Heidelberg. In 1824 Schlesinger was the first paintings restorer of the
Royal Museums in Berlin (Schiessl 1990:97–117). Köster’s small booklet
with Schlesinger’s appendix emphasized the ethical basis of restoration
work. The 1828 German translation of the noteworthy book about oil
painting by M. B. L. Bouvier (1828:465–96), a painter from Geneva, con-
tains an appendix about paintings restoration written by the translator
Christoph Friedrich Prange. In 1832 the famous restorer’s book by
Friedrich Lucanus, connoisseur and pharmacist in Halberstadt, appeared
(Lucanus 1832). The restoration books by the painter and restorer Welsch
(Kurer 1988:2), published in 1834, and by Hampel, published in 1846, are
also important. Born in 1796 in Breslau, Hampel studied architecture and
learned restoration work at the Academy of Vienna (Kurer 1988:1). One
may presume that Hampel’s descriptions are most representative of
Austrian methods. A translation by Hertel of Horsin Déon’s book, De
laconservation et de la restauration des tableaux (1851) appeared in 1853.
Completing the list ofGerman books on paintings conservation are a
booklet by Voss published in 1899 and one by Goetz (1916). An Austrian
book about paintings restoration was written by Kainzbauer in 1922.
The establishment of the journal Technische Mitteilungen für
Malerei in 1884 provided an important new platform for the exchange
ofexperiences and techniques in the field offine arts , conservation,
andrestoration.
Finally, in the early twentieth century, publications in conserva-
tion and restoration began to include more details of particular methods
and treatments. Since that time, good information about treatments for
the supports of panel paintings has been available.
How was German conservation literature linked with the litera-
ture ofother countries in earlier times? As mentioned, the literature on
conservation and restoration shows international references dating from
the eighteenth century, including translations from English, French, and
Italian. In the twentieth century, translations from other languages appear
frequently until the 1930s, and then again after the Second World War.
Today international exchange of conservation publications is common,
although many conservator-restorers are not acquainted with the publica-
tions from other countries, as they are limited in their knowledge of for-
eign languages.
It is quite evident that the circumstances of international
exchange in the past were limited to the professional “upper classes”
among the academically trained painter-restorers of the nineteenth cen-
tury and later. For example, some Italian restorers worked in Germany,
and some German restorers worked in Italy. This international exchange
may have been the consequence of the relationships between governments
and of the contacts between the collectors and connoisseurs, as clearly
seen in the example of the Boisserée brothers, the most important collec-
tors of medieval painting in German-speaking countries in the nineteenth
century. The German restorer Andres worked at the end of the eighteenth
century in Naples, and restorers named Metzger and Roeser worked at the
same time in Paris. The Italian restorer Palmaroli worked in Dresden at
the beginning of the nineteenth century. The restorer Andreas Eigner was
conservator and inspector at the Gallery in Augsburg beginning in 1830,
after which he worked for museums in Bavaria, including the Alte
Pinakothek, and, in the 1860s, for the Öffentliche Kunstsammlung Basel
and the Kunstverein Solothurn in Switzerland. Contemporary literatureH P P C A, G, S 201