

Historical Building, Helsinki, Finland

In 1997, the restoration of this early 20th-century building in Helsinki required a unique approach due to the region's harsh winter climate, which posed significant challenges for traditional materials. Instead of using Italian marble or other conventional stones, a specialized cement was chosen to sculpt and model the decorative elements directly onto the building. This material was specifically formulated to withstand the freezing temperatures and frequent freeze-thaw cycles typical of the area.

The cement decorations were meticulously sculpted and refined on-site, allowing for seamless integration with the building’s original architectural style. Additionally, black stone elements were incorporated into the design, providing contrast and enhancing the aesthetic appeal. To ensure the longevity and structural stability of the restored sections, steel reinforcements were embedded within the cement structures.

Initial reconstruction stage of a historic building, showing cement being used to create the foundational elements of the ornate decorations.

Close-up of intricate cement sculpting work in progress, detailing the restoration of decorative architectural elements.

Nearly completed cement sculpting with spaces prepared for the installation of black decorative stones, showing detailed craftsmanship.

Completed restoration featuring decorative cement sculpting and black stone elements, fully integrated with the historic building façade.

Reproductions of Sculptures after Great Masters

Carved in wood during the early 1990s, these reproductions were created as part of a comprehensive study aimed at mastering the techniques and stylistic nuances of the Old Masters. Produced both during and before the artist's restoration career, each piece was meticulously sculpted using traditional methods, deliberately avoiding modern tools such as the pointing machine. The process relied exclusively on manual techniques, utilizing calipers and direct measurements, with all work executed by eye.

In addition to the sculpting, the painted surfaces were finished using traditional gesso techniques, as practiced in past centuries. These ancient methods allowed for achieving authentic color effects and textures that faithfully resemble the original appearance of historical works. This approach enabled the artist to deeply engage with the technical precision and artistic sensitivity characteristic of historical sculptural and painting practices.

The research involved in replicating these masterpieces not only enhanced the artist's professionalism in the field of restoration but also enriched his ongoing exploration as a contemporary sculptor. By replicating these works with such fidelity, the artist significantly improved his understanding of the subtleties of form, technique, and expression, thereby deepening his expertise in traditional sculptural methods and informing his own creative process in contemporary sculpture. This experience has been fundamental in bridging the techniques of the past with contemporary artistic practices, ensuring that the legacy of the masters continues to influence and inspire new artistic expressions.

A highly detailed replica of Donatello's bust of Niccolò da Uzzano, showcasing realistic human expression and fine craftsmanship in the draped robe. The sculpture features lifelike painted details, capturing the subject's thoughtful gaze. The original work is located in the Museo Nazionale del Bargello, Florence.

A wooden sculpture representing a classical Roman torso of Venus. The torso, carved from cherry wood, showcases the idealized female form typical of Roman art. The sculpture is positioned on a polished base made from serpentine marble, providing contrast and a stable foundation. The piece reflects the elegance and stylistic proportions of ancient Roman sculptures dedicated to Venus, the goddess of love and beauty.

A wooden replica of a Baroque putto on a gold-leaf gilded base, painted with gesso.

A reproduction of the Gothic sculpture Saint John the Evangelist by Tilman Riemenschneider. The piece, carved from cirmolo wood (Swiss pine), depicts Saint John standing with folded hands and draped in flowing robes. The artist’s detailed replication reflects the intricate style of the late Gothic period, showcasing the naturalistic facial expression and delicate wood carving typical of Riemenschneider's original works.

A cirmolo wood bust reproduction of Laughing Child by Desiderio da Settignano, depicting a smiling young child with intricate detailing of the facial features and softly draped clothing.

A replica of a Roman-era child’s portrait carved in walnut wood. The detailed bust captures the soft facial features of a young child, reminiscent of Roman naturalistic sculpture. The piece is mounted on a polished green marble base, enhancing its classical appearance. The warm tones of the wood contrast beautifully with the cool marble, creating a harmonious blend of materials that connects past and present craftsmanship.

Wooden replica of Donatello's Ecce Homo, depicting a sorrowful Christ with downcast eyes, inspired by the original bronze piece located at the Basilica of Saint Anthony in Padua.

RESTORATION

DIONISIO CIMARELLI Sculptor