WORLD MONUMENTS FUNDTHE FIRST THIRTY YEARS

WORLD MONUMENTS FUNDTIlE FIRST TIIIRTY YEARS

CHRISTIE'SThc printing of World ~Ionulllcnts Fund: Thc First Thirty Ycars is gcncruusly supportcd hy Christic's

The World Monuments Fund is

a private nonprofit organization founded

in 1965 by individuals concerned

about the accelerating destruction of

important artistic treasures throughout

the world. In more than 30 years of

activity, the World Monuments Fund has

orchestrated over 135 major projects

in 32 countries. Today, with affiliate

organizations established in Europe-

in Britain, France, Italy, Portugal, and

Spain-the World Monuments Fund

sponsors an ongoing program for the

conservation of cultural heritage world­

wide. The World Monuments Watch,

a global program launched in 1995 on

the occasion of the 30th anniversary

of the World Monuments Fund, aims

to identify imperiled cultural heritage

sites and direct financial and technical

support for their preservation.

COVER: THE SCUOLA GRANDE 01 SAN

GIOVANNI EVANGELlSTA IN VENICE

WITH RESTORATION WORK IN PROGRESS

IN THE SALA MAGGIORE

INSET: THE SAME VIEW AS IT

APPEARS TODAY

FRONTISPIECE: INTERIOR OF THE

RESTORED SCUOLA GRANDE 01 SAN

ROCCO IN VENICE WITH VIEW

TOWARDS THE ALTAR

AcknowledgmentsThis book is the product of a collaboration among numerous individuals.

David Sassoon researched and developed a retrospective catalogue of the World

Monuments Fund's work in Europe. Bonnie Burnham subsequently expanded

it into a comprehensive overview of WMF's 30-year history. Dr. Marilyn Perryadded signi ficant information regarding the history of projects supported by the

Samuel H. Kress Foundation. Isabelle de Broglie in Paris, Donatella Asta and

Stephen Eddy in Venice, and Victoria Agnew in London-WMF's European

staff members-helped to document and provide visual material for their respec­

tive project texts. In the New York office, Rebecca Anderson edited the manu­

script and oversaw all stages of production, with help from John Stubbs and

Felicia Mayro of the program staff, and Dr. Samuel Gruber, program consultant

for Jewish heritage. Martha Flach assisted in selecting photographs and com­

posing captions. WMF's development office, under Anthony Newman, super­

vised the compilation of the retrospective list of donors.

Cynthia Nadelman copy edited the manuscript. Susan Skoorka of SkoorkaGraphic Design, New York, N.Y., designed the publication and the WMF

30th-anniversary logo and supervised print production.

Many project entries in the current volume are adapted from previous WMF

publications. A comprehensive listing of these appears on pages 96-97.

The World Monuments Fund gratefully acknowledges the generosity of the

Samuel H. Kress Foundation in funding the development of the texts on WMF's

European projects. WMF is also grateful to Christie'sfor printing this

publication and to the Kress Foundation and Christie'sfor sharing the

printing costs.

World Monuments Fund

949 Park Avenue

New York, N.Y. 10028

U.S.A.

Telephone: (212) 517-9367

Fax: (212) 517-9494

ISBN: 0-9627931-6-7

Copyright © 1996

World Monuments Fund

All rights reserved

Printed in Great Britain

4

Table of Contents

Preface 7

The Rt. Honorable The Viscount Norwich,

HOllorary Clwinllall, World MOil til IIell IS FUlld alld

Chairll/all, World MOIiU/llelll.l· FUlid ill Brilaill

.\ Toast from the Chairman 8Dr. Marilyn Perry. Chairll/all

What Is a World Monument? 9Bonnie Burnham. Execlllil'e DireclOr

History of the World ~Ionuments Fund 12

The First Thirty )ears 22-85

Murals Conservation Program. Mexico City. Mexico

Facade of the Primatial Church of St. Trophimc.

Aries, France

Ponada de la Majestad. Collegiate Church of Santa

Marfa la Mayor. Toro. Spain

Chaleau de COlllmarque. Les Eyzies

(Perigord). France

Church of St. Ann and the Holy Trinity.

Brooklyn. New York

Giandomenico Tiepolo Murals. Church of

San Giovanni Battista. Meolo. Italy

Dome of the Hotel des Invalides. Paris. France

Cima da Conegliano's BaplislI/ (~f Chrisl, Church

of San Giovanni in Bragora, Venice. Italy

55

56

59

60

63

6467

68

Catalogue of ~Iajor Projects

The 1960sRock-Hcwn Coptic Churches. Lalibela. Ethiopia

Archaeological Sites of Easter Island. Chile

Scuola Grandc di San Giovanni Evangelista,

Vcnice. Italy

Tintorelto's paintings for the Scuola Grande di

San Rocco. Venice. Italy

The 1970sChurch of San Pietro di Castello, Venice, Italy

Church of the Pictil (Santa Maria della Visitazione),

Venice. Italy

Scuola Canton. Venice. Italy

Basilica of Santa Maria Assunta on Torcello.

Venice. Italy

Toledo Calhedral Museum.

Toledo. Spain

Gokarna Temple Complex. Kathmandu Valley. Nepal

Bovolo Staircase. Palazzo Contarini del Bovolo.

Venice. Italy

The 19S0sConservation Laboratory. Scuo/a Vecchia del/a

Misericordia. Venice. Italy

Convento de la Coria. Trujillo. Spain

Doneraile Court. County Cork. Ireland

Ciladelle Henry. Milot. Haiti

23

24

26

28

30

32

3536

39

4043

44

47

4851

52

5

The 1990sTemple of Preah Khan. Historic City of Angkor.

CambodiaMuctejar Cloister, Royal Monastery of Guadalupe.

Guadalupe. Spain

Basilica of Ererouk, Armenia

Tempel Synagogue. Cracow. Poland

PotageI' du Roy. Versailles. France

Lednice and Valtice Castles and Environs.

Southern Moravia. Czech Republic

Tower of Belem, Lisbon. PO/'lUg'll

The FulUre

World ~Ionuments Fund Field Activities

~Iajor Donors 1965-1995

The Hadrian Award andWorld ~Ionumcnts Fund Gold ~Icdal

World ~lonul11ents Fund Publications

World i\lonuments Fund Board of Trusteesand Intermltional Leadership

World ~Ionuments Fund Directory

Index

71

72

757679

80

8384

86

91

94

96

98

99

100

In Memoriam

Dedicatcd to

James A. Gray

(1909-1994)Founder

Lucius R. Eastman

(J 913-1991)Trustee and Board Chairman

Emmanuel dc Nlargcric

(J 924-1991)President

World Monuments Fund France

Franklin D. ~[urphy

(1916-1994)Chairman

Samuel 11. Kress Foundation

6

Preface

It has been my good fortune 10 have beenassociated over the years with three greatconservation orgalllzatlons, two of them

British, the other genuinely international; and allthree of them celebrate important anniversariesin 1995. The two British bodies are the NationalTrust. which was founded just one hundred yearsago. and the Venice in Peril Fund, which-thoughit seems almost unbelievable to those of us whowere involved from the start-has already beengoing for a quarter of a century. The third organi­zation is the World Monuments Fund, which­where its age is concerned-falls between theother two. It is 30 years old this year-and I onlywish I could say the same.

It was in Venice, and through Venice, thatI first became associated with the InternationalFund for Monuments. as we called it in thoseearly days. The great Colonel Gray remainedfor me a shadowy figure, whom I met only onceor twice; though already well over seventy, healways seemed to be hurtling between Ethiopiaand Easter Island, Haiti and Kathmandu. Myreally close friends then were John and BettyMcAndrew-what an enchanting couple theywere, and how I miss them-and Marilyn Perry,then a free-lance art historian working in Venice(though already occupying one of the mostenviable flats in the whole city). Little did any ofus know in those days the heights she was shortlyto scale, first in the Kress Foundation and soonafterwards in the IFM, rising to be president ofone and chairman of the other, and forging theclose links between the two that have madepossible the astonishing growth of the WorldMonuments Fund-for we must now give it itsmodern title-over the past ten years.

Since WMF did me the quite undeserved honorof appointing me honorary chairman, I have beenfollowing its fortunes with ever-increasing wonderand admiration. Its income, despite the continuinggenerosity of the Kress Foundation and others,remains relatively modest; but I know of noorganization anywhere that uses that income morebrilliantly or makes it go further. I have seenWMF at work not only in Italy but in France andSpain; in Mexico and the United States: in Haiti.Cambodia, and the Czech Republic; and though I

7

have not yet followed Colonel Gray to Lalibela orto Easter Island, I have every intention of doing sobefore long. Meanwhile, I have associated myselfstill more closely to WMF by becoming chairmanof its new British affiliate; and I have now seenwork begin on the two most staggering examplesin the country of, respectively, the Victorian Gothicand neoclassical styles: the Albert Memorial inLondon and St. George's Hall in Liverpool.

In short, under the inspired direction of MarilynPerry and Bonnie Burnham, WMF is going fromstrength to strength. It has already been responsi­ble for the restoration, wholly or in part, of some135 different monuments, and as I write thesewords its work is in progress on some twentydifferent sites. It remains-a fact which cannotbe too insistently stressed-the only private charitythat exists anywhere for the preservation and con­servation of all the great monuments of the world,wherever they may be; believing as it does thatthose monuments belong in a very real senseto the world. and are consequently the world'sresponsibility to maintain. Its task is immense­just how immense, the new program that wehave called World Monuments Watch wi II oneday reveal-and, clearly, will never be completed.There will always be more work to be done. morebeauty to be preserved, more buildings to restore.But given the encouragement and support of thosewho believe in it. many of the greatest creationsof the human spirit will continue, thanks to WMF,to stand firmly and confidently-for our childrenand our children's children to wonder at, learnfrom, and enjoy.

John Julius NOl"\rich

Honorary Chairman

A Toast from the Chairman

A30th anniversary toast, if I may, to theremarkable evolution of the WorldMonuments Fund, and to the elements

that have made it possible-our mission, ourstaff, and our supporters.

Anniversaries are occasions for assessment,and the World Monuments Fund at 30 has much tocelebrate. Around the world, from Easter Islandto Kathmandu, unique historic structures arestanding, thanks to our work. In New York, oursmall, stalwart team occupies new headqual1erson Park Avenue. In Europe, WMF affiliates areregistered in France, Great Britain, Italy, Portugal,and Spain. Our annual World Monuments FundHadrian Award confers deserved recognition forinternational leadership on behalf of culturalheritage. A major new commitment fromAmerican Express Company gives impetus to ourWorld Monuments Watch, a worldwide call toarms for sites in imminent peril.

At the heart of the WMF achievement is ourwork in the field-an unmatched record ofinternational projects of astonishing variety andbeauty. Ancient Roman ruins in Asia Minor, rock­hewn Coptic churches in Ethiopia, Cambodia'sjungle temples, a mudejar fountain house andgarden in Spain, a Gothic stair tower in Venice,adobe churches in New Mexico, the dome of theInvalides in Paris, a folly-studded landscape in theCzech Republic, the Tempel synagogue in Cracow,and on and on. To prolong their existence is ourgoal-and our reward.

During our first twenty years, the InternationalFund for Monuments operated by adopting worksof art and architecture in need of restoration,pairing them with donors, and supervisingthe conservation process-all managed by theprodigious energies of Colonel James A. Gray.When failing eyesight forced his retirement in themid-1980s, the trustees (myself, by then, included)determined to maintain and strengthen his legacyby restructuring as a professional preservationorganization. We reasoned that rFM's experienceand project orientation would be valuable touch­stones for many of preservation's emerging issues,such as standards of practice, work-force training,documentation, strategic planning, technicalsurveys, fundraising, public-private partnerships,education, and advocacy. Our new name-WorldMonuments Fund-conveyed our new senseof mission.

8

A decade later, WMF is a leader in internat­ional preservation. Executive director BonnieBurnham (a visionary operating as an admin­istrator) and director of programs John H. Stubbs(an enthusiast refined as a preservation architect)head a staff of twelve in New York, plus fieldoffices in Paris and Venice. Projects andprograms have proliferated. WMF has pioneeredpre-planning for building and landscape preserva­tion, initiated on-site training programs, tackledfiscal and educational issues, supported promis­ing research, and published technical reportsand broad surveys. In the field, new partnershipswith funders, governments, and private-sectorgroups have steadily 'leveraged' project supportat impressive levels. Even modern computertechnology is placed at the service of time-wornart through the endangered-heritage listingsof the World Monuments Watch.

At 30, WMF and its accomplishments are atribute to passion, talent, grit, and money. Ourdonors-more generous than numerous-arefarsighted trustees, foundations, individuals, and(more rarely) corporations who are excited by theimportance of the work, the adventure of creatinga viable organization, and the challenges ahead.They share our view of the universality of artand recognize that to cherish and preserve thefinest human achievements is also to renewour most enduring values.

My toast is to this purpose, and to the workof the World Monuments Fund to come!

Marilyn PerryChairman

What Is a World Monument?

To mark an important anniversary, this cataloguerecords 30 years of work in the fields of architectur­al and artistic conservation. It contains detailed

entries describing 30 of the World Monuments Fund's mostimportant undertakings and also includes a full list of allthe projects in which the organization has played a role,ranging from one-time financial support to stem a criticalemergency to full project orchestration: from a smallgrant to prevent the collapse of the tower of the town ofChatillon-sur-Saone in eastern France after heavy rainsto the massive undertaking of restoring the beautiful butnearly derelict Scuola Grande di San Giovanni Evangelistain Venice during the height of the UNESCO campaignfor the city.

A few words are warranted here on how these projectsare chosen. This, indeed, is the question I am mostfrequently asked-by intimates and friends of the organiza­tion, even our trustees; by journalists and people whoare hearing about our work for the first time; and mostespecially, by aspirants who would like to understandhow to present a project that they hope we will choosefor our attention. What is a World Monument')

The answer, unfortunately, is not so simple. A WorldMonument-or rather a site chosen by WMF-can bemany things. It is a given that all the projects we havechosen are highly significant and important works. Butthis is not in itself our main criterion, for there are moresuch works in the world deserving WMF's attention thanwe could hope to count. By no means do we considerour projects to be the most significant, or even the mosturgent of the things that we might have chosen.

We could say that in our project choices we are lookingfor sites whose meaning transcends their present situation,sites which could be transformed through preservation.We are involved in an immensely exciting discoveryprocess. and we look for opportunities to call attention toworks that might not have been rediscovered. It followsthat WMF does not often choose the most obvious andprominent works, for the very reason that these projectsoften do not need our help.

We are also looking for identifiable sources of funding.These may be official and formal sources-foundationsgiving funds in a fixed geographical range, or companiesdoing business in the area; or they may be the moreintangible means of groups of individuals for whom webelieve a certain project might have resonance-theArmenian community, for example, for the seminal site ofErerouk in the home country. When, sometimes, we arewrong, it is usually for one of two reasons: the constitu­ency thinks the government should be responsible; or the

9

constituency has other concerns that seem to surpassin urgency those of saving old buildings. Both viewsare misguided, but they are widespread, and our successdepends on choosing projects that can rise above the"we can't help" response to capture the imagination ofpeople who will help.

Enormous risks are involved in making these choices.To make the right decisions, we must above all judge thepotential partners that work with us. Every project in ourhistory has had a local partner-a government, a privateorganization, or, most frequently, an individual with adream. This partner is the key to the project. He seesa potential that we believe can become a reality. Ourpresence will help to clarify a vision, raise its priority,or give the partner the strength to move ahead. We donot choose projects so much as we choose partnerships.These partnerships become vivid demonstrations of howpreservation works, because they grow to the point that acommunity takes over the project, and the great buildingbecomes, again, something important and necessary.When a community realizes the magnitude of the humanvision that created its great buildings, then the buildingscan be saved.

This book celebrates many projects that are nowcomplete, projects that have given new lives to greatworks that were on the brink of loss. It also shows someof our most important projects in progress, which mayoccupy us for as long as another decade. The path wefollow as we complete these challenges and open newones is both intuitive and well identified. Each newproject is a milestone. Reaching it brings us to newopportunities-to reach a broader public, to gain accessto new resources, and to widen the circle of people whoshare our concern for the built environment-people whowant to work with us to make these irreplaceable assetsmeaningful today and responsive to tomorrow's needs.As we choose new partners in new situations, wegather more and more adherents who share the rewardsof doing what we consider the most important thingone can do: to preserve and to use, with pleasure andto good purpose, the significant works created by manon the earth-our heritage.

Bonnie 8urn/w/1/Executive Director

History of the World Monuments Fund

COLONEL JAMES A. GRAY (LEFT) OBSERVING WORK AT THE SCUOLA

GRANDE DI SAN GIOVANNI EVANGELISTA

The Coloneland the TowerThe World Monuments Fund owes itsexistence to one of the world's mostflawed buildings-the bell tower of PisaCathedral, whose origins can be tracedback to the year 1174. In that year anarchitect-engineer named Bonanno laidthe first foundation stone for a gracefulnew tower to stand as a symbol of thepowerful city-state and as a tribute toGod. Completed almost two hundredyears later with the final addition of acupola, the Tower of Pisa attained theheight of 185 feet; but with the weightof its 15,000 metric tons of marble farexceeding the supporting capabilities ofthe earth beneath, it had by then alreadybegun to lean. Through the centuries,the Tower increased its lean, millimeterby millimeter, so that now its topoverhangs its base by more than sixteenfeet. For fear that it might finallytopple from vibrations, Pisan authoritiesstopped ringing its bells more than acentury ago. Yet the Tower had becomea wonder and an enchantment, renownedand beloved the world over.

One day in the early 1960s, ColonelJames A. Gray of the United StatesArmy, a retired soldier enamored of Italyand concerned for its welfare, attendeda reception in Rome. [n the course of aconversation, he opined that the leaningof the Tower could be arrested by freez­ing the subsoil below it. The DirectorGeneral of Fine Arts and Antiquitieshappened to be within earshot and wasintrigued. By the time the encounterwas over, Colonel Gray had committedhimself to obtaining an engineeringopinion on the subject.

The search for knowledgeable engi­neers took Colonel Gray to Pittsburgh,Pennsylvania, then still a center ofAmerican heavy industry, where hefound an industrial refrigeration compa­ny that confirmed his conjecture aboutfreezing the subsoil. The technique wasa proven one, used to stabilize mine

shafts as well as airstrips on swampytundra. Colonel Gray prepared aproposal for applying the technique tothe Leaning Tower, which he presentedto the Italian authorities.

This exercise prompted Colonel Grayto envision larger possibilities. Hevisited UNESCO in Paris, where helearned that there was no private organi­zation to support the worldwide conser­vation of art and architecture. Actingon a casually tendered idea, and withguidance from UNESCO professionals,Colonel Gray decided to create one.On March 15, 1965, he established the[nternational Fund for Monuments­twenty years later to be renamed theWorld Monuments Fund-a private,nonprofit organization incorporated inNew York and dedicated to preservingimportant historic buildings, archaeo­logical sites, and works of art, withoutregard for national boundaries. Thesafeguarding of the Tower of Pisawas its inaugural project.

Colonel Gray sent a letter to then­president Giuseppe Saragat of Italy­who happened to be an old friend-

10

advising him of [FM's desire to assistfinancially in the saving of the Tower.A commission established to study theproblems of the Tower of Pisa met formany years, but Colonel Gray receivedno further official communication onthe subject. Still, the pursuit of asolution for a fascinating technicalchallenge had opened a passionatelyengaging new career.

Although James Gray had receivedno training in art or architecture, hisbackground had prepared him for theproject to which he would devote thenext two decades. Born in 1909 in SanFrancisco to the family of a Methodistminister, he was educated as an electri­cal engineer. He was called up foractive duty in the army in 1940 andserved with the 82d Airborne Divisionas a paratrooper, making more than onehundred jumps over [taly. Assigned toRome after the war as an assistant mili­tary attache with the American embassy,Colonel Gray came to know the socialand political elite of the city. He servedin the Korean War as an intelligenceanalyst in Tokyo before returning to

Italy as the inspector general of asupply base in Livorno. He retiredfrom the army in 1960, and while hecontinued to be active in Italy as arepresentative for American business,it was really the Tower of Pisa thatbrought him out of retirement.

A One-Man ShowContent with the pension he drew asa retired army officer, Colonel Graytook no salary. Although he occasional­ly hired part-time assistants, he pridedhimself on running a frugal operationand boasted to donors that 100 percentof their tax-deductible contributionswould be applied directly to the projectof their choice. "Our administrativeoverhead is at an irreducible minimumand those costs are paid by ourtrustees," he wrote to an early contribu­tor. With the high interest rates of the1970s and the strength of the dollarin Europe, the new organization couldcarry out major projects with a relative­ly modest budget in U.S. dollars, whilecovering its administrative coststhrough interest earned on monies heldwhile a project was in progress.Colonel Gray was in a position tobecome a one-way channel for donorsin the United States who were interestedin helping to preserve architectural her­itage abroad.

This management style provedsuccessful. "I am most impressed bywhat the Fund has accomplished lastyear, particularly if we consider the sizeof the staff and of the administrativebudget," wrote H. Peter Stern to theColonel in 1973. Mr. Stern, presidentof Star Expansion, a manufacturingcompany in the Hudson Valley, andchairman of the Storm King Art Center,was one of the earliest supporters ofIFM and remains today a trustee of theWorld Monuments Fund and vice­chairman of the board. "You are a one­man army and I am most pleased andhonored to be associated with you."

While the Tower of Pisa projectlanguished for lack of a response, otherideas began to develop. ThroughUNESCO, a proposal was presented forassistance with the conservation of the

rock-hewn churches of Lalibela inEthiopia. These little-known churches,carved directly into a mountainside,are believed to date from the twelfthcentury and rival in size some of themonuments of ancient Egypt.

STONE HEAD FROM AN EASTER ISLAND

MOAt ON VIEW IN FRONT OF

THE SEAGRAM BUILDING

IN NEW YORK

Colonel Gray agreed to see what hecould do. The year was 1966, and theAmerican philanthropist Lila AchesonWallace, who, together with herhusband DeWitt Wallace, had foundedReaders Digest, was becoming knownfor her interest in Egyptian art and cul­ture. Colonel Gray wrote to her aboutthe Lalibela project, and she consentedto provide the full budget-a staggeringsum of $150,000. In cooperation withUNESCO, Colonel Gray assumeddirection of the work at Lalibela. InEthiopia he worked with the Americanembassy in Addis Ababa and withPrincess Desta, the granddaughter ofEmperor Haile Selassie. The U.S.ambassador at the time, Edward M.Korry, helped to set up a program thatpaid for the entire indigenous workforce of five hundred with nonconvert­ible funds held by the U.S. governmentin Ethiopia. Colonel Gray chose a teamof Italian restorers to oversee the work,

1 I

under the direction of the architectSandro Angelini.

The project continued unti I 1972,when the Selassie govcrnment wasoverthrown and foreigners wereexpelled from Ethiopia by theCommunist junta that succeeded him."Have just returned from Ethiopia witha mass of welts from the bed bugs ofSeven Olives Hotel in Lalibela:'Colonel Gray wrote in i.l letter toRichard Howland of the SmithsonianInstitution in Washington, D.C.-oneof the organization's early trustees,"but with the satisfaction of turningover to the Antiquities Administrationthe completed monumcnt. Godpreserve me from faraway places."

His prayer was not to be answered.From Ethiopia, Ambassador Korrymoved to Chile, and soon he was invit­ing Colonel Gray to come and have alook at that country's archaeologicalmarvel-Easter Island, a small dot ofland in the Pacific Ocean governed byChile and situated 2,300 miles awayfrom South America. Through anintroduction from Ambassador Korry,travel promoter Lars Lindblad contactedColonel Gray and proposed to under­write an archaeological research projectthere. The board of trustees approved,and Colonel Gray established an EasterIsland Committee. Thor Heyerdahl,author of KOIl Tiki and many theoriesabout the history of the island, servedas honorary chairman of the EasterIsland Committee, which was tosponsor a long-term research program.Colonel Gray traveled to Easter Island.There, he decided to bring back a headfrom one of the legcndary monolithicstone statues, known as IllOai, forexhibition in the United Slates.

The president of Chile signed aspecial decree permitting the temporaryremoval of one of these statues. TheColonel and the American archaeologistWilliam Mulloy, an Easter Island spe­cialist from the University of Wyoming,spent more than a week selecting anappropriate piece. The cight-foot headwas selected because, having beensevered from its body by a tidal wavein 1960, its five-ton weight wasrelatively manageable.

THE CHAPEL MOLIN AT SANTA MARIA DEL GIGLIO IN VENICE. WHERE

LUCIUS R. EASTMAN (AT LEFT). FORMER WMF CHAIRMAN, AND HIS WIFE TERRY

SPONSORED THE RESTORATION

Upon his return to the United States,Colonel Gray contrived to bring thestatue to Santiago aboard a U.S. AirForce Hercules transport plane. Heexpected to assume responsibility forthe final leg of the journey to the U.S.But good luck and military connectionsintervened, and Colonel Gray received acall from the U.S. Air Force to advisehim that the five-ton statue could beretrieved from a hangar at McGuireAir Force Base in New Jersey.

During the month of October 1968,the mysterious head gazed upon ParkAvenue in front of the SeagramBuilding in New York and elicitedpublicity. It then traveled to the PanAmerican Union in Washington, D.C.While all the attention generated dona­tions of only $2,200, the visit of themaai had long-term benefits for the neworganization. When, several years later,H. Peter Stern became interested inIFM, he soon fixed his attention onEaster Island. He and Colonel Graydeveloped an arrangement whereby IFMagreed to cover Professor Mulloy'steaching salary at the University ofWyoming for six months of the year inorder to release him to work on EasterIsland. The Chilean government agreedto pay the travel and site costs of thearchaeological reconstruction workthat Mulloy did between 1972 and1978, the year he died.

Mulloy's work remains the mostimportant restoration work that has beendone on Easter Island to date. Andmore than a decade after the maai's

appearance in New York, the colonel'sfundraising strategy bore further fruit.In 1984, Willard Somerville, a doctorfrom New Jersey whose interest inEaster [sland had been inspired byseeing the maai in New York, and hiswife Ruth left a substantial bequest,which now supports WMF's ongoingconservation activities on Easter Island.

Thc Venice CommitteeOn November 4, 1966, a combinationof strong winds, heavy rains, andunusual atmospheric conditions createdhuge tides in the Adriatic that flooded

the city of Venice. Built over the courseof a millennium on marshy islands inthe middle of a lagoon, Venice had longexperienced flooding. [t was evident,since at least the end of the eighteenthcentury, that the city had been decayings[owly and sinking into the sea. Yet thisflood was particularly catastrophic

because the waters rose more than twometers above normal and remained highfor more than twenty-four hours. Thetide changed twice in the city of Venice,undermining the foundations of itsalready deteriorated buildings andleaving these structures on the vergeof collapse.

The international communityresponded immediately, as it did tothe flood of the Arno, which struckFlorence the same night of November 4.However, the Florence recovery resultedfrom an immediate outpouring of fundsand expertise to save the works of artthat had been inundated and now hungin a precarious state. That rescue wasover in a few years. The Venice recov­ery, affecting entire buildings andmuch of the fabric of the city, requireda much more complex response.UNESCO structured a rescue effort tosave more than one hundred endangeredstructures. By 1969, it had prepared an

12

unprecedented international appeal.Saving the city and its magnificent artand architecture became a globalconcern.

John McAndrew, a professor atWellesley College in Massachusetts,offered to organize help for the city.Professor McAndrew had led the

Florence flood recovery through agroup called the Committee to RescueItalian Art (CRIA). [n Venice he recog­nized the need for a focused long-termcampaign. He and Colonel Gray joinedforces. McAndrew assembled animpressive group of individuals whohad pledged support for the rescueof Venice, and IFM became the parentorganization of the Venice Committee,with Professor McAndrew as chairmanand Colonel Gray as executive secre­tary. In short order the committeecompleted its first project-the restora­tion of the facade of the Ca' d'Oro, thefinest Gothic palace in Venice-and[FM had embarked on the most impor­tant chapter of its early development.

The American public respondedpowerfully to the appeal to rescueand restore the Queen of the Adriatic.Chapters of the Venice Committeesprang up in cities across the country.Each chapter adopted a specific project

SCUOLA GRANDE 01 SAN ROCCO, VENICE, DURING RESTORATION OF THE TINTORETTO PAINTING CYCLE

in Venice and endeavored to raisemoney for its completion. Their effortslasted more than a decade, and theVenice Committee generated a nationalmembership base outside the individualchapters. This grassroots effort, andIFM's management of the projects inthe field, established the organization'sreputation as reliable, committed,and professional.

Colonel Gray kept administrationsimple. IFM paid contractors directlyon all its restorations in Venice againstcertified vouchers for work properlyperformed, thereby bypassing normalbureaucratic obstacles. Colonel Grayexplained to his membership in Englishand Italian in an early newsletter:

When [FM starts to considera restoration project, it asksfor a preventil'o so that wemay know approximatelyhow much money is

involved. When we decide togo ahead with the restoration,our architect prepares invita­tions for an apalto, and sendsthese to several rei iable imp­rese. The winner (low bid) ofthe apalto then prepares acontract which, after beingexamined and signed "Vista"by the Soprintendenza, issigned by IFM and theimprese and then registered.As work progresses, faIture"per 10 stato di avanzamento"are presented by the imprese,certified as correct by thearchitect and by the owner ofthe building, whereupon IFMissues a check directly to theimprese. I should have statedthat before any of this couldbegin, a progeffo would neces­sarily have been approved byboth the Comune and by theSoprintendenza ai Monumenti.

13

Beginning in 1967 and continuingthrough the present, IFM/WMF hassupported more than twenty-fiveprojects in Venice, making the city thelargest beneficiary of the organization'stime, resources, and attention. Projectshave differed in scale and scope. Insome cases IFM supported the restora­tion of entire structures, while in othersit sponsored the conservation of a cycleof paintings or a single work of art.

While Venice gained much fromthe generosity of individuals andfoundations in the United States whocontributed to the campaign for herrestoration, IFM also grew in statureand experience. Valuable lessons werelearned and contacts made through theVenice campaign, which led to newopportunities to work in a wider arena.Beginning in the 1970s. IFM began todirect projects in other parts of Italy.including the Cathedral of San Petronioin Bologna and the Church of the

Madonna di Loreto in Spoleto, bothsponsored by the Samuel H. KressFoundation, which would become amajor project partner and sponsor.

Colonel Gray also turned his atten­tion elsewhere in Europe. He formed aCommittee for Spain under the leader­ship of Angier Biddle Duke, the formerU.S. ambassador, and persuaded promi­nent individuals in Spain and the UnitedStates to become members. IFM spon­sored renovations in the cathedral inToledo, conservation of the Gothicwooden choir stalls in the cathedral ofOviedo, and the major reconstructionand restoration of the convent of LaCoria in Trujillo. Similarly, ColonelGray formed a Committee for Irelandunder the leadership of Rose SaulZalles. In cooperation with the IrishGeorgian Society, and with supportfrom the Kress Foundation, IFM spon­sored a series of projects in Ireland,including the restoration of DoneraileCourt, an immense eighteenth-centurycountry house set in rolling parkland,today administered as a wildliferefuge and museum.

The Venice Committee eventuallytook a new direction. John McAndrewand James Gray agreed in 1972 thatthey could better pursue their interestsseparately. McAndrew and his closeassociates formed Save Venice, Inc.,which has become a highly successfulnonprofit organization operating todayfor the benefi t of its namesake.Meanwhile, WMF continued to main­tain a presence in Venice and to sponsorresearch and training there, as well asoccasional projects. In recent years,these projects have frequently been jointendeavors with Save Venice, Inc.

World HeritageThe Venice campaign set the stage forexpanded activities worldwide. ForUNESCO, also, the Venice campaignushered in a new era of focus on con­serving the earth's cultural and naturalenvironment. In 1972 UNESCOratified the World Heritage Convention,a cooperative agreement amongstgovernments worldwide to designatethe world's most important sites as

the common heritage of humanity.The convention gave UNESCO the

mandate to organize special conserva­tion campaigns. The Venice campaignbecame one of the first of these appealsto be placed under the auspices of theWorld Heritage convention. Following

DR. FRANKLIN D. MURPHY. PRESIDENT

OF THE KRESS FOUNDATION. IN VENICE TO

RECEIVE THE PREMIO TORTA IN 1982.

WITH DR. MARILYN PERRY

closely came an appeal from thegovernment of Nepal for worldwideassistance in conserving the culturalheritage of the Kathmandu Valley.

Colonel Gray's work would, fromtime to time, take him to UNESCO'soffices in Paris, and on one visit therehe was shown a survey of the monu­ments of Kathmandu and a master planfor their conservation. He learned thatrestoration of these major monumentswould be cost-effective. After arrang­ing for on-site reconnaissance in Nepal,IFM adopted the temple complex atGokarna on the outskirts of Kathmanduas its first project in Asia. A commit­ment of $50,000 from [FM's trusteeWatson B. Dickerman III, matched ona three-to-one basis by the Nepalesegovernment, set the project in motion.

IFM also responded to UNESCO'sappeal for assistance in conserving theCitadel Ie Henry, a remote and imposingfortress in northern Haiti. The Citadellewas built in the early nineteenth century

14

by Henry Christophe, a leader of therevolution that expelled the French colo­nial government from the island in 1803and freed its slave population. With itseighteen-foot-thick walls and eight can­non galleries, the Citadelle could garri­son five thousand soldiers. As the bas­tion to protect the world's first blackindependent state, the Citadelle was cen­tral to Henry Christophe's defense planfor the island. Funding from IFM/WMF,provided by several U.S. foundations,permitted local artisans to reconstructwooden and tile roofs over the grandgallery and batteries, using traditionalcarpentry methods, and to consolidatethe stone galleries of the fortress.The private contributions generated byIFM/WMF were matched by the UnitedNations Development Program and theHaitian government, which provided sig­nificant funding to pay the work force.

The Colonel Retires

Almost since the inception of IFM, theSamuel H. Kress Foundation had beena principal project sponsor. Foundedin 1929 upon the fortune created bythe S. H. Kress & Co. variety stores,the Kress Foundation from the outsetsupported the preservation of art andarchitecture in Europe. In IFM, thefoundation found an able partner andcontributed consistently and generouslyto projects, particularly in Venice."Early during our formative years,"Colonel Gray wrote in his last news­letter, "we were fortunate to make anarrangement with the Samuel H. KressFoundation whereby IFM would accept,in trust, funds for restoring a Kress­sponsored monument or work of artand then supervise the project to ensureits proper completion. Kress is sparedthe chore of supervision and IFM hashad interest income from Kress fundsawaiting disbursement."

Over the course of almost twodecades, Colonel Gray maintained aclose working relationship with theKress Foundation under its president,the late Dr. Franklin D. Murphy. WhenColonel Gray decided to retire at theage of seventy-six, he turned to Dr.

Murphy and to Dr. Marilyn Perry, anold friend from Venice who had recentlybeen named the Kress Foundation'sexecutive vice-president, to discuss thequestion of how to continue IFM'swork. Despite IFM's extensive recordof achievement, the future was difficultto envision. Colonel Gray conductedIFM programs on an informal ad hocbasis. His success stemmed from IFM'sreputation of efficiency and frugality.Yet so much depended on the presenceof the Colonel himself that his departuremade it impossible to proceed, in thefuture, on the same basis. To continueto perform a meaningful role in world­wide conservation, the organizationneeded to develop into a bona fideprofessional body.

Was there a niche for such anorganization? How would it pay foritself? How many long-standing boardmembers, comfortable with the old,informal way of doing business, wouldlose interest and lend their support else­where? Could new board members befound? Could a new entity attract grantswith regularity? With questions suchas these left to be answered, in 1984Colonel Gray retired and BonnieBurnham assumed the position of execu­tive director. Ms. Burnham, an experton cultural-property law and director fora decade of the International Foundationfor Art Research (IFAR), worked closelywith Dr. Perry, now the president ofthe Kress Foundation, and other IFMtrustees to establish a new footing.IFM projects started under ColonelGray continued uninterrupted andgave the organization an active lifeduring this transition.

Ms. Burnham and the organization'strustees talked with hundreds of individ­uals to investigate the future viability ofIFM. The commitment and generosityof the board members-in particularLucius R. Eastman, who became chair­man; and vice-chairmen Hilary Barralt­Brown and H. Peter Stern-madeit possible foLiFM to continue and evenexpand its programs. In 1985, theorganization was renamed WorldMonuments Fund and embarked ona new decade, with the goals ofexpanding its activities in the worldwide

arena and cultivating high-caliberinternational leadership to make theseactivities possible.

The Mexican EarthquakeAs the organization celebrated its

twentieth anniversary, a natural disaster

of unprecedented magnitude compelled

WMF to make its next program choice.

In September 1985, two calamitous

earthquakes struck Mexico City in rapid

succession. Tens of thousands of

people were killed, and the city's richarchitectural and artistic heritage was

seriously damaged. Due to the scaleof the human tragedy, the government

lacked the resources needed to restorehistoric buildings. In response to this

emergency, a group of prominent indi­

viduals in Mexico and the U.S., led byMarieluise Hessel, established the Save

the Mexican Murals and Monuments

Fund, and requested WMF's assistance

in orchestrating an emergency appeal.WMF's Mexico program focused

initially on the important murals createdby Mexican artists in the 1920s and

1930s for churches, public spaces, andgovernment buildings. These were

seriously damaged by the earthquakebecause of the structural failure of thewalls on which the murals were painted.

WMF sponsored the restoration of three

cycles that are universally acknowl­edged masterpieces of modern Mexican

art: the Secretariat of Public Education,with more than eighty individual

frescoes representing the seminal earlywork of Diego Rivera; the Church ofJesus Nazareno, where Jose ClementeOrozco's highly original and experi­mental works suffered extensive paint

loss; and Diego Rivera's mature workat the Autonomous University of

Chapingo, located outside Mexico City.

Save the Mexican Murals mergedwith WMF in 1988, and in 1989 WMF

established the Fundaci6n Mexicana

para los Monumentos del Mundo, inpartnership with the Mary StreetJenkins Foundation, based in the World

15

Heritage city of Puebla. In itsfive years in Puebla, the Fundaci6nMexicana sponsored training programsfor conservators in Mexico and LatinAmerica and continued a partnershipwith the Autonomous University inMexico City to study the complexcondition of Juan O'Gorman's mosaicfacade of the university library.

Projects in FranceDuring the summer of 1985, WMF'sexecutive director Bonnie Burnhambegan reviewing new projects inEurope. Crossing the south of Francein transit from Spain to Italy, she visitedAries, a commercial center in Provencesince Roman times, whose arena,forum, and necropolis were built by theyoung Octavian before he returnedto Rome to reign as the EmperorAugustus. The crowning jewel ofAries is the Romanesque church ofSt. Trophime. Burnham was distressedto find the sculpture of its portal andcloister in visibly poor condition.The marble lions of the portal and thecapitals in the cloister showed seriousdeterioration-the resu It of exceptional­ly cold winters that had, in the twoprevious years, caused water trapped inthe stone to freeze, causing the surfaceof the stone to spall. The entire sculp­ture program was covered with a denseblack crust, itself marked with blistersand pock marks. Swifts were nestingin the recessed arc of the tympanumand their droppings covered the headof the majestic Christ in Glory and ofthe Apostles who sat in a row on thelintel frieze below him.

Burnham inquired about thecondition of St. Trophime. On her nextvisit, she was met by a delegation fromthe French government and the cityof Aries-its energetic mayor, CharlesCamoin; the voluble and good-naturedcurator of the city of Aries, Jean­Maurice Rouquette: and the inspectorgeneral of French monuments, Jean­Pierre Dufoix. Burnham learned thatthe city and the French governmentwere also very concerned about thedeterioration of the sculpture of Sl.

PRESENTATION OF THE WMF GOLD MEDAL TO THE FLORENCE GOULD FOUNDATION IN

PARIS, OCTOBER 2, 1991. FROM LEFT-AMBASSADOR WALTER CURLEY: JOHN YOUNG.

PRESIDENT. THE FLORENCE GOULD FOUNDATION; DR. MARILYN PERRY. CHAIRMAN.

WORLD MONUMENTS FUND; AMBASSADOR EMMANUEL DE MARGERIE. PRESIDENT,

WORLD MONUMENTS FUND FRANCE.

Trophime. Treatment had been delayedbecause of an uncertainty about how toproceed. The city of ArIes welcomed acollaboration that would bring interna­tional expertise to bear on designinga program to treat, if not to cure, theproblems besetting this precious monu­ment of French medieval culture. Theensuing collaboration led to an intensivestudy of the condition of the portalsculpture, including monitoring theenvironmental conditions surroundingthe monument, repairing the entirefacade to make it better able to protectthe sculpture program against theelements, and cleaning that revealedthe stunning beauty of the sculpture andthe extraordinary craft of its execution.

The initial scientific partnershipbetween the French government, thecity of Aries, and WMF lasted fouryears, through the completion ofpreliminary studies and cleaning tests.The French authorities continued theconservation work, which was complet­ed in the fall of 1994. Annual meetingsof conservators, which began whilethe study and cleaning were in process,have continued to take place and willmonitor the conservation of the churchand assure continued maintenance toprevent the situation from againreaching crisis proportions.

As work began at St. Trophime,WMF began another project in France,the conservation of the fragile monumentand its site at Chateau de Commarque inPerigord. This rare structure, survivingfrom the early medieval period, is a virtu­al time capsule, conserving some 80,000years of human history from the earliestprehistoric times through the end of theMiddle Ages. Com marque is located ina pristine natural setting in a small rivervalley. As precious as its prehistoric art­works are the rare remains of a smallvillage on a rocky outcropping above theCommarque cave. Above this site risesthe formidable prow of the Commarquecastle, a fortress and defensive outpostfrom which a prominent family keptwatch over its lands. The Frenchgovernment classified the chateau as ahistoric monument in 1943. The chateauremained an unprotected ruin and thesite a tangle of vegetation until Hubertde Commarque, a descendent of one ofthe noble families that built the fortresscomplex, bought it in order to conserveit and open it to the public. WMF'scollaboration with Commarque hascomprised support for the stabilizationof the ruins and development of asite-interpretation program.

The St. Trophime and Commarqueprograms were both advanced materially

16

by the Florence Gould Foundation,which, since 1987, has been a partnerwith WMF in its French projects andalso in programs that promote French­American exchange in the preservationof cultural heritage. The GouldFoundation has provided substantialsupport-over $1 million since 1987,which has helped WMF to structure itsproject financing on a very advantageousmatching basis. The French governmentis required by law to contribute 40 per­cent to the restoration of any classifiedmonument in the country. With addition­al support forthcoming from regionaland metropolitan authorities, such as thecity of Aries, WMF is able to undertakemajor works by providing a relativelymodest 25 percent share of the totalbudget. American donors are pleasedthat their support can be the catalystthat guarantees government funding;and for the French government WMF'sparticipation provides the incentive toraise the priority of an important projectthat might not otherwise find funding.

In recent years WMF has been ableto structure this kind of partnershipas it has can'ied out such outstandingprojects as the conservation of thedome of the Invalides-the inauguralproject of WMF France in 1989-andthe restoration of the PotageI' du Royat Versailles, a work-in-progresschampioned by Hubert de Givenchy,the current president of WMF France.

The Kress FoundationEuropean PreservationProgramRequests for project assistance flowedto the Kress Foundation from WMFon a case-by-case basis, and it eventuallybecame clear that it would be appropriateto formalize this well-established part­nership. In 1987 the Kress Foundationapproved the European PreservationProgram, and WMF received aninitial $1 million grant to be usedover a five-year period to support theconservation of significant works ofEuropean art and architecture. WMFassumed the responsibility of acceptingand reviewing applications for project

IBN DANAN SYNAGOGUE. FES. MOROCCO: DETAIL OF THE TEVAH.

WHERE THE TORAH SCROLLS WERE READ

assistance. WMF's close associationwith the Kress Foundation continued,with foundation president Marilyn Perryassuming the chairmanship of WMF in1990, upon Lucius Eastman's retirement.

Between 1987 and 1992, the KressFoundation European PreservationProgram supported thirty-two projects ina dozen countries. Outside contributionsto these projects matched its grants on amore than three-to-one basis, generatinga total support of more than $3.2 mil­lion. Upon reviewing these impressiveresults, the Kress Foundation renewedthe program with another $1 milliongrant to WMF for 1993-1996.

The Kress program is intended togenerate or complement other formsof support. Grants generally do notexceed $25,000 and are offered on aone-time basis. The grants serve a vari­ety of purposes: to challenge initiationof a conservation project; to carry out aspecific phase of work, on a matchingbasis; or to complete a conservationproject that is already under way. Theprogram also provides modest fundingfor emergency work; for the planning

and launch of a major preservationcampaign; and for research, documenta­tion, publication, and training. A broadrange of projects across the continenthas benefited from this program.

The JewishHeritage ProgramThe restoration of the Scuola Cantonsynagogue in Venice, a project begunby the Venice Committee in the early1970s, concluded in 1988. Involvementin this project revealed an importantand neglected sphere of concern: historicJewish sites. The decimation or migra­tion of Jewish communities had leftbehind thousands of endangered Jewishsites throughout the world, and noorganization had a specific mandate tocare for them. After discussions withscholars, preservationists, and Jewishleaders, WMF established a programdevoted to Jewish Heritage in 1988.The Honorable Ronald S. Lauder,former U.S. ambassador to Austria,

17

became chairman and principal sponsorof the program.

The opening of Central and EasternEurope in 1990 broadened the challenge.WMF's Jewish Heritage Programlaunched an ambitious survey of thestate of preservation of Jewish monu­ments with an international conference,"The Future of Jewish Monuments,"in November 1990. The conferencebrought together in New York Citythe leading institutions and individualsworking on the preservation of Jewishheritage throughout the world. Itfocused on the problems facing historicJewish sites and structures, exploredpossible solutions, and-enhanced by atraveling photographic exhibition thattoured the United States-broughl Iheseissues before the public.

The Jewish Heritage Program alsobegan important field work, workingwith the Union of Italian JewishCommunities and the Superintendencyof Archaeology in Rome to initiate aconservation survey of the two survivingJewish catacombs-among the oldestsurviving Jewish sites outside Israel.WMF also sent an architect and aphotographer to Morocco in 1989 tosurvey 250 synagogues and 30 Jewishcemeteries remaining in the country.A decrease in the Moroccan Jewishpopulation in recent decades had ledto the neglect and abandonment ofhundreds of sites, the remains of morethan two thousand years of continuousJewish presence.

In Eastern Europe, the U.S.Commission for the Preservationof America's Heritage Abroad hascommissioned WMF's Jewish Heritageprogram to conduct comprehensivesurveys of Jewish sites in Poland, theCzech Republic, Slovakia, and Ukraine.

As its first in-situ preservation effort,the Jewish Heritage program chosethe Tempel synagogue in Cracow.Poland's only intact nineteenth-centurysynagogue, the Tempel was once thethriving center of the Association ofProgressive Jews of Poland. Whenwork is completed, it will be used againas a synagogue and as a location forlocal and international cultural events.

AT ZUNI PUEBLO. NEW MEXICO, A TRIBAL ELDER INSTRUCTS YOUNG MASON

ON PROPER STONE DRESSING PROCEDURES

An InternationalConstituency: TheNetwork of AffiliatesIn the I980s, as the organizationmatured, WMF realized that the fundsit raised in the United States could beused to generate support elsewhere.WMF also became aware that its rolewould always be limited unless theorganization could develop privateleadership abroad to share the mandateof building a world organization of sig­nificant size and influence. Beginningin 1988 WMF began discussions withleading philanthropists abroad aboutestablishing independent affiliate groups,licensed to use WMF's name but respon­sible for the choice of projects andsolicitation of funding within their owncountries. By 1989 three affiliates hadbeen established-in Italy, under theleadership of Count Paolo Marzotto,an industrialist and cultural leader fromVicenza; in France, under the honorarychairmanship of Mme Franc;oisMitterand and the leadership of MmeHelen Vari; and in Mexico, in partner­ship with the Jenkins Foundation. Asof 1995, six independent affiliates arein existence, with others in planning.

Each of the affiliates has had itsown genesis. The Fundaci6n Mexicanawas formed as a funding partnershipto create a center in Mexico to supportconservation training and research.The Comitato Italiano grew out ofWMF's long history of support forprojects in Italy. In France, the FlorenceGould Foundation has been a significantsupporter of French-American jointprojects and the Conseil Superieur duMecenat Culturel has responded withcounterpart funds, paving the way forfurther French-American collaborativeefforts, now under the leadership ofHubert de Givenchy. In Britain, theAmerican philanthropist Paul Mellonprovided generous seed funds; while inSpain and Portugal, major projects-the Royal Monastery of Guadalupeand the Tower of Belem-providedthe impetus for the inauguration oflocal associations.

The affiliates strive to replicate themodel that WMF has established over

the years: to involve a nation's social,economic, and political elite in theselection of significant, high-profileprojects for conservation using thehighest degree of professionalism.The leverage gained through partnershipwith the affiliates allows WMF to man­age a significantly increased roster ofprojects without significantly expandingits staff and overhead. WMF headquar­ters "packages" major projects bydeveloping their conservation philoso­phy, defining their scope, analyzing anddeveloping a fundraising strategy, andproviding seed funds to cover theseinitial expenses. Joint planningbetween WMF and its affiliate bringseach project to the point that it can becompleted by the WMF affiliate orpartner. While WMF headquarters helpsthe affiliates in the early stages of newproject endeavors, the affiliates helpWMF to demonstrate to its domesticdonors the leverage power of theirsupport. With each U.S. dollar matchedat least three or four times with localfunding, WMF has managed to sustainthe "buying power" of its support,even as the strength of the dollar haswaned and with it the interest of U.S.donors in international charitableactivity. WMF's affiliates have becomean essential as well as an attractivestrategy for doing business.

18

A U.S. ProgratTIBegins

World Monuments Fund has beenrelatively less active within the UnitedStates, where dynamic local andnational private groups have createda broad constituency of concern for thecountry's heritage. WMF has identifieda meaningful role in the sponsorshipof projects that offer training in archi­tectural craft skills. These have beeneroding in the United States, resulting inlost opportunities to preserve importantparts of the country's architectural fab­ric and to provide work in the process.

WMF began working in partnershipwith two domestic groups in 1989and 1990 to establish craft trainingprograms within the contexts of majorconservation projects. One is the St.Ann Center for Restoration and the Artsin Brooklyn, New York-whichwas formed to conserve and provide anew use for the landmark church ofSl. Ann and the Holy Trinity; and theother is the New Mexico CommunityFoundation in Santa Fe, whose conser­vation program-now an independentlyregistered nonprofit organizationknown as Cornerstones CommunityPartnerships-seeks to preservesignificant adobe architecture throughcommunity work efforts. As an

TilE RENDEZ-VOUS. A FOLLY WITHI THE LED ICE-VALTICE CULTURAL LANDSCAPE I SOUTHER MORAVIA. CI'.ECII REPUBLIC

RIGIIT: CARLO DE BENEDETTI (LEFT). RECEIVI G THE FIRST HADRIAN AWARD I I 19XX

outgrowth of these two projects. WMForganized the symposium "EmploymentStrategies for the Restoration Arts"III ew York City during the summerof 1993. Representatives of the craftprofessions, city administrators, andnonprofit leaders discussed howpreservation can be part of efforts toimprove the urban environment of ewYork City while promoting job trainingin the restoration arts. This meetingled to a further study, sponsored bythe Rockefeller Brothers Fund, intendedto design the criteria and scope of acity-wide program, which could be anationwide model, on craft trainingin restoration.

Recognizing\\TorId Leadership:The Hadrian Awardand Its RecipientsAs WMF expanded the geographicrange of its programs. the organizationalso began to position itself as anadvocate of worldwide architecturalconservation. The Hadrian Award,presented annually to a public leaderwhose support of cultural activitieshas greatly enhanced the understanding,appreciation, and preservation of worldart and architecture. gives WMF the

opportunity to call attention to indiv­iduals who have made an exceptionalcommitment to its cause, and in sodoing encourage others to followthe example.

The luncheon presentation of theHadrian Award has become an autumntradition for WMF and its extendedcircle, attracting guests from around theworld and raising significant funds tosupport WMF's operations. Recipientsto date of the Hadrian Award are: CarloDe Benedetti (1988); Paul Mellon(1989); the Prince of Wales (1990);Mrs. Vincent Astor (1991): Marella andGiovanni Agnelli (/992): Dominiquede Menil (1993); David Rockefeller(1994): and, in 1995. Lord Rothschild.

The '90s: The FormerCommunist BlocAs WMF celebrated its 25th anniver­sary in 1990, it prepared to take anothermajor step after the Iron Curtain fellsuddenly and unexpectedly. For thefirst time in decades, the condition ofthe region's monuments and sites wasopen to study, and WMF respondedquickly to the opportunity.

The former Communist regimes ofCentral Europe significantly damagedboth the environment and the art andarchitecture of the region. While much

19

of this damage was due to neglect.in the case of Romania destruction ofcultural heritage became an outrightgoal of the government's policy of"systematization" under the dictatorNicolae Ceausescu. To document thisprocess was a dangerous undertaking,but beginning in 1984 historian DinuGiurescu clandestinely photographedthe Ceausescu regime's systematicdemolition of historic structures-bothsecular and religious-and entire urbanand rural neighborhoods. In 1988,Professor Giurescu emigrated to theUnited States and asked WMF forhelp in condemning this process. whichhad already led to the leveling ofthirty towns and a large portion of oldBucharest. and the relegation of entirecommunities to standardized and poorlyequipped new apartment buildings andagro-industrial complexes.

With support from the KressFoundation European PreservationProgram and in collaboration withUS/ICOMOS (the U.S. Committeeof the International Council onMonuments and Sites), WMF publishcdThe Ra:illf; (!{ ROl/1allia '.I' Pasl in 1989.The book immediately received theattention of preservationists, diplomats,human-rights agencies, and the con­cerned public, and numerous copies ofthe book were smuggled into Romania.

The expatriate Romanian communityrallied behind Giurescu's outcry, andpetitions from all over the world weresent to the Romanian government.Numerous articles and media interviewsdrew public attention to the situation.

When the Ceausescu governmentwas overthrown in December 1989, theoutright demolitions ceased. In 1991 theRomanian Ministry of Culture requestedWMF's permission to reprint the bookin Romanian translation, and it waspublished in 1994. Giurescu's publicbook signing in Bucharest was thelargest on record, and the book soldout quickly.

The opening of the former Sovietbloc allowed WMF to respond to anotheremergency. A major earthquake inArmenia in December 1988 hadwrought tremendous damage to lifeand property, and the president of therepublic issued an appeal for help inassessing damage to historic monuments.WMF joined the U.S. National ParkService and U.S. Information Agencyin supporting the mission of anarchitectural conservator to conducta preliminary survey.

A documentary report on the missionestablished conservation prioritiesleading, in 1992, to the emergencytreatment of the fifth-century basilicaat Ererouk. Despite war in neighboringAzerbaijan and economic constraints, aprogram for the conservation of Ereroukhas gone forward. With support fromthe Getty Grant Program and theKress Foundation, WMF is pursuingplans to complete the stabilization ofthis important site in 1996, helpingit to survive.

Elsewhere in Central Europe, WMF'swork has focused on planning for con­servation and economic enhancement ofmajor castles that have been abandoned,neglected, or misused since World War II.In the Czech Republic, WMF's workfocuses on Valtice and Lednice, whichuntil World War II belonged to theLiechtenstein family. These sites, tenkilometers apart and within sixty-fivekilometers of Vienna, are linked by atwo-hundred-square-kilometer park thatis one of the oldest, most extensive,and finest-designed landscapes in all of

Europe. WMF plans to use these sitesto build cultural and ecological tourismin the area, to create jobs, and to re­establish the economic vitality of theregion through the conservation of itsprincipal asset, its cultural heritage.

In Hungary, WMF worked withthe European Mozart Academy to planthe conservation and use of EszterhazaCastle, near the Austrian border inthe town of Ferttid. Built in theeighteenth century, the majestic baroquecastle was the residence for 29 yearsof Joseph Haydn, who conducted thepalace orchestra and directed the musicand theatrical program at the court ofMiklos Esterhazy. While Eszterhazais an important tourist destinationfor Hungarians, the palace complextoday is in disrepair and remainsunderutilized.

Saving AngkorThe political climate after the collapseof the Soviet Union also provided anopportunity to study the temple com­plexes of Angkor in Cambodia, whichhad been inaccessible for nearly twodecades due to civil strife and totalit­arian rule. Occupying a vast area innorth-central Cambodia, the HistoricCity of Angkor is one of the world'smost significant and endangered cultur­al treasures. Its legendary monumentswere built by a succession of Khmerkings beginning in the ninth century.With the fall of the Khmer empirein the fifteenth century the area wasabandoned, but the monuments havecontinued to embody the artistic andcultural heritage of Cambodia.

WMF fielded an initial study missionto Angkor in December 1989. Themission team surveyed the temples andevaluated the overall condition of thesite. Contrary to expectations, thetemples were found to have sustainedonly minimal and random damage.It was the Cambodian people who hadsuffered the greatest deliberate destruc­tion. Virtually the entire educatedpopulation had been eliminated by

20

the Khmer Rouge, who also closed theuniversities and libraries. Architecturalconservation specialists had perished,and only a handful of those who hadformerly worked at Angkor survived.WMF's team recommended that anynew work at Angkor should emphasizetraining young Cambodians to carefor their great artistic heritagein the future.

WMF then organized a programto assist the Cambodian governmentin addressing the key preservationproblems at one of the major Angkortemples, the Preah Khan monasticcomplex. One of several magnificenttwelfth-century temple cities built atAngkor by the Khmer king JayavarmanVII, Preah Khan commemorates animportant victory circa 1180. Thissite of triumph was dedicated to learningand religious practice, with individualchapels devoted to Buddhism, Saivism,Vaisnavism, and ancestor worship.The site occupies over fifty-threehectares (130 acres), which is approxi­mately one-third the size of NewYork's Central Park.

WMF's annual missions to PreahKhan began in the autumn of 1990.Each year, a team of internationalexperts in architectural conservation,seismology, botany, and site documen­tation spends four months in the field,training a group of Cambodian universi­ty students for future positions ofstewardship in the Angkor conservationfacility-conducting scientific andtechnical studies, shoring up collapsingstructures, and overseeing a crew ofone hundred local workers.

The goal of WMF's program atAngkor is to conserve Preah Khanas a partial ruin and develop a site­interpretation program for visitors.But the work at Preah Khan aims notonly to preserve this architectural jewel.Site maintenance has provided jobs forthe local population and strengthenedthe sense of stability and security in thearea. Conserving these monuments isfundamental to restoring Cambodia'seconomy and identity as part of theworld community.

PREAII KHAN TEMPLE COMPLEX, HISTORIC CITY OF ANGKOR, CAMBODIA: WMF FIELD TEAM MONITORING STRUCTURAL

STABILIZATION AT THE SOUTH PORTICO OF THE EAST GOPURA (ENTRANCE GATEWAY)

The 30th Anniversary:"Torld Monuments\Vateh

Over its 30-year history, WMF has beenacutely aware that its efforts, howeverinspiring, address only a fraction ofthe sites that need to be saved, Manyothers, in critical need of conservation,may be lost because they cannot attracta vital constituency of concern, Therehas been no worldwide monitoring ofsites in danger, and thus private-sectorparticipation in heritage conservationhas been reactive and ad hoc ratherthan preventative and structured,

In developing a new program tocelebrate its 30th anniversary in 1995,WMF approached a major project spon­sor-American Express Company-forsupport in launching a comprehensiveinitiative to identify and safeguardimperiled cultural sites around the

world, The program, called the WorldMonuments Watch, was announced inthe summer of 1995 with a $5 milliongrant from American Express, It is thefirst global effort to gather informationon endangered sites, draw the public'sattention to the most critical cases, andmobilize preservation efforts. Time andwar take their toll, But today's destruc­tion proceeds apace due to many otherfactors: pollution, urban growth, tourism,and a willingness to sacrifice culturalheritage for short-term gain,

The World Monuments Watch makesthe basic assumption that cultural envi­ronments can be saved by reawakeningthe community pride that has assuredtheir survival until now, Designed toengage communities, government agen­cies, and specialists in cultural preserva­tion, the World Monuments Watch willbe an instrument of public conscienceanalogous to the endangered-species list.

21

Building, in el'er." cillture, \I'as once

a sacred occupation, This is e\'ident in

the ceremonies and rituals that are still

comlllOn pmctice-I\,henel'er \I'e pierce

the earth, consecmte a plot o{ lalld,

prepare a dwelling for Iwhiwtion, or

cut the ribbon on thejinished stl'llctllre,

These traditions, plus the lIlodem

world's unprecedented awareness o{

the limitations and preciousness o{ hoth

IIwn-lmilt and natuml resources on the

earth, make it /7/ore illlporwnt than el'er

.liJl' WMF to pursue its.lillldalllenwllllan­

date-to de\'ise ne\l'er and el'er-1Il0re

efTeetil'e \1'01'.1' to sa{eguwd the II'orld's

cllltllr{1! inheriwnce, It is \\'ith this lIlan­

date that WMF begins itsjiJllrth decade,

The First Thirty Years

22

(

Catalogue of Major Projects

This section describes 30 projects

undertaken over WM F's first three

decades. which IOgether demonstrate

tlte llragnitude of the orgwli:ation 's

contribution to the conservation of

the world's cultural heritage.

The 1960s

The first projects of the [nternationalFund for Monuments (now WorldMonuments Fund) established impor­tant precedents for project organizationand management, which would developinto the methodology that guides WMF'sfield programs today. At Lalibela inEthiopia-the young organization's firstproject-IFM established its role as thesource of international expertise andexperience. Lalibela also established[FM's role in obtaining significantleverage for the funds contributedby the Americans who sponsored theproject. While [FM paid for the fieldcosts of an international team of expertswho guided the project, the Ethiopiangovernment, using nonconvertible localcurrency funds, supported the laborforce that carried out the work.

At Easter [sland, [FM's second majorinvolvement, a partnership with theChilean government was established,which allowed a prominent archaeolo­gist, Professor William Mulloy, to workon the island six months a year. [FM

paid for six months' teaching salary;the Chilean government coveredMulloy's travel costs to and fromthe island and paid the work force.

The 1970s

The campaign to preserve Venicein the aftermath of the 1966 floodswas [FM's focus throughout the 1970s.Local Venice Committee chapters,established by IFM throughout theUnited States, each adopted a project.The Venice Committee became sowell known and respected that manyVenetian merchants-including themost prestigious hotels and restaurants-offered discounts to travelers bearingVenice Committee membership cards.Membership swelled, and the numerousprojects in progress attracted anenthusiastic volunteer corps to [FM'sVenice headquarters in the ScuolaGrande di San Giovanni Evangelista.

The 1980s

By 1980, [FM began to apply theskills learned in Venice-orchestration,constituency-building, and projectmanagement-to other projects inEurope. The Samuel H. KressFoundation and IFM strengthened theircollaboration. IFM became the operat­ing partner for the Kress Foundation inall its European conservation work.

2J

[FM also responded to specialappeals from UNESCO for support topreserve World Heritage sites, sponsor­ing projects in the Kathmandu Valleyof Nepal and at the Citadelle in Haiti.[n each case, in-country funding fromthe government substantially matchedIFM's private support.

The 1990s

[n the present decade, WMF continuesto focus on strengthening its parlneringskills. Vigorous affiliates have beenestablished in France, Great Britain,Italy, Portugal, and Spain; and eachtakes responsibility for raising fundsfor its own projects. WMF, whilecontinuing to work in partnership withthese groups, has extended its projectagenda into the former Communist blocand developing countries. The expan­sion of its worldwide agenda hasled to the establishment of the WorldMonuments Watch, an internationalprogram addressing severely endan­gered sites. With lead funding of$5 million from American Expressthrough the end of the decade, theWorld Monuments Watch offers anopportunity for WMF to multiply, manytimes over, its capabilities of identifyingmajor sites in need of conservation;organizing plans to save them; andbringing in partners who can help (heorganization to accomplish its vision.

Rock-Hewn Coptic Churches of LalibelaEthiopia

Background andSignificanceThe eleven Coptic churches of Lalibelain northern Ethiopia, hewn from livingrock, may have been created over along period of time. According to leg­end, however, they were produced intwenty-three years by Emperor Lalibelaof the Zague Dynasty, which ruledin the twelfth century. It is widelybelieved that these churches were dugout to form a new pilgrimage destina­tion after Muslim conquests haltedChristian pilgrimages to the Holy Land.The extraordinary architecture andengineering of the churches and theirremarkable history as the nucleus ofa "New Jerusalem" intended to attractEuropean pilgrims during the MiddleAges places the site among the world'sgreatest religious monuments.

The churches were hewn frommassive rectangular blocks, chiseledand carved into edifices thirty tofifty feet high, with windows, carvedcolumns and arches, and ornate ceilingsand roofs. They were surrounded by anextensive system of ditches and trenchesin a gigantic engineering and artisticaccomplishment. Frescoes, bas-reliefsand paintings adorn the interiors, andbrilliantly colored geometric designscover many of the ceilings. While Coptcraftsmen from Egypt and Jerusalemprobably did the main constructionwork, stylistic evidence suggeststhat Indian artisans may havedecorated the interiors.

Over time, the Lalibela churcheshave suffered much of the same deterio­ration that can be found in conventionalbuildings-the wear and tear of wind,weather, and man. In addition, thesestone edifices are susceptible to crack­ing and shearing due to uneven settlingover the centuries. Cracks and fissureshave opened up. Constant penetrationof roots into the crevices and the growthof lichens and microorganisms acceler­ated this natural deterioration process.

Previous restorations, some undertak­en in recent decades, have done moreharm than good. In certain cases, toretard deterioration, the exterior wallswere coated with tar and covered withincongruous red paint. This processactually halted the natural breathing ofthe rock and trapped moisture, leadingto further damage. Some roofs hadbeen sheathed with corrugated metal,destroying their original appearance;in other areas cornices and pillars hadbeen rebuilt gracelessly with cement.

The ProjectThe principles guiding the originalIFM effort were to safeguard againstfurther deterioration, remove unauth­entic additions, and reestablish themonolithic forms that had been com­promised. Initially, cracks and fissureswere consolidated to prevent collapseby injecting a highly expansive andadhesive cement.

The most tedious task was theremoval of the tar coating from theexterior walls of the church. It resistedall efforts to clean the surface by

24

scraping, sanding, use of chemicals,and even burning, which embedded thetar more deeply into the porous stone.Fortunately, it was discovered thatduring the cooler hours of the day,when the tar was brittle, it could beflaked away by light tapping with apointed instrument, carrying with itthe red paint. Fifty small picks withcase-hardened points were flown infrom Italy, and the slow and systematicjob of removing thirty thousand squarefeet of painted surface, in one-square­inch segments, was carried out bythe Ethiopian work force.

Corrugated metal roofing wasremoved, as well as a heavy layer ofcement underneath. to expose the nakedstone and its bas-reliefs in the forms oflarge crosses and arches. Susceptibleareas were treated with water-repellentchemical treatments. and crude restora­tions were removed and redone.Excavations were carried out to ensureadequate drainage of rainwater andto prevent rubble from washing intothe monuments.

The work at Lalibela halted in1972, just before a revolution overthrewEmperor Haile Selassie and his govern­ment, which had sponsored the work.More than twenty years later, a newgovernment is established in Ethiopiaand pilgrimages to Lalibela haveresumed. It is time for a new conserva­tion survey to reevaluate the conditionof this extraordinary site. Fortunately,the work completed before the collapseof the Selassie government has insuredthe future of these extraordinaryshrines.

Project Dates: 1966-72Project Partners: Ethiopian government;UNESCO

OPPOSITE: EXTERIOR. ROCK-IIEWN CHURCII

TOP: DETAIL OF INTERIOR ARCII. WITH BAS-RELIEF AND FRESCO

BELOW: SC LPTURED MO D VIEWED FROM CO RTYARD

25

ABOVE: MOAI AT AHU HANGA KIO'E, RESTORED BY DR, WILLIAM MULLOY

OPPOSITE: QUARRY AT RANO RARAKU, WHERE STATUES WERE LOWERED INTO PITS

WHICH, OVER THE CENTURIES, HAVE FILLED WITH AN ACCUMULATIO OF EARTH

SO THAT ONLY THE HEADS REMAIN ABOVE GROUND

26

Archaeological Sites of Easter IslandChile

Baclq~round andSignificanceIn the middle of the south Pacific,several thousand miles west of Chile,is the most isolated inhabited piece ofland on the earth: Easter Island. It wasnamed by the Dutch commander JacobRoggeveen, who first sighted it on EasterSunday, 1722. Natives of Polynesia callit Rapa Nui, the big Rapa, by comparisonwith the smaller Rapa island. Accordingto local tradition, the island was nevergiven a proper name, but a commonlegend tells that when settlers arrived onthe island, King Hoto Matu' a called it TePito '0 (e Henua, the Navel of the Earth.

The island is famous for its hugestatues and the mysterious aura impartedto them by the reports of the Europeanexplorers who discovered and visitedthe island in the eighteenth century.It was incomprehensible, in their eyes.that such enormous sculptures andmonuments could have been fashionedby an apparently primitive people.

Easter Island's location is so remotethat the arrival of the first inhabitantsmust have been accidental. For thosenavigators in their frail canoes the islandrepresented salvation; later it becamea homeland and a lifelong prison. Thissmall human settlement astonishinglydeveloped one of the most extraordinarycultures on the planet. On Easter Islandspectacular advances were made, such asthe development of a written languagewith no parallel in the rest of the worldand the creation of innumerable sculptedand architectural stone works of greatsize and quality. Sadly, the ancient islandsociety also indulged in internecinewars that caused great harm totheir civilization.

Despite a significant accumulationof research into the island's history,conservation of the monumentalheritage of Easter Island received noserious consideration until some threedecades ago. The prime mover was thedistinguished American archaeologistWilliam Mulloy, who devoted his career

to studying the island. Excavationsand restorations of several ceremonialcenters that he carried out in the 1960sand 1970s raised the general awarenessof both islanders and the rest of theworld of the importance of thesemagnificent monuments.

From these and subsequent efforts.the original characteristics of theseincomparable relics-the allU, orceremonial altars, with moai, ormonumental statues-became apparent.The work also revealed serious conser­vation problems. In particular the 1110ai,

carved of volcanic tuff, have sufferedseriously from long-term atmosphericand biological effects. Anotherconservation challenge concerns thepreservation of the island's heritagewithin its natural context.

\VMF ProjectsIn the late 1960s the International Fundfor Monuments (later WMF) begancollaborating with William Mulloy inthe restoration of several monumentalsites on the island-the ahus at Tahai,Hanga Kio'e, and Akivi, and theceremonial houses at Orongo amongthem-conveying for the first time anaccurate idea of how these ceremonialcenters appeared before the wars

27

that led to (heir destruction. Thisrestoration work ceased with Mulloy'sdeath in 1978.

Since 1986 WMF has collaboratedwith the Chilean park service (CONAF),and with ICCROM, (he InternationalCentre for the Study of the Preservationand Restoration of Cultural Property.in a series of on-site training coursesand international colloquia to identi fyconservation priorities and implementappropriate procedures. In 1995.UNESCO approved Easter Island'snomination to the World Heritage List.With this recognition comes broaderrespect, increased political stature, andincreased tourism. WMF is currentlyworking with CONAF and Chile'sNational Center of Conservation toimprove visitor control and interpreta­tion and to create facilities that willhelp these agencies manage the islandas a national park. a phenomenal naturalresource, and a self-containedworld-class monument.

Project dales: I968-the presentProject Partners: Centro de Restauraci6n.Santiago; Corporaci6n Naci6nal Forestal(CONAF); Easter Island Foundation;ICCROM; University of Wyoming

TOP LEFT: AFTER RESTORATION-MARBLE SCREEN AT THE

ENTRANCE TO THE SCUOLA GRANDE DI SAN GIOVANNI EVANGELISTA

TOP RIGHT: MAURO CODUCCI'S RENA1SSANCE STA1RCASE

ABOVE: THE ORATORIO DELLA CROCE

28

Senoia Grande di San Giovanni EvangelistaVenice, Italy

Background andSignificanceThe seuo/a is a peculiarly Venetianinstitution through which laymen, oftenof the same craft or trade, participatein works of religious devotion, charity,and mutual aid. The .I'cl/o/a served animportant harmonizing function duringthe Venetian republic by makingmaterial distributions to the poor andsecuring the spiritual participation ofall. The competition in good worksamong the confraternities also extendedto the decoration of their buildings,which over the centuries becameimpressive repositories of collectionsof art, including many of the mostfamiliar decorative cycles of Venetianpainting. SCI/o/e of all sizes were tobe found throughout Venice; the largestand most prominent-both financiallyand artistically-were distinguishedwith the title of "Scuola Grande."

In 1369, Filippo di Masseri, grandchancellor of the kingdom of Jerusalemand Cyprus, donated a fragment of theTrue Cross to the Scuola Grande di SanGiovanni Evangelista. This holy relicmade it one of the most prestigiousand important confraternities inVenice for five hundred years.

Founded in 1261, the confraternityundertook an extensive renovation ofits building in the late fifteenth century.Outside, the courtyard in front of thescuo/a was enclosed by an ornate poly­chrome marble screen surmounted byan eagle (the symbol of Saint John theEvangelist) designed by the sculptorPietro Lombardo. Within the building,the architect Mauro Coducci construct­ed a spectacular double staircase thatis unique in Venice. To embellish theo/'(/lOrio, the finest painters of theday-Gentile Bellini, Carpaccio, andtheir contemporaries-produced aspectacular series of scenes of Venetianlife associated with the relic of the True

Cross (today among the most popularworks in the Accademia Gallery).

Another major redecoration tookplace in the eighteenth century, whenthe scua/a voted funds to renovatethe Sala Maggiore by raising theceiling and adding windows toimprove the lighting.

Napoleon abolished the scua/e ofVenice in 1806. He stripped the ScuolaGrande di San Giovanni Evangelista ofits treasures and its Holy Relic, andused the ground floor to stable hishorses. Although the building changedhands in the nineteenth century, it waseventually reacquired by the confrater­nity. The relic was returned from anearby church in 1929, but the seuo/anever recovered its former wealth.

The ProjectThe restoration of this seua/a wasthe first and largest undertaking of theVenice Committee, which, upon begin­ning the restoration, found the wallsin danger of collapsing into the canal.Work commenced with repairing theroof, strengthening and stabilizing thewalls, and analyzing the foundationsand support capabilities of the groundbeneath the building.

Once the structural integrity of theedifice was assured, restorers workedto arrest the infiltration of water andsalt into the structure. An ingenioussystem to prevent flood damage wasconstructed, consisting of a basinto collect water placed underneaththe building, connected to a pumpingsystem triggered "on" by a rise inwater level.

Continuous ribbons of sheet leadwere inserted at the base of the wallsto provide a barrier against capillaryaction. The pavement in the entrancehall was then replaced. White lstrianstone and red Verona marble were

29

laid on a new foundation of cement,gravel, and insulating asphalt. Stonerain gutters were repaired and drainpipes replaced.

The wooden ceiling beams in the vastground-floor area were either restored orreplaced. The Sala Maggiore, redesignedby Giorgio Massari in the eighteenthcentury, received the painstaking atten­tion of artisans who scraped down thewalls to their original pale beige colorat the rate of two square feet per manper day. The carved woodwork at thetop of the walls of this room was alsoconsolidated. Artisans restored thecarved eighteenth-century marblemosaic floor in front of the altar in theSala Maggiore, and they also restoredthe marble portions of Coducci's doublestaircase. Stonemasons rechiseledstaircase handrails and moldings.The restoration was completed withthe installation of new electricalwiring for the entire building.

In appreciation of the VeniceCommittee's help, the Archconfraternityof San Giovanni Evangelista offeredIFM space in the scuo/a. The VeniceCommittee maintained its headquartersat the scuo/a throughout the heightof the Venice campaign.

Project Dates: 1969-1979Project Partners: Arciconfraternitil eli SanGiovanni Evangelista per Ic ArtcEdificatorie; Ministero per i Bcni Culturalie Ambientali

Tintoretto's Paintings forthe Scuola Grande di San RoccoVenice, Italy

Background andSignificanceThe Scuola Grande di San Roccowas the richest and largest scuo/a

of republican Venice, founded in 1478under the protection of St. Roch, patronsaint of plague victims. The buildingof the scuo/a was begun in 1516 byBartolomeo Bon and completed in 1549by Antonio Scarpagnino. The elaboratecarvings and inlaid decorations of itsfacade were made possible by donationsfrom citizens seeking protection fromthe plague of 1527.

By far the greatest glory of thesaw/a is the renowned cycle of fifty­eight canvases by Jacopo Tintorettothat cover the vast ceilings and spaciouswalls with incomparable scenes ofthe life of Christ and related biblicalsubjects-including the immenseCrucifixion that is one of the mostcelebrated treasures of Venice.Moreover, San Rocco is one ofthe few scuo/e to retain its originalpaintings, and thus to present intacta vital segment of Venetian life.

[n 1564, the Council of San Roccoannounced a competition to decoratethe saw/a and invited artists to submitdrawings for the central picture in thesmaller upstairs meeting room known asthe albergo. Contestants included suchformidable talents as Giuseppe Salviati,Paolo Veronese, and Federico Zuccari,but the commission was awarded toTintoretto, who, it is reported, didnot prepare a drawing but rathercontrived to have his completedpainting clandestinely hung in thedesignated ceiling.

Tintoretto's grandiose visionunfolded over twenty-three years. Fora period, the artist delivered three can­vases each year on the feast day of St.Roch. He painted episodes from theOld and New Testaments, relating their

interpretation to the charitable aims ofthe confraternity. His powerful spiritualvision spoke directly, as in the SalaGrande, where the common theme of thespiritual bread of the Eucharist refers tothe obligation of the confraternity mem­bers to relieve the hunger of the poor.

The ProjectIn the 1850s, the writer and critic JohnRuskin reported the dire conditions atthe Scuola Grande di San Rocco, where"three of the pictures of Tintoret ...were hanging down in ragged fragments,mixed with lath and plaster, roundthe apertures made by the fall of threeAustrian heavy shot." (Munera Pu/veris)

Rainwater fell through the paintingsto be caught by buckets on the floor.When Henry James visited in 1869,he too lamented the state of the pictures:"Incurable blackness is settling fast uponall of them," he wrote, "and they frownat you across the sombre splendour oftheir great chambers like gaunt twilightphantoms of pictures." (Ita/ian Hours)

A century later, in response tothe UNESCO campaign for Venice,

30

the Edgar J. Kaufmann CharitableTrust provided funding to the VeniceCommittee to bring Tintoretto'smasterpieces back to life. Venetianconservators removed a thick patina ofdust and candle smoke to reveal muchof the original vibrancy. Aside fromthe dirt on the canvas surfaces, humidityhad damaged the supporting framework.New supports were constructed fromseasoned wood. This work, as well asthe cleaning and restoration, was carriedout in a special conservation workshopconstructed in the center of the ground­floor room of the saw/a. A team ofrestorers worked on three to fourcanvases at once, conserving thirty-eightpaintings between 1969 and 1975.

Project Dates: 1969-1975Project Partner: Ministero per i BeniCulturali e Ambientali

ABOVE: UPPER HAll OF THE SC OlA GRANDE 01 SAN ROCCO AS IT APPEARS TODAY

OPPOSITE: TINTORETTO'S ASSUMPTION OF THE VIRGIN. IN TilE GROUND FLOOR HALL. AFTER CONSERVATION

31

Church of San Pietro di CastelloVenice, Italy

Background andSignificanceLocated along the easternmost edge ofhistoric Venice, where the lagoon opensto the Adriatic sea, the estuary island ofCastello derives its name from a castlethat defended the city. Originally calledOlivolo, for the olive groves that flour­ished there, the island was home to ashrine to saints Sergius and Bacchus asearly as A.D. 650, long before Veniceexisted as a city.

Upon the site of this shrine, thechurch of San Pietro was built in theninth century. When the islandersunited with the Realtine islands toform Venice, the basilica of San Pietrobecame its cathedral. For a millennium,the church of San Pietro di Castelloserved as the religious center of thecity. The bishop of Castello had hisseat there; the doges were electedand judges appointed there; and, inthe fifteenth century, the bishopwas invested there with the title ofpatriarch of Venice.

Between 1482 and 1490, therenowned architect Mauro Coduccialmost entirely reconstructed the belltower using blocks of white Istrianstone. In the early seventeenth century,the church was rebuilt according todesigns prepared by Andrea Palladioin the late 1550s. The facade of thechurch was executed by FrancescoSmeraldi, and the interior wasexecuted by Giovanni Grapiglia.

With the fall of the republic ofVenice, the church of San Pietro wasstripped of its authority and many ofits treasures. In 1807, the emperorof Austria decreed San Marco tobe the cathedral of Venice and,almost overnight, San Pietro becamea simple parish church in an isolated,poorer quarter of the city. DuringWorld War I, the church was fire­bombed and its dome was destroyed.Although rebuilt after the war, insuffi­cient funds and maintenance ensuredthe decline of the church.

The ProjectShortly after the flood of 1966, thegovernment of Italy repaired the roofof the church. In 1970, WMF began along-term project to restore the churchcompletely: the window casings, floors,walls, stone and wooden furnishings,the bell tower, its cracked bell, andthe magnificent eighteenth-centuryNacchini organ. The restorationalso included a complete rewiring ofthe church, providing electricity fora system to play the bells and toilluminate the interior.

Much of the work was relativelystraightforward. Restorers erected ahuge scaffolding that almost completelyfilled the 150-foot-high interior of thechurch. They washed and scraped thewalls to restore surfaces to their originalmanl1orino finish, installed copper anti­pigeon screens outside the windows,replaced damaged pavement blockswith newly cut pieces of red Veronamarble and Istrian stone, refastenedor replaced loose stonework, rebuiltrain gutters, replaced the lightningrod, and restored the portals.

The cracked bell required the specialattention of Riccardo Giacometti, whobuilt a furnace on a platform beneath

32

the bell in order to repair it in situ. Ina grueling four-hour brazing operationwith smoke billowing out of the belltower, Signor Giacometti successfullyrepaired the crack in the bell andrecreated a portion of its missingcircumference, repeatedly plunginghis thick leather gloves into coldwater to cool off his scorched hands.

The church's eighteenth-centuryorgan, one of the most beautiful antiqueorgans in the whole Veneto, requiredspecial attention. A restoration in 1898had altered many of the original regis­ters, and woodworm had come to infestthe keyboard and foot pedals. In thecomplete restoration, the organ's origi­nal baroque cabinet was refinished; theregisters were returned to their originalorder and repaired; and damaged, worn,or obsolete parts inside the housingwere replaced.

Today, despite the remote locationof the church, San Pietro has becomea premier site for organ concerts, whichattract the best organists in Europe andfull attendance to this ancient site ofworship and splendor.

Project Dates: 1970-1982Project Partner: Ministero per i BeniCulturali e Ambientali

ABOVE; INTERIOR WITH VIEW TOWARDS THE ALTAR

OPPOSITE: SAN PIETRO 01 CASTELLO WITH ITS BELL TOWER

33

ABOVE: THE OVAL INTERIOR LOOKING TOWARDS THE ALTAR

OPPOSITE: EXTERIOR, AFfER RESTORATION

34

Church of the Pieta (Santa Maria della Visitazione)Venice, Italy

Background andSignificanceIn the mid-fourteenth century, aFranciscan friar, Pietro of Assisi,initiated an exceptional effort to carefor Venice's growing population offoundlings. To his appeal for piele/­

compassion-the Venetians respondedgenerously, with alms and bequests.Fra Pietro's Ospedale della Pietaquickly became part of the socialfabric of the city.

The Pieta provided its young chargeswith basic training in various trades.A few of the girls were taught to singor to play an instrument so that theycould provide musical accompanimentat the hospital's religious services.By the beginning of the seventeenthcentury, the beauty of their musicwas attracting large crowds.

A century later, the Pieta wasfunctioning as a conservatory of musicfor its foundlings, in keen competitionwith three similar institutions in Venice.With nine hundred children in residenceand four thousand others lodged withwet nurses and foster parents, the Pietaneeded to expand. The institution hiredGiorgio Massari, the most eminentarchitect of the day, to design andbuild a church and new wings for itshospices. Massari designed the churchas a concert hall for the musicians ofthe Pieta, by now famous throughoutEurope. Best known among its masterswas Antonio Vivaldi, who taught theorphan girls from 1709 until hisdeath in 1741.

The Church of Santa Maria dellaVisitazione, built between 1745 and1760, provided the setting for the lastmajor religious decorative scheme inthe history of Venetian painting. Thearchitect himself designed the rococofurnishings, and Giambattista Tiepolo,the greatest fresco painter of the age,was commissioned to decorate the ceil­ing and the wall above the high altar.

Tiepolo painted three separate works.The Triumph of Faith is celebrated ina large oval that graces the nave ofthe church, and the Three Theological

Virllles-Faith, Hope, and Charity-are depicted in the ceiling over the altar.Above the altar itself is a monochromeroundel of David and Ihe Angel, a tributeto the Old Testament author of the Psalmswho was himself a gifted musician.

The facade of the church was notcompleted until 1905, based on designsby G. D. Graziussi executed in 1856.Of Palladian inspiration, Graziussi'sfacade is believed to represent therealization of Massari's original design.

The ProjectHumidity from both rising damp andwater infiltration through the roof hadcaused serious damage to the interiorof the church and threatened Tiepolo'sfrescoes. Their finished coat of plasterwas separating from the rough coatof the plaster support which, in turn,

35

was separating from the reed lathingunderneath. The danger to the frescoeswas made worse by the heavy weightof pigeon droppings that had accum­ulated over the years as thousands ofpigeons flew in and out throughholes in the attic.

Cleaning the attic was a majorchore. The holes were closed withcopper mesh. To stop damaging leaks,restorers retiled and rebuilt the roof,sealed the joints of stone rain guttersand installed new copper gutters anddownspouts where needed. The churchwas made safe against the infiltrationof water from above, and the workof consolidating and cleaning thefrescoes began.

Water rising into the church wasalso checked in a number of ways.The lower walls of the baptisterychapel were rebuilt with a ribbon ofsheet lead running along the base.The wall between the nave and theentrance hall was also damp-proofedand rebui It. Workers scraped the wallsand polished stone cornices and col­umns to reveal their original finishes.

The restorers also repaired the inlaidmarble flooring before the high altar,refurbished the choir lofts, and cleanedand reconstructed the church's elaboratewrought-iron screens. The project wascompleted with the restoration of amagnificent Nacchini organ and theinstallation of a new lighting system.[n 1978, the restored Church of thePieta was the setting for a concert tocommemorate the three hundrethanniversary of Vivaldi's birth.

Project Dates: 1971-1978Project Partners: Instituto Provencialeper L'lnfanzia "Santa Maria della Pieta";Ministero per i Beni Culturali eAmbientali

SenoIa CantonVenice, Italy

Background andSignificanceDocuments record the presence of Jewsin Venice from the earliest centuriesof settlement and describe, as well,the restrictions imposed upon them.For a time, Jews were allowed toconduct business only on the island ofSpinalunga, later called Giudecca; in1288 they were banished to the Mestre,and at different times they were alsoforced to wear various sorts ofidentification marks.

Venetian authorities also controlledthe Jewish community by restrictingthe length of sojourn permissible in thecity. The Jewish community remainedsmall unti I the fourteenth century, whenVenice experienced a large influx ofJews from Eastern Europe. At the endof the next century, the city becamea refuge for Jews fleeing the SpanishInquisition. Venice became the homeof a few thousand Jews.

In 1516, Venetian authoritiesadopted a novel approach to controlthe Jewish presence. The maggior

consiglio decreed that all Jews wouldlive in a single neighborhood, surround­ed by high walls, enclosed by twogates manned by Christian guards, andpatrolled by boats cruising the adjacentcanals. This was the first "ghetto," socalled for the neighborhood into whichthe Jews were settled, known for itsiron foundries.

The Scuola Canton-named "scuola"(also known as schola, in Venetiandialect) in imitation of the Christianconfraternities of the city-was thesecond synagogue to be constructed inVenice after the confinement of the Jews.Founded by a family of either French orGerman descent, the conoreoationo 0

followed the Ashkenazic liturgical rite.As is characteristic of all the Venetiansynagogues, the plan featured the arkand hima (reader's platform) set atopposite ends of the prayer hall in themanner of the Sephardic rite.

The Jews in Venice purposely camou­flaged and preserved the anonymityof their houses of worship. The ScuolaCanton occupies the top floor of a buildino

o

devoid of architectural distinction.In contrast to the exterior, the synagogue'sinterior is richly decorated with wood,marble, stucco, and gilding. Built in1532 and renovated in the seventeenthto nineteenth centuries, the synagogue'stypical Venetian arrangement of interiorelements has remained undisturbed.

The gates to the ghetto werepulled down in 1797 when Venice fellto Napoleon, but the segregation of theJewish population lasted until they weregiven a parity of rights and responsibilitieswhen Venice was united with Italy in 1866.Jews fled Venice in laroe numbers durino

o 0

World War II. Today, the Jewish commu-nity of Venice numbers several hundredpeople, although only about twentyJewish families still occupy the ghetto.

The ProjectRestoration of the synaoooue beoano 0 0

in 1973 with a modest emergencygrant provided by the Chicago chapterof the Venice Committee. At the time,the ghetto building housing the ScuolaCanton on its top floor was in dangerof collapsing into the adjacent canal.

J6

Restorers reinforced the foundationmasonry and the floors, and stoppedthe swelling and overhang of theexteriors over the canal.

Once the building was secure,restoration of the synagogue itselfcould proceed. Major support forthe completion of the restorationwas provided, beginning in 1983, bythe Venice Committee and by theJ. M. Kaplan Fund in New York.Workers made structural repairs tothe matroneo (women's balcony);reopened windows on the interiorwall; rebuilt the marmorino ceilino-0'

installed a new electrical system withconcealed light sources; and cleanedand repaired carved and gilt surfaces,the 18th-century terrazzo floor, thebronze chandeliers, and the red linencurtains. The restoration also providedfor a maintenance fund.

Today, the Scuola Canton hasbeen included with the Scuola Tedescaand the Scuola Levantina-two otherVenetian synagogues-in the tourof the ghetto organized by theMuseo Israelitico.

Project Dates: 1973-1974,1986-1989Project Partners: Jewish Communityof Venice; Ministero per i Beni Culturalie Ambientali

TOP: PULPIT BEFORE RESTORATION

ABOVE LEfT EXTERIOR WALL OF THE SCUOLA CANTON (RIGIIT). FROM THE CANAL

ABOVE RIGHT: EXTERIOR VIEW SHOWING SCUOLA CANTON CUPOLA

OPPOSITE: THE ARK. AFTER RESTORATION

37

TOP: MOSAIC RESTORERS AT WORK

ABOVE: VII?CIN AND CHILD AFTER RESTORATION

38

Basilica of Santa Maria Assunta on TorcelloVenice, Italy

Background andSignificanceThe island of Torcello in the Venetianlagoon provided a safe refuge for coastaldwellers fleeing wars and invasions onthe Italian mainland in the sixth andseventh centuries. Responding to thewishes of the emperor Heraclius andthe exarch of Ravenna, the inhabitantsthere established a church dedicatedto the Virgin Mary.

An inscription found at the church,dated A.D. 639, is the oldest knownauthentic document of Venetian history.Between its founding and the earlyeleventh century, the church wassignificantly reconstructed and enlargedto its present imposing scale, the majorrenovation coinciding with the appoint­ment of Orso Orseolo, son of the dogeof Venice, as bishop of Torcello.Near the ruins of an ancient baptistery,the arcaded facade opens into a widecentral nave and side aisles terminatingin hemispherical apses. The ceiling isconstructed in a traditional fashionwith exposed wooden tie-beams, andthe floor is of polychrome marquetry.

Most precious of all are theelegant and elaborate eleventh-centuryByzantine wall mosaics that decoratethe main walls. In isolated splendoragainst the glittering gold backgroundof the main apse stands the solemn,regal figure of Mary, the Queen ofHeaven, with the infant Christ in heranns. Below her, the twel ve apostlesare arranged around the base of theapse. Leaving the church, visitors areconfronted with a vast mosaic visionof the Last Judgment on the entrancewall. As angels trumpet, Christ elevatesthe holy to paradise and condemns thewicked to eternal damnation in fiery hell.

The ProjectRestorations of the mosaics began asearly as the twelfth century and contin­ued through the early 1900s. The work,

inconsistent in quality, rendereddifferences in style and period visible.Surveys undertaken in 1977 revealed aserious threat to the mosaics. Notonly were the individual tesserae com­ing loose from the mortar of lime andstraw in which they were embedded,but the mortar bed itself was pullingaway from the masonry. In places,light from the outside could be seenfiltering through the loosened tilesof the mosaic.

In 1978 a number of the privatecommittees working in Venice formedthe International Torcello Committee.A group of international mosaic expertswas assembled to oversee the verydelicate, innovative, and sophisticatedstudy and repair of these irreplaceabletreasures. Because the mosaics weretoo fragile to move, the restorationpresented an opportunity to preparea new methodology for repairingdelicate mosaics in situ.

Experiments were conducted to quan­tify climatic conditions and humiditylevels inside the basilica and to measurethe salt and water content of the walls.Thermographic soundings were takento see if the walls had shifted in relationto the mosaics, and investigations wereconducted to study the location andbehavior of water beneath the church.Combined with sonar soundings of thefoundations, the studies provided datafor plans to lower the water table.

Il was revealed that the wall mosaicshad separated from their supports due toa cycle of crystall ization withinthe walls of large quantities of solublesalts, humidity-induced capillary action,contact with the salty water of thelagoon, and water infiltration throughthe roof. Humidity had also damagedthe tesserae themselves: those madeof marble and clay were corroding;those of glass paste had becomeiridescent and opaque; and the upper­most vitreous surface of the gilttesserae was detaching and leavingthe golden layer unprotected.

39

Experts analyzed the mortarsbacking the tesserae and developeda technique to map the extent ofdetachment. Using a stethoscope andtuning fork, they detected gaps beneaththe mosaic and gauged their depth fromchanges in the pitch of sound echoingfrom the walls.

The mosaics were repaired using amixture-that closely approximated theoriginal substances-of air-hardeninglime, marble dust, brick powder, water,and acrylic resin, carefully injectedso as not to interfere with the generalphysical and chemical behavior ofboth masonry and wall surface. In thecentral apse, the Vi/gill ond Child wasin such delicate condition that a precon­solidation set of acrylic resin injectionswas applied between the tesserae beforethe injection of the final consolidatingmixture. Wooden laths placed fi I'teencentimeters apart and secured into thebrickwork provided a support frameduring this operation.

Project Dates: 1977-1985Project Partners: International TorcelloCommittee; (CCROM; Ministero peri Beni Cullurali e Ambienlali

Toledo Cathedral MuseumToledo, Spain

Background andSignificanceOne of the greatest artistic complexesof Spain, the soaring cathedral ofToledo, was built between 1227 and1493. Its sacristy, chapels, and otherdependencies were added later. Overthe centuries, this early Gothic seatof the primate of Spain became the cus­todian, through purchase and donation,of a priceless collection of worksof art-notable paintings by Bellini,Caravaggio, and EI Greco, illuminatedmanuscripts, precious reliquaries,sculptures, vestments, and otherdecorative arts.

Among the cathedral's treasuresare four solid silver allegorical statuesrepresenting the Four Continents,masterpieces of the seventeenth-centurySpanish artist Manias Melin. For theUnited States bicentenary exhibition in1976, the National Gallery of Art inWashington requested to borrow thestatue of America, a seminude femalefigure wearing a feathered headdressseated on a globe. Kress Foundationpresident Franklin D. Murphy, whowas also a trustee of the NationalGallery, arranged for the loan and,as a reciprocal gesture, agreed tosponsor the conservation of allfour silver Continents.

During a visit to Toledo, Dr. Murphynoted the wealth of material in storage

at Toledo Cathedral. The cathedral'schapter responded enthusiastically to

his idea of creating a small museumto display these treasures publicly.In 1977, several rooms were adapted todisplay a selection of works that wereformerly inaccessible to the public.As the nascent museum grew in sizeand importance, the cathedral developeda proposal for a new museum wing,integrated with the cathedral's sacristyand the Ochavo. a large high-ceilingedoctagonal reliquary room completedin the 1620s by EI Greco's son JorgeManuel Theotocopoulos. The KressFoundation agreed to sponsor theentire project.

Thc ProjectThe project was carried out in severalphases. The restoration of the Ochavoinvolved repairing the roof and cleaningthe ceiling fresco by Francisco Ricci andJuan Carreno as well as the fine marbleslining the walls and noor. Intricateconservation work was carried out onthe objects for display, including thecathedral's famed custodia, an extraordi­narily elaborate late Gothic monstrance

40

(1517-1524) by Enrique de Arfe thatis one of Toledo's greatest treasures,and the solid silver statues of theFour Continents.

Other aspects of the projectentailed adapting several roomswithin the cathedral complex to housethe small museum, constructing newpassageways, and creating a four-flightstaircase and visitor's entrance from theCalle Sixto Ramon Parro. In the courseof the work, a number of architecturalfeatures formerly hidden under previousreconstructions were exposed andrenewed. The demolition of an oldpassage in one section exposedthe beautiful exterior facade of theKing and Queen Chapel, with Gothicwindows and coats of arms. Removalof an obtrusive counterroof revealed abeautiful Gothic cornice and gargoyles.

Restorers also rerouted drainagepipes and repaired catch-water drains.Broken tiles in the center of the patioand galleries were replaced, and ironhandrails and staircase supports werefixed. A new electrical system alsomade it possible for the cathedral toinstall new lighting and fire-and theft­protection devices.

Project Dates: 1977-1987Project Partners: Chapter of ToledoCathedral; Cardinal-Archbishop andPrimate of Spain

ABOVI':: INTERIOR OF TI IE OCHAVO (OCTAGONAL CHAPEL). WITII PAINTINGS BY

JORGE MANUEL TIIEOTOCOPOULOS. THE SON Of' EL GRECO

OPPOSITE: EXTERIOR VIEW OF TilE CUPOLA Of' THE Ocr/AVO

.tl

TOP: DETAIL OF AN ENTRANCE PORTAL

ABOVE: MAHADEV TEMPLE COMPLEX DURING RESTORATION

42

Gokarna Temple ComplexKathmandu Valley, Nepal

Background andSignificance

The culture of Nepal represents asingular variant on the great religionsand cultural patterns of Asia. Themountainous Himalayan country hassince ancient times sheltered highsacred pilgrimage places and remotehermitages for religious retreat.Religions practiced in Nepal includeHinduism, Buddhism, and Tantric cults.Religious observance is at the heart ofeveryday life, and the country aboundsin temple complexes dedicated toworship and observance of ritualsthat underlie and enrich life as it hasbeen lived for thousands of years.

The recent growth of the populationaround the urban center of Kathmanduhas brought modern developmentproblems in their most acute form toNepal. Pollution, overcrowding, andrapid growth are undermining thecountry's natural resources and itscivilization. The historic architectureof the Kathmandu Valley, fragile aftera long decline over the last century,is disappearing rapidly.

Of the sites on the World Heritagelist, the Kathmandu Valley is amongthe most imminently threatened by thechanges of the twentieth century. Thisfact led the Nepalese government to askUNESCO for help in organizing a specialcampaign to bring foreign assistance tothe preservation of the country's architec­ture. UNESCO announced a WorldHeritage campaign in 1972 and began aprogram, directed by the conservationarchitect John Sanday, to reinvigoratethe craft traditions needed to restorehistoric buildings.

In the 1970s, World MonumentsFund joined the campaign by adoptingthe Gokarna temple complex fromthe list of sites urgently in need ofassistance. The program was supportedsolely by Watson B. Dickerman Ill,whose contributions were matchedthree-to-one by the Nepalese

government. As often is the case insuch programs, the donor's hard-curren­cy funding paid for international expertfees, while the Nepalese governmentin turn paid the work force in itslocal currency.

Gokarna is a sacred site, located onthe bank of the Bagamati River outsideKathmandu. It has been a sacredplace for Buddhists for centuries andis the culminating point for a NewariBuddhist pilgrimage each year.On this same site, beginning in thefourteenth century, the Mahadev templewas built by Hindus and dedicated toSiva. It is a three-tiered timber-roofedstructure constructed of brick and woodwith plentiful carvings on the roof truss­es, or IUllasi, lintels, and door jambs.

The Gokarna complex also encom­passes other buildings. including aVishnu shrine, or paduka, and priests'houses. AII these secondary structureswere in an advanced state of decay.The Vishnu paduka's roof, a recentaddition of corrugated metal, destroyedthe structure's aesthetic appearance andalso admitted water. The priests' houseswere run-down and abandoned.

The ProjectOver time, the Mahadev temple hadsettled, loading structural supports withexcess weight and leading to collapse.Unrepaired holes in the roof permittedwater to percolate through the structure,and the moisture penetrating into thebuilding made it susceptible to fungaland beetle attacks. The conservationteam trained through the UNESCOprogram at other sites in the KathmanduValley undertook the conservation ofthe Gokarna temple complex. Allconservation work employed localtechnologies and avai lab Ie materials.

The entire building was surveyed.Rotten timbers were replaced, structuralfail ures were corrected, and thefoundations were strengthened to makethe building sound. The most painstak-

43

ing part of the process was the cleaningof the sculpted wooden elements.These had been covered, over the cen­turies, with annual coatings of mustardoil to protect them. In recent years, oldengine oil had replaced the traditionaloil in these annual applications, and thesurface of the sculpture was coveredwith a sticky, glutinous residue thatconcealed all the detail.

This residue proved to be resistantto solvents and to scraping. One of theconservation team members inventeda technology that eventually producedresults. Clay was dug from the riverbank and mixed into a paste using con­centrated ammonia. This was appliedto the sculptures as a poultice and leftin place several hours to soften thesticky residue. When it was removed,it became possible to scrape off theresidue. Several applications wereneeded to regain the original surface ofthe wood carvings. A group of sixteenlocal girls was trained to administer thiscleaning technique. It took them eigh­teen months to complete the work.

The second stage of the work wasto dismantle and restore the Vishnupaduka, which was too fragile to berepaired in situ. In the process, theoriginal ritual offerings placed beneaththe building were found. A rededica­tion ceremony was held, and the oldofferings of precious stones and a smallcopper pot with coins in it were putback in place, with new coins addedto commemorate the new phase of thetemple's life. Old wooden elementswere treated, cleaned, and set backin place; new, identical replacementswere used when the old materialswere unusable. Finally, the priests'houses were restored.

Project Dates: 1978-1984Project Partners: Dcpartmcnt ofArchaeology of the Governmcnt of Ncpal

Bovolo Staircase,Palazzo Contarini del BovoloVenice, Italy

Background andSignificanceThe Palazzo Contarini del Bovolotakes its name-in the Venetian dialect,bovolo means snail shell or spiralstaircase-from the distinctive externalstair tower that was added to the palacein the late fifteenth century and is todaythe sole survivor of its type in Venice.Within a rising arcade of round-headedarches, seventy steps curl upwardaround a central pillar to provideaccess to open loggias superimposedon the earlier Gothic palace.

The Bovolo staircase is a peculiarand rare structure in which Renaissance­style arches are set into the traditionalround Byzantine towers of the Venetianlagoon. The unknown architect showedan indifference to symmetry andRenaissance systems of proportion,yet the staircase exhibits a genius inconception and a skill in execution.Tucked away today in a tiny courtyardinhabited by stray cats, the Bovolostaircase is nevertheless one of themost popular monuments of Venice,a unique survivor of its period.

The Minnesota chapter of the VeniceCommittee restored the staircase asits contribution to the Venice campaignand worked on the project over a periodof seven years. In 1992 the chapter wasawarded the prestigious Premio Torta,named in honor of engineer Pietro Torta,who devoted his life to the preservationof Venice's artistic heritage. The prizeis given in recognition of organizationsin Italy and abroad which have madesignificant contributions to the preser­vation of the historic fabric of Venice.

The ProjectGradual decay, combined with thedetrimental effects of nineteenth-centuryrestorations, had led to a serious desta­bilization of the staircase. By 1966. itscentral core was on the verge of collapseand the steps had fallen out of register.Climbing the staircase had becomeperilous. The restoration aimed toreturn the building to its original state.

The first step required the structuralconsolidation of the central supportingcolumn. Once this was accomplished,

44

the steps, which were cracking, wererepaired with the aid of invisible tiesto bind them together. Stainless-steelrods. inserted into holes radiating fromthe central column, helped to anchorthe steps in place.

Airborne sulfates had also blackenedthe Istrian stone of the colonnade.Chemical poultices, followed byneutralizing agents, cleaned the stoneof black encrustation. Exfoliatingstonework was consolidated withmicro-injections of epoxy resins, andas a final protective measure, a film ofresin was applied to the staircase aftercompletion of the restoration. to resistthe penetration of moisture intoits web of tiny cracks.

Project Dates: 1979-1985Project Partners: Istituzione di Ricoveroe di Educazione (IRE), Venice; Ministeroper i Beni Culturali e Ambientali

ABOVE: EXTERIOR OF TilE BOVOlO STAIRCASE

OPPOSITE: RESTORATIO WORK INSIDE THE BOVOlO STAIRCASE

45

ABOVE: VIEW INSIDE LABORATORY FACILITIES AT THE MISERICORDIA LABORATORY

OPPOSITE: VIEW THROUGH THE GARDE OF THE MISERICORDIA COMPLEX TOWARDS

BUILDING ADAPTED TO HOUSE THE CONSERVATION LABORATORY

46

Conservation Laboratoryin the SenoIa Vecchia della MisericordiaVenice, Italy

Background andSignificanceThe construction of the Scuola Vecchiadella Misericordia began in 1261 andcontinued ovcr three centuries, duringwhich time it was enlarged, enhancedwith precious objects and decorations,transformed, and finally abandoned. In

1634, the buildings lost their religiousfunction and were sold to silk weavers.Thc works of art collected by theconfraternity were sold and scattered.In the nineteenth century, the buildingswere used as warehouses, then asprivate housing, and eventually theywere bought in 1920 by the painterItalico Brass, who restored the struc­tures. In 1974, the Italian governmentbought the property from his estate.

As a result of the significant restora­tion work taking place in Venice afterthe flood, UNESCO began, in 1976,to offer courses in stone conservationfor both Venetian and internationalconservators, taught by internationalexperts. In 1980 the Kress Foundation

agreed to help create a permanentscientific facility 10 monitor conditionsin Venice through sophisticated comput­er technology, advanced biologicaland chemical surveys, and other data­retrieval systems. Space for the labora­tory was made available within thegrounds of the Scuola Vecchia dellaMisericordia, which had been recentlyacquired by the state.

The ProjectRestoration work comprised rehabilita­tion of a small building in the gardenof the Misericordia complex whichrequired little work in order to functionas a scientific facility. The roof of thestructure was made impermeable, andthe water-handling system was com­pletely redone to secure the building.The original dimensions of the oldbuilding were reestablished by demol­ishing partitions that had been added ata later date. Pavements were repairedand replaced. A heating plant was put

47

beneath the garden, as was an electricalsystem for power, light and phonelines, and security and fire control.

To initiate the MisericordiaLaboratory program, the KressFoundation supported the salaries oftechnicians during an inaugural phase.The Jtalian government, for its part,purchased electron-scanning micro­scopes and computers to interpret thedata gathered from minute samplesof slOne and biological materialsthroughout Venice.

Today, the Misericordia LaboralOryis fully financed by the Italian govern­ment and is one of the most advancedcenters in the world for the study ofstone materials. The Kress Foundationcontinues to support an annual course instone conservation organized in Veniceby UNESCO for advanced conservationstudents from all over the world.

Project Datcs: 1980-1982

Project Partner: Ministero per i BcniCulturali e Ambientali

Convento de Ia CoriaTrujillo, Spain

Background andSigni ficanccThe city of Trujillo is situated on arocky granite hilltop in the heart ofa barren area of the southwesternprovince of Extremadura in Spain.On a main trade route that stretchedfrom Toledo to Portugal, Trujillo wasfirst settled in the second century byRomans who valued its natural strategicadvantages. Over the centuries the citygrew in this unyielding land and gavebirth to conquistadors and explorers­among them the Pizarro brothers-who brought to the city great wealth,splendor, and political importance.Trujillo flourished until early in thenineteenth century, when the city's for­tunes changed drastically as a result ofthe Peninsular Wars. Retreating Frenchsoldiers sacked Trujillo and carriedoff its treasures, leaving its citizensso demoralized that they abandonedthe city to isolation and ruin.

Trujillo's recovery is owed tothe efforts of a number of prominentSpaniards. Foremost among themwas Xavier de Salas, director of thePrado Museum, and his wife Carmen.Together with the Count and Countessof Romanones, who owned propertynearby, they rallied people who wereinterested in preserving Trujillo and in1974 established the Friends of Trujillo,an association devoted to restoringthe fabric and life of the city. Thisnonprofit organization salvaged nearlythirty houses and gardens, attractedwealthy international buyers, andstirred the city with energy.

One of the most impressive struc­tures in Trujillo is the Convent of theCoria, which formerly housed an orderof Franciscan nuns. Located alongthe ancient Roman wall of the city, theConvent of the Coria took its name

from the road to Coria that passedbeneath a nearby stone-arched portal.It was also called the Convent ofthe Noble Ladies due to the fact thatthe wives and daughters of Trujillo'ssoldiers were sheltered there duringtimes of war.

A noble family of Trujillo, theLoaisas, established the convent inthe fifteenth century and, together withother noble families, continued to sup­port its enlargement for three centuries.In the mid-sixteenth century, a Loaisasdescendant became the first archbishopof Peru and founded the first universityin the Americas in Lima. The conventalso figures prominently in much ofthe noble and courtly history of Trujillo.Francisco Pizarro, the discoverer ofPeru, was born illegitimately withinthe walls of the convent.

The three-story cloister complexincludes a refectory, a church, anddormitories. Its roof had collapsed,but considerable areas of originalbuttressing and the ribbed vaultingremained intact. Because Trujillo hadbeen abandoned and isolated, entiresections of the structure lay undisturbedwhere they had fallen and wererecovered for use in restoration.

48

The ProjectThe historic and architecturalimportance of the convent made itvery appropriate for restoration as acultural center devoted to the study ofthe Spanish contribution-in particularthat of Trujillo and Extremadura-tothe New World. Xavier and Carmende Salas personally purchased theconvent and set up a foundation at theCoria dedicated to [bero-Americanresearch.

Restoration began with the construc­tion of a roof and ceiling, using theoriginal buttressing that had remainedintact. The roof was covered with oldtiles from the rubble around the site.Collapsed walls were rebuilt to theiroriginal height, and the convent'sthree staircases were restored to allowpassage through the whole building.Local artisans and craftsmen carried outthe restoration using traditional methodsof stone and woodworking, and theytrained younger laborers in traditionaltechniques and processes. Craftsmenalso restored ironwork, the floors of thefirst and second stories in both wings,windows, and passageways. Ratherthan attempt a costly reconstructionof the church, whose Gothic vaults hadcompletely collapsed, it was decidedto clean and consolidate the remainsof the church, and have it serve asa visitors' entrance.

Project Dates: 1980-1990Project Partner: Fundacion Xavierde Salas

TOP: DETAIL OF THE PATIO AFTER RESTORATION

ABOVE: ARCADED PATIO BEFORE RESTORATION

OPPOSITE: A MEETING ROOM. AFTER RESTORATION

49

ABOVE: MAIN STAIRCASE AFTER RESTORATION

OPPOSITE: DONERAILE COURT AS SEEN FROM THE GARDEN

50

Doneraile CourtCounty Cork, Ireland

Background andSignificanceThe Georgian country house knownas Doneraile Court was built in the18th century by the St. Leger family,Viscounts Doneraile, in a five-hundred­acre park of outstanding beauty alongthe banks of the river Awbeg in CountyCork. Located near the town of Mallow,about twenty-five miles from the cityof Cork, the estate was famed for itshunting grounds. woodlands. Fish ponds,and a formal sheet of water a quarterof a mile long.

In 1969 the Irish governmentpurchased Doneraile Court as a wildlifepreserve. Improvements to the groundsfollowed, but the state lacked both theexpertise and the funds to restore thebadly deteriorating house.

Rescue of the Court began in1976 when the Irish Georgian Societyobtained a one-hundred-year lease­rent-free-on the mansion and fourteensurrounding acres with the intentionof restoring it to its former splendor.Founded in 1958 by The Hon. DesmondGuinness, the Irish Georgian Society'smission is to protect and preserveoutstanding examples of IrishGeorgian architecture.

The ProjectThe Irish Georgian Society led aprodigious campaign to raise funds tosupport the restoration and refurnishingof Doneraile Court. Colonel Gray tookan immense interest in the projecland approached the Samuel H. KressFoundation, which approved grantsto support restoration work in/981 and 1982.

Efforts initially focused on recuperat­ing the complicated system of gutteringatop the cut stone cornice, long over­grown with ivy. that was causing interiordamage compounded by broken pipestwelve feet from the ground thatpoured water into walls and basement.

As reported in the newsletter of theIrish Georgian Society, "A great dealof work has to be done, and the towns­people have been most cooperativein providing beds, etc., for our helpers.Special thanks are due to Mr. TimSheehan who provided our hungryvolunteers with much needed suste­nance from his garden."

From such beginnings, the IrishGeorgian Society managed the restora­tion of Doneraile Court, raising thenecessary funds from its members andfrom foundations, and employing localartisans and laborers. The society wasfortunate also to receive donationsof paintings and period furniturefor the interior.

Restorers completed repairs onthe roof to stop damaging water leaks.They replaced a coved ceiling that hadcollapsed in the court's old kitchen.and repaired its round windows withspecially made wedge-shaped bricks.Workers also replaced all eightywindows of the structure. peeled awaymany layers of wallpaper, restored theiron gate, painted newly plastered walls,

51

and rebuilt a large section of astone boundary wall.

In 1984 the Kress Foundationawarded a third grant towards theremaining work required to openthe building to the public. The IrishGeorgian Society completed structuralrepairs and replaced the windows priorto handing the house back to the state in1993. Since then, the Office of PublicWorks has concentrated on the reorgani­zation of the park lands and gardens,which are now open to the public.The Irish Georgian Society's projectwas notable in raising the awarenessand pride of the people of Donerai Ie,who are now extremely vigilant aboutthe welfare of their cultural heritage.

Project Dates: 1981-82, 1984Project Partner: Irish Georgian Society

Citadelle HenryMilot, Haiti

Background andSignificanceHenry Christophe, the self-appointedking of Haiti, ruled the only nationforged from a slave rebellion. Fueledby the revolutionary spirit of theEnlightenment and the French colonial­ists' notoriously poor treatment of theirslaves, the rebellion was ignited bya voodoo priest named Boukman inAugust 1791. During a frenzied cere­mony, Maroon slave leaders pledgedthemselves to insurrection, and the nextnight they burned the great plantationhouses throughout the island, slaughter­ing their inhabitants and livestock.

Out of this maelstrom and the chaosthat followed it three leaders emerged-Toussaint L'Ouverture, a literateformer coachman who became therevolution's hero and ideologist;Jean-Jacques Dessalines, a crude andfierce warrior who led the makeshiftslave army; and Henry Christophe, aformer hotel manager who had foughtwith George Washington's troops inSavannah, Georgia. Led by these threerevolutionaries, the slaves foughttheir way to independence in 1803.Toussaint was ambushed by the French,and transported to France, where hedied in exile; Dessalines was assassin­ated by his followers in 1806; HenryChristophe survived to impose rule overthe people of Haiti, the former colonyof St. Domingue, and establish its firstgovernment. He was crowned king ofthe northern sector (the south remainedin turmoil) in 181 I.

Fearful that the French wouldone day attempt to reclaim their formercolony-which sugar production hadmade the richest in the New World­Henry Christophe built an elaboratefortification system on the country'shighest peaks. Controlling thisnetwork, the Haitians could withdrawto the interior and defend themselves.

The keystone of this defensivesystem was the Citadelle Henry.

Massive and majestic, it sprawls overfour acres at an elevation of nine hundredmeters, its walls thirty-five meters thickand at some points sixty meters tall.It was built to garrison five thousandsoldiers in time of war. But despite thecontinuous bloodshed and turmoil thathave characterized Haiti's history, thewar never came.

Henry Christophe was a shrewdbusinessman who restored Haiti's econo­my to its colonial vibrancy by enforcingstringent work laws. He establishedschools and hospitals, rebuilt plantationsand towns. However, his determinationto prove to the world that a nation offormer slaves was the equal of othercountries became a compulsion. Theimmense building projects, carried outthrough forced labor, were his eventualdownfall. In '820 Henry Christophesuffered a stroke that he saw as an omenof his end. Surrounded by rumorsof rebellion, he killed himself. Hisbody was carried up the steep trail to theCitadelle by his wife and daughters andhidden in a vat of mortar, where itremained until it was unearthed duringthe recent restoration. It lies today in theHaitian capital of Port-au-Prince.

52

The ProjectWorld Monuments Fund joined theWorld Heritage campaign organizedby UNESCO to preserve this amazingmonument to both freedom and tyranny.Heavy rainfall in the mountainousregion had eroded the Citadelle'sgalleries and cannon decks, its roofshad disappeared, and the buildingstood defenseless against the elements.

WMF funds were used to buymaterials for the large Haitian workforce that was being trained underUnited Nations Development Programexperts. Workmen carried beamsweighing a ton or more up the steep hillto restore roofs of the main batteriesand cannon decks. These galleries weregiven a new pavement, and a factorywas set up to manufacture roofingtiles to serve the project.

WMF also sponsored a travelingexhibition and an award-winning shortfilm about the history of the Citadelle,which traveled to schools throughoutthe United States to introduce studentsto the history of this living symbolof the first free black republic.

Although the project's goal ofestablishing a permanent museum inthe Citadelle was never realized, theconservation treatment was completedbefore the onset of the current politicalchaos in Haiti. It will, no doubt,survive to inspire the Haitian peopleof another generation as the symbol oftheir quest for peace and stability.

Project Dates: 1985-1987Project Partners: Institul du Sauvegarcledu Patrimoine National; UNESCO;United Nations Development Program

TOP: WORK IN PROGRESS

ABOVE: OVERALL VIEW OF THE CITADELLE HENRY

OPPOSITE: AERIAL VIEW

53

CONSERVED MURAL BY DIEGO RIVERA. IN THE CHAPEL OF

THE AUTONOMOUS UNIVERSITY OF CHAPINGO

54

Murals Conservation ProgramMexico Ci ty, Mexico

Background andSignificance

The turbulence and bloodshed of theMexican revolutionary period endedwith the presidency of Alvaro Obregon,a revolutionary whose successfulestablishment of a unified governmentin 1920 ushered in a period of peaceand internal growth. For his minister ofeducation, he chose Jose Vasconcelas,who initiated educational reforms tobring literacy to the country's culturallydiverse people. Seeking to bring an endto Mexico's domination by colonial andexternal interests, Vasconcelas set out toconvince the people of the importanceof their pre-Hispanic traditions andthe dignity of their ethnic heritage.

tilizing the European medieval andRenaissance approach of teachingcivic lessons through public art, hecommissioned vast mural programs onthemes of Mexican history, culture,and folkways to embellish the publicarchitecture then being created or refur­bished in Mexico City. So began theMexican murals renaissance, whichengaged the country's greatest artistsand exploded into a vital movementplacing them at the vanguard oftwentieth-century art.

The most visible leader of thisrenaissance was Diego Rivera, who hadreturned from Europe as a modernistwith a deep affinity for the frescoes ofthe Italian Renaissance. His first majorproject with Vasconcelas was the deco­ration of the the Secretariat of PublicEducation, a newly built neo-colonialbuilding. Rivera dominated (he

program and executed more than eightyfrescoes depicting the history 01' theMexican Revolution and other socialistthemes. This cycle was the startingpoint of a massive pedagogical artprogram that engaged such artists asJose Clemente Orozco, David Siqueiros,and later Juan O'Gorman and others

over the next three decades, andeven spread into the United States.

Many of these great artistic programswere painted in churches, chapels, andother edifices in the city center, whichstands in a swampy and geologicallyactive zone that is prone to settlingand vulnerable to earthquakes. TheSecretariat of Public Education itself isbuilt above a geological fault and hassuffered earthquake damage since itsconstruction. Other bui ldings housingthe murals have been plagued by spo­radic disuse and the general economicdecline of the city center in recentdecades, as the commercial life ofMexico City has moved away from thehistoric center toward its outer rim.

These circumstances formed thebackground to the devastation of thetwo earthquakes in the autumn of 1985.

among the most catastrophic events inMexican history. Flimsily constructedrecent buildings, including hospitals andhotels, collapsed in the tremors, whilehistoric buildings survived the quakesbut su ffered damage that the belea­guered government could not address.Several of the mural programs weredestroyed and others were left in needof urgent repair. Some murals weretrapped inside condemned buildings.To salvage them, conservators had totake the great risk of working insidebuildings on the verge of collapse.

The ProjectWMF established its Save the MexicanMurals and Monuments Fund shortlyafter the earthquakes under the leader­ship of Marieluise Hessel. a collectorof contemporary art who was movedto help in the artistic recovery after thedisaster. Funds were raised to sendmassive quantities of conservationmaterials to the poorly supplied InstitutoNacional de Bellas Artes, includinglarge amounts of canvas needed to

remove the murals from the ruinedwalls of condemned buildings.Additional fundraising permitted WMFto adopt specific projects: the treatmentof the Rivera murals in the Secretariatof Public Education, with four of themremoved from the wall in destabilizedareas of the building: the repair ofOrozco's work in the Church of JesLisNazareno; and the conservation ofRivera's great late work in the chapelof the Autonomous University ofChapingo, outside Mexico City.WMF also supported studies by theMexican Autonomous University ofMexico Ci(y on the condition of thehuge mosaic facade of the universitylibrary, whose deterioration wasaccelerated by the earthquakes: andthe restoration of the chapel of theColegio de las Vizcainas, a preparatoryschool located in one of the city'smost important colonial edificcs.

These projects were complctedin three years, but many of the greatedifices that house Mexico City's greatcultural heritage remain in distress.The preservation of the historic centerof Mexico City remains among thegreatest conservation challengesof our time.

Project Dates: 1985-1988

Project Partners: Instituto Nacionalde Bellas Artes (INBA): UniversidadAutonomo de Mexico ( NAM):Colegio de las Vizcainas

Facade of the Primatial Church of St. TrophimeArIes, France

Background andSignificanceAries was designated a Roman colonyduring the reign of Julius Caesar in46 B.C. It grew into an impressiveimperial outpost, a "little Rome"of Gaul with forum, amphitheater,aqueduct, and other characteristicpublic works. In the fourth centuryA.D., Aries nearly became the newcapital of the Roman Empire-insteadof Constantinople-and was chosen asthe location for the first and numeroussubsequent meetings of Gaul's Councilof Bishops. From this time onwards,the city became home to an importantChristian community.

Around the year 450 BishopHilarius commissioned the first buildingon the site of the present church ofSt. Trophime. Tt was dedicated to St.Stephen, the first Christian martyr.In the tenth century, the structurewas placed under the protection ofSt. Trophime, who-according to locallegend-was the first bishop of Aries.The massive, narrow vault of the presentchurch was constructed in the earlytwelfth century, as was a crypt forthe relics of St. Trophime which weretransferred there in 1152. The towerand portal were added, and the cloisterbegun by the end of the century.

For the road-weary pilgrim of theMiddle Ages or the unlettered localdevotee, the ornately carved programof the facade offered a living pictographof religious teachings. To the left,expectant souls awaited judgment;opposite, the damned burned in flamesof carved stone. Overhead, command­ing all, Christ in Glory gazed down.

Although much of the great religiousheritage of medieval France wasdestroyed or disfigured by the warsof religion and revolution that sweptover the country in the sixteenth andeighteenth centuries, St. Trophimewas spared to survive-in excellent

condition-as the most perfect exampleof the Proven~al Romanesque church.

Over the last century, however, airpollution caused a dense accumulationof foreign material to build up on theexterior stone and the sculptures ofthe portal in the form of a tough, blackcrust of dirt and grime entrapped insalt crystals. Tn the cloister, waternow threatens the vaulted galleries andcarved marble capitals. Moisture isrising through the walls from the gardenby means of capillary action, andrainwater spilling from roof guttersis eroding walls and columns.

The ProjectWorld Monuments Fund initiated anurgent restoration program in 1987

involving the participation of an inter­national team of conservation experts.During the first year, the corniceswere repaired and a copper facing wasinstalled to protect the facade from rain.Studies were conducted to determinethe composition, density, and resistanceof the stone; to compare the efficacyof various cleaning agents and consoli-

56

dants; and to identify the compositionof the black crusts and the nature andsources of pollution. The studies werevital to the development of an ongoingconservation program at St. Trophime,and would also prove useful elsewherein addressing the global problem ofstone disease caused by air pollution.

The studies found that the sculptedstone was of high porosity and lowdensity. Deterioration was proceedingrapidly. especially in parts of the lintelfrieze, which had to be fixed immedi­ately using Japanese paper and a stoneconsolidant to prevent crumbling.

Fortunately, most of the facade wasnot in such an advanced state of decay.Over the next three years, the portalwas slowly and carefully cleaned ofits blackened crust. Care was takento minimize damage to the surfaceof the stone. Unexpectedly, thecleaning of the portal revealed that itwas composed not only of limestoneand marble from local sources butincluded stone columns in two distinctcolors: pink and black.

Air pollution continues to threatenthe integrity of the church, and expertsare researching the best method forproviding lasting protection for thenewly vulnerable facade. Each yearthey gather to conduct tests and monitorthe condition of the restored portal,while they advance plans to undertakework in the unconserved cloister-thenext phase of the challenge to passthis rare treasure on to the nextgeneration.

Project Dates: 1987-1995

Project Partners: City of Aries;Inspection Generale des MonumentsHistoriques

TOP: DETAIL OF TIlE TYMPANUM DURING RESTORATION

BOTTOM: THE PORTAL BEFORE TREATMENT

OPPOSITE: RESTORED FACADE AND PORTAL

::'7

TOP: FIGURE OF A KING WITH OPEN BOOK ON THE NORTH SIDE OF THE SECOND ARCHIVOLT.

BEFORE (LEFT) AND AFTER RECOVERY AND CONSERVATION OF ORIGINAL MEDIEVAL POLYCHROMY

ABOVE: THE PORTADA DE LA MAJESTAD BEFORE (LEFT) AND AFTER RESTORATION

58

Portada de la Majestad,Collegiate Church of Santa Maria la MajorToro, Spain

Background andSignificanccThe Collegiate Church of Santa Marfala Major is situated on a cliff at theedge of the fortified city of Toro inthe province of Zamora in north centralCastile. To the north it overlooksthe narrow, jagged streets of the city,and to the south, a steep drop to thewinding Duero River and the fertileplains beyond.

Construction of the church beganin the middle of the 1I00s and continuedfor a century. The culmination of itsartistic achievement is the grandwestern portal. known as the Porradade la Majestad. completed no laterthan 1240.

The portal celebrates the glory ofthe Virgin and includes more than /25individual figures in its iconographicrepertoire. Carved by anonymouscraftsmen. it is a masterpiece thatdemonstrates the local and internationalinfluences active in the birth of Gothicart in Spain. The lower portion of theportal follows a mature Romanesquedesign. Above, the composition reflectsthe influence of Gothic prototypes fromNotre Dame in Paris. imported perhapsvia sculptural workshops active atBurgos during this period.

An accident of history has madethis masterpiece extremely precious.Shortly after its completion in themid-thirteenth century, a new chapel wasconstructed to the west, encompassingthe western portal and thereby protectingit from the elements. ot only didthe sculpture of the portal survivemagnificently; the original. brilliantmedieval polychromy that adorned thestone surfaces of the portal-a fragileskin of pigment-also survived almostwholly intact.

Such polychromy is known tohave been common on Rornanesqueand Gothic sculpture. but practicallyno examples of such magnitude and

completeness from this period havesurvived anywhere in Europe. Theextent and freshness of the Portadade la Majestad's polychromy providea rare and breathtaking glimpse ofthe full beauty of a Gothic portal, andmake it especially valuable to scholars,historians, conservators, and art loversall over the world.

Thc Project1n 1941. the roof of the chapelenclosing the Portada de la Majestadcollapsed, and the portal was leftexposed to the elements for almostfifty years. The sculpture and thepolychromy began to suffer seriousdeterioration from environmentaland biological attack.

The conservation program begunin 1987 was conceived to consolidateand protect the portal from furtherdamage. while encouraging internation­al technical cooperation. This includedan exchange program between Spainand the United States that involvedyoung conservators from both countries,under the auspices of the U.S.-SpanishJoint Committee for Educational andCultural Cooperation.

With the discovery of the extentand quality of the surviving medievalpolychromy on the portal, the projectwas expanded to include extensive his­torical research, analysis of techniquesand materials used for the various layersof polychromy. and a comprehensiveconservation assessment of theportal itself.

Documents revealed that the poly­chromy had been applied on the portalin many distinct layers. The originallayer, completed by 1240, was contem­porary with the sculpture and integralto the original conception of themonument. A partial repainting ofdamaged original polychromy in 1408followed the first color program closely.

59

Subsequent campaigns followed in1506.1547.1566, and 1772. The 1547endeavor involved a complete repaintingof the entire portal, compromising theoriginal aesthetic and hiding manysculptural details.

Discussions among the project'sdirectors, conservators, students, andspecialists established general criteriafor restoration. The original medievalpolychromy, found to be in excellentcondition over eighty percent of thesculpted surface. was to be uncoveredand preserved. Where this originallayer was damaged or destroyed. con­servators would preserve the 1408repainting. as it was very near to theoriginal in color, style, and technique.Three seasons of work between /987and 1990 succeeded in treating 60percent of the sculpture. In 199/. workwas suspended during construction ofa permanent new roof over the chapelwhere the sculpture is located. WMFEspana then adopted the final phase ofconservation work as its first project.

The program at Toro has been amodel of collaboration between expertsand conservation trainees from Spainand other countries: between the variousdisciplines working in concert-sculp­ture conservation. pigment analysis.documentation methodology. andothers: and between well-equippedlaboratories and a working field site.This collaborative effort has generatedremarkable cross-fertilization andimproved understanding of the history.aesthetics. and technology of earlyGothic art in Europe.

Project Dates: 1987-1995Project Partners: Fundaci6n GonzalesAllende: Junta de Castilla-Leon:WMF Espana

Chateau de CommarqueLes Eyzies (Perigord), France

Background andSignificanceCom marque was an early medievalstronghold controlled by the morepowerful feudal families of Perigord.Before 1240 power and authority wereonly vaguely established in the region.What is known of the history of thechateau is that it began as a group ofknights' houses. As the settlementexpanded. each family defended a spe­ci fic sector of the enclosure. The mostintense building took place during thefifteenth century. What is known of thechateau's relatively short but dramatichistory is that it was associated with theCommarque and Beynac families; withtheir conversion to Protestantism, thechateau was drawn into the Wars ofReligion and was captured and damagedduring a Catholic siege in 1569.Although recaptured in 1592, it wasabandoned shortly thereafter. Theruins have survived unspoiled by laterdevelopment, and today they stand as arare surviving example of a medievalforti fied castrum.

Commarque is situated in the BeuneRiver valley within unspoiled forest.The surrounding region, formed by theDordogne and Vezere rivers, is calledthe "cradle of civilization" because ofits numerous caves decorated with pre­historic art. The area has been placedon the World Heritage List for its richand extensive remains of prehistoricculture. The Com marque site wasinhabited from earliest times throughthe Middle Ages. Beneath the chateauare the foundations of a protohistoricsettlement and a Carolingian chapel.This entire complex, in turn, is builtupon the prehistoric Grotte deCommarque, a series of caves decoratedwith prehistoric art. Thus, this oneunique location provides evidence of80,000 years of human habitation andits evolving relationship to technologyand the natural environment.

The Grotte de Com marque was listedas a historic monument in 1924, and the

chateau was listed as a national monu­ment in 1943. These designations pro­vided recognition and protection to thesite. In 1972, Hubert de Commarquea direct descendant of the founders ofthe chateau and a native of Perigordspecializing in rural planning anddevelopment, purchased the ruin. Hisvision was to restore the chateau andto make the entire site a center forhistorical and archaeological research,teaching, and public education.

The ProjectHubert de Commarque worked for adecade to become familiar with the site,in 1983 establishing the AssociationCulturelle de Com marque. Officiallyrecognized as a nonprofit organizationin \984, the Association, based innearby Sireuil, has created a strongacademic base, with multiple researchcontracts and formal collaborativeagreements with the University ofBordeaux and the Musee National dela Prehistoire in Les Eyzies. In 1994,the Com marque site was transferred toa family trust in order to guarantee itspermanent public access and clear theway for conservation funding. To date,restoration work has focused on consol­idating masonry, protecting walls,removing vegetation, and replacing the

60

drawbridge. The original dungeon hasbeen restored as well.

Of particular concern is the fragilityof the site in relation to vandalism andto approximately 30,000 unsupervisedvisitors who explore it annually. Aroad gate restricti ng access to speci fiedhours, a self-guided tour with descrip­tive signs and pictorial displays, andwell-marked and delineated paths areamong the measures to be undertakenwith WMF support. Present plans callfor a comprehensive stabilization andprotection strategy that will preserve thesite as a ruin, making its history as visi­ble as possible. WMF's participation inthe program has enhanced knowledge ofthe history of the site, the architecturalcomplex, and the development of bothover time. Preliminary scientific studiescompleted by a WMF-sponsored inter­national team in 1995 generated a planfor conservation action and site presen­tation-to conserve the ruin withoutdisturbing its authenticity and toimprove the "legibility" of the sitewhile avoiding intervention that woulddisturb its evocative visual qualities.

Project Dates: 1988-1992, 1994-1995Project Partner: Association CullUrellede Commarque; Inspection Generale desMonuments Historiques

TOP: INTERIOR OF THE PREHISTORIC GROTTE DE COMMARQUE

ABOVE: AERIAL VIEW OF THE COMMARQUE SITE. WITH CHATEAU AT UPPER RIGHT

OPPOSITE: THE THIRTEENTH-CENTURY KEEP AS SEEN FROM

THE ROOFLESS STRUCTURE OF THE CORPS DE LOGIS

61

TOP: INTERIOR VIEW TOWARD SOUTH ELEVATION AFTER RESTORATION OF

STAINED-GLASS WINDOWS AT THE CLERESTORY LEVEL

ABOVE LEFT: FRENCH MASONS WORKING ON STONE CONSERVATION

ABOVE RIGHT: RESTORATION OF WOOD TRACERY IN PREPARATION FOR

RETURNING STAINED GLASS TO ITS FRAME

62

Church of St. Ann and the Holy TrinityBrooklyn, New York

Background andSignificanceThe Church of the Holy Trinity was

built in 1844 by Edgar Bartow, a rich

Brooklyn merchant eager to grace the

city of Brooklyn with a work of reli­

gious architecture to rival the churches

across the East River in Manha((an. Itwas dcsigned by Minard Lafever in the

Gothic Revival style with flamboyant

English tracery. William Jay Bolton,

a young Anglo-American craftsman,

was commissioned to execute for the

church the first figurative stained-glass

windows ever produced in the nited

States. Featuring scenes from the

Old and ew Testaments and the

Transfiguration of Christ. Bolton's 64

brilliant windows are masterpieces of

American stained glass.

For a century, the church prospered.

From 1900 to 1950 the rector, the

Reverend John Howard Me/ish, built a

successful urban ministry that respond­

edto both the social and spiritual needs

of the changing Brooklyn landscape.

In the 1950s, however, a dispute

arose over who would succeed the

aging Melish. Part of the congregation

supported the ministry of Melish's

controversial son, William Howard,

a liberal who was also the chairman

of the ational Council for Soviet­

American Friendship; part of the con­

gregation did not. A struggle ensued

which, during the anti-Communist hey­

day of the McCarthy era. culminated in

the closing of the church in 1959 by the

bishop of Long Island. in whose diocese

the church falls. During the decade that

followed, the neglected building fell

into a perilous state of deterioration.

The St. Ann's School in Brooklyn

took the Church of the Holy Trinity

under its care in the early 1970s, and

the church adopted both names. But

the school was soon discouraged by

the challenge it confronted in putting

the church in good order. In 1979 the

New York Landmarks Conservancy

joined the effort to save the church.

The Landmarks Conservancy initiated

a pilot project to preserve three bays of

wood, glass, and stone and sponsored a

multiple-use plan for the church, which

called for its combined use as a place

of worship, a performance facility, and

a museum of stained glass. It raised

funds to remove the window located in

the organ loft, which was blocked from

general view, and place it on permanent

loan at the Metropolitan Museum of

Art. In 1983, as a final step in its part­

nership, the Landmarks Conservancy

helped to establish the St. Ann Center

for Restoration and the Arts to

administer this multiple-use program.

The St. Ann Center took up

residency in the church and began

raising funds to restore it. But it. too,

found the job daunting. WMF joined

the program in 1986 and, with the

SI. Ann Center, conceived a program

to preserve the church through in-house

conservation training programs in

stained glass, masonry, wood,

and ironwork.

The ProjectThe first step in the conservation

training program was to establish a

stained-glass conservation studio in

the rectory building of the church. The

stained-glass studio began operation in

1987 under the direction of the master

craftsman Melville Greenland, who was

later joined by a second master restorer.

David Fraser. Assisted by three appren­

tices, the studio team completed the

conservation of all the south-elevation

windows by 1992 and began work on

the massive chancel window depicting

the Transfiguration. The windows

of the north elevation were stabilized

to prevent further deterioration

during the ten-year duration of the

conservation work.

63

In the summers of 1990 through

1993 WMF organized annual campaigns

to conserve other elements of the

building fabric. A French-American

exchange program permilled appren­

tices from France to join American

trainees in the conservation of the

south-facade masonry and woodwork.

In 1993, a program was set up at

St. Ann and the Holy Trinity through

the New York City Department

of Employment's Summer Youth

Employment Program to restore

the nineteenth-century cast-iron fence.

Youth-program trainees also workcd

with the masonry-. wood-. and

glass-conservation teams.

In conjunction with the 1993

summer training program, WMF

convened a three-day seminar to focus

on architectural craft training and its

potential economic impact on the city

of ew York. The symposium gencrat­

ed further cross-disciplinary studies

intended to encourage a consortium

of institutions to work together to

advance specialized crafts training in

the restoration arts. The St. Ann Ccnter

stained-glass studio continues its work

on the chancel windows. in the hopc

of fulfilling its goal of preserving thc

great edifice while also accomplishing

a social mission appropriate to thc

church-of training young people for

productive and satisfying future jobs.

Project Datcs: 1988-1995

Project Partners: Thc St. Ann Center for

Restoration and the Arts. Inc.

Giandomenico Tiepolo Murals,Church of San Giovanni BattistaMeolo, Italy

Background andSignificanceNothing is known about the commissionthat brought Giambattista Tiepolo'sson and most important collaborator,Giandomenico, to the small town ofMeolo near the margins of the Venetianlagoon to decorate the vault of thechurch of San Giovanni Battista.Furthermore, his work there hasreceived scant critical attention andremains neglected by even scrupuloustourists to the Veneto. Nonetheless hissignature and the date on the book heldby St. Matthew verify the fact thatGiandomenico painted these frescoesin 1758, one year after his brilliantand highly praised contribution to thedecoration of the guest house of theVilla Valmarana ai Nani in Vicenza.

The central subject of the Meoloceiling is the Baptism afChrist,foreshortened so that the eventoccurs directly above the viewer.Monochrome Evangelists observe thescene from the pendentives, accompa-

nied by monochrome figures ofthe cardinal and theological virtues.While the decorative scheme echoesGiambattista Tiepolo's program for thechurch of San Francesco della Vignain Venice, Giandomenico's treatmentof the Evangelists in Meolo evinceshis profound graphic originality, andhis distinct and increasingly maturesensibility is revealed by the strikingcharacterization and delicate overallcoloring of the central tondo.

[n 1917, a bomb destroyed aportion of the vault fresco. Luckily,none of the figures in the tondo wasdamaged, and the Evangelists, aswell as three of the four allegoriessurrounding them, suffered relativelyminor losses. A restoration undertakenimmediately after the bombing savedthe frescoes from further deterioration.Each element was removed intactand transported via canal (for fear ofpossible bombardment of the railway)to laboratories in Venice for restoration.The frescoes were returned to thechurch in 1921.

64

The ProjectOne of the objectives of the recentrestoration was to verify the stabilityof this earlier restoration. The frescoeswere found to be in relatively goodcondition in spite of surface damageresulting primarily from old leaks inthe roof. Corrosive mineral depositswere removed, and the entire surfacewas cleaned and-wherever neces­sary-consolidated, as was the support,thus preventing the imminent loss ofadditional areas of the pictorial surface.To aid in the viewing of the worksin situ, a new lighting system wasinstalled.

Project dates: 1989-1990Project Partner: Associazione ComitatoItaliano World Monuments Fund;Ministero per i Beni Culturalie Ambientali

ABOVE: f'RESCO DETAIL DURI G CONSERVATIO TREATMENT

OPPOSITE: VIEW OF TIEPOLO FRESCO CYCLE INSIDE THE CH RCH VA LT

65

TOP LEFT: EXTERIOR DOME OF THE HOTEL DES INVALIDES AFTER REGILDING

TOP RIGHT: CONSERVATION TREATME T OF JOUVENET FRESCO

ABOVE: FRESCOES OF DOME INTERIOR AFTER RESTORATION

66

r-------(~.~A

Dome of the Hotel des InvalidesParis, France

Background andSignificanceKing Louis XIV commissioned theHotel des Invalides in 1676 as a hospitaland retreat quarters for infirm soldierswho had served their king faithfullyin war. The domed section was to bea royal chapel, reserved for the king'sworship. Adjacent to it was a soldier'schurch, St. Louis. Convention forbadethe king from worshiping withcommoners, or even from enteringby the same portal. Thus the royalchapel was connected to the churchof St. Louis, but rendered separateand discrete by a glass wall.

The Invalides is the masterpieceof architect Jules Hardouin-Mansart,grand-nephew of Franc;:ois Mansart, theillustrious architect and court favoriteof the period. Hardouin-Mansart basedhis design of the Invalides on unexec­uted plans his grand-uncle had preparedfor the Chapelle des Bourbons at SI.Denis. Dedicated in 1691, the struc­ture's interior decoration, includingthe paintings on the cupola executed byCharles de la Fosse and Jean Jouvenet,continued into the first decade ofthe next century.

Although Louis XIV had intendedto be buried in the Invalides, this wishwas not carried out. His tomb wasplaced with his ancestors' in SI. Denis,where it was desecrated during theFrench Revolution. The lnvalidesinstead became the shrine and lastresting place of Napoleon, whoseremains were brought to Paris by hisnephew Napoleon If/. The placementof Napoleon's tomb beneath the rotundain 1869 was the occasion for a majorremodeling, which imposed a coolclassicism upon the baroque churchinterior. Nevertheless, the editiceremains the most important classicalmonument of Paris and the dome is,today, a primary landmark of the Parisskyline. A vital and multifacetedinstitution, the Invalides is home

to a hospital specializing in physicalrehabilitation, the Musee de I' Armee,a government ministry, military paradegrounds, and tombs of illustrious gener­als, as well as the church of St. Louis.

From the time of its construction,the dome was a flawed structure. Aschanges of temperature provoked theexpansion and contraction of its leadornaments, holes were ripped in theleading of the roof. Water infiltrationharmed the paintings on the interior.High winds and the poor capabilityof lead to support gilding caused thegilding of the splendid lantern andornaments to flake away.

The exterior of the dome wasregilded whenever an important stateoccasion permitted this extravagantluxury-in 1715, the year of LouisXIV's death; in 1807, under Napoleon;in 1869, when Napoleon himself waslaid in state there; and in 1937, forthe Paris World's Fair.

The interior showed much evidenceof deterioration. The paintings werebadly damaged from leaks through thecupola roof and were restored heavilyin the nineteenth century. By 1988, theyear of the formation of WMF France,the paintings of the Invalides wereconsidered by the French governmentto be among the most importantendangered works in Paris.

The ProjectThe restoration of the dome of the Hoteldes lnvalides was an event of symbolicnational importance. Mme Franc;:oisMitterand served as honorary chairper­son of the Invalides campaign, and theregilding of the exterior by the Frenchgovernment was timed to coincidewith bicentenary celebrations in July1989. More than twelve kilograms oftwenty-three karat gold were appliedto the dome in 550,000 separatepaper-thi n sheets.

67

WMF France took the lead in therestoration of the interior paintingsas its inaugural project. Analysis of thepaintings revealed that their deteriorationwas signi ficant and advanced. Theworks of Charles de la Fosse wereextensively overpainted. and all pictoriallayers were flaking and separating fromthe underlying gesso. The paintings onthe drum of the dome, by Jean Jouvenet,were also extensively repainted andexhibited delamination and flaking, withtheir visible surfaces largely the handi­work of a nineteenth-century restorer.

Conservators had to develop anoverall philosophy to guide their work.A purist approach, at one extreme,would have required returning thepaintings to their full integrity, which,because of damage to original layers,may not have been possible. At theother extreme, the most interventionistproposal called for fully and freelyrepainting Jouvenet's apostles on thedrum of the dome, where the originalshad virtually disappeared. Becausethe monument itsel I' has undergoneextensive changes of considerableimportance, disparate stylisticelements have coexisted there formore than one hundred years.

A conservation plan was adoptedthat respected these elements andsought to maintain the harmony ofthe whole. The paintings on the domewere cleaned and consolidated, reliefsurfaces and gilt frames were cleanedand repaired, and a new lighting systemwas installed to illuminate the rotunda.Finally, with support from the Samuel H.Kress Foundation. WMF sponsored thepublication in France of a book on theentire restoration project, The Dome ofthe II1\ Jolides, by Franc;:ois Poche andJean-Claude Rochette.

Project Dales: 1989-1994Project Partners: WMF France;Inspection Generale des MonumentsHistoriques

Cima da Conegliano's Baptism of Christ,Church of San Giovanni in BragoraVenice, Italy

Background andSignificanceFounded in the seventh century, theparish of San Giovanni in Bragorais one of the oldest in Venice and hascontinuously played an important rolein the city's religious, social, and artis­tic life. The existing church, which istypical of the Venetian late Gothic style,dates from a building campaign begunin 1475 and completed within fifteenyears. Pope Paul II, who was born andbaptized in the parish as Pietro Barbo,granted indulgences to the church, thusgiving a special incentive for donationsto support the building.

Giambattista Cima da Conegliano'spainting of the Baptism of Christ is thetreasure of the church. It hangs beyondthe altar in the east end presbytery,surrounded by a stunning marbleframe-the sole remains of an elegantchoir screen carved by SebastianoMariani of Lugano. Completing thepresent arrangement is a stuccoedvault of the late sixteenth centuryattributed to Alessandro Vittoria.

Executed between 1492 and 1494,Cima's Baptism of Christ is a pivotal

work not only for the artist but forVenetian Renaissance painting.The earliest surviving large-scalerepresentation of the subject, the pictureestablished Cima's reputation­particularly in regard to the naturalisticportrayal of landscape-and stronglyinfluenced his contemporariesand successors.

Though a humble parish church,the Bragora has been blessed withdistinctions. It is the place of baptismof Antonio Vivaldi (1678), as wellas the repository of such holy relicsas the entire body of St. John theAlmsgiver, a fragment of the TrueCross, and a finger of St. John theBaptist. Its rich artistic program atteststo centuries of solicitous devotion.

The ProjectBy I988-when WMF agreed to spon­sor, with Save Venice, the conservationof the presbytery of San Giovanni inBragora and its masterpiece by Cima­the major emergencies created by theVenice flood had been addressed.More than twenty years' work had been

68

devoted to rescuing the artistic heritage ofthe city. Nevertheless, many high-qualityworks had not received any attention formany years. Cima's painting, one of anumber of masterworks that the smallparish sought to conserve, was aprominent example.

The restoration of the Baptism of Christ

involved careful removal of accumulatedlayers of overpainting dating from thesixteenth century. As recently as thirtyyears ago, the painting received a coatof varnish, which darkened its surfaceconsiderably. Underneath these layers,the picture proved to be in extremely goodcondition and its extraordinary originalbeauty was recovered. Similarly, thestone-and-marble frame and stucco ofthe presbytery vault responded to conser­vation, revealing the outstanding qualitiesof these fine but overlooked decorativeworks of Renaissance Venice.

Project Dates: 1989-1990Project Partners: Save Venice, Inc.;Ministero per i Beni Culturali e Ambientali

ABOVE: DETAILS OF CIMA DA CONEGLlANO'S ALTARPIECE DURING RESTORATION

OPPOSITE: BAPTISM OF CHRIST AND ORIGINAL MARBLE FRAME

69

l

TOP RIGHT: A LOCAL WORK-FORCE MEMBER POSING BEFORE A GARUDA. ONE OF SEVENTY-TWO

MONUMENTAL SCULPTURES OF THE MYTHICAL GUARDIANS ALONG THE PREAH KHAN ENCLOSURE WALL

TOP LEFT: CLEARANCE OF VEGETATION AT THE EAST GOPURA (PROCESSIONAL GATEWAY)

ABOVE: THE PAVILION OF THE SACRED SWORD AT PREAH KHAN. THE ONLY TWO-STORY STRUCTURE AT ANGKOR

70

Temple of Preah KhanHistoric City of Angkor, Cambodia

Background andSignificanceAmidst the lush jungle in northwestCambodia near the great lake calledthe Tonie Sap lies Angkor, the ruinsof a great city that flourished betweenthe ninth and fifteenth centuries.Renowned in its day as a religiouscenter and capital of the Khmer empire,Angkor is no less famous today, hailedby Cambodians and foreigners alike asone of the "wonders of the world."

Since the nineteenth century, scholarshave attempted to understand the riseand fall of the Khmer civilization atAngkor. Except for temples and civicworks, such as the embankments ofthe towns, baray.l' (reservoirs), canals,bridges, and defensive walls, no visiblebuildings remain from the Angkorperiod. The greatest temples of thehistoric city were built by Khmer kingsto commemorate battles, ancestors,or important events. Angkor Wat,the masterpiece of the Khmer kingSuryavarman, was built in 1120. Laterin the same century. the prolific builder­king Jayavarman VII constructed themysterious Bayon temple and othercomplexes, including Preah Khan,Banteay Kdei, Ta Prohm, and thewalls enclosing Angkor Thom.

WMF sent its first expedition toAngkor in December 1989. The teamsurveyed the temples at Angkor andchose the site of Preah Khan for theestablishment of a long-term conserva­tion program as a collaborative effortwith the people of Cambodia. PreahKhan, or "Sacred Sword," was builtby Jayavarman VII and dedicated inI 191 as the "City of Royal Victory."Jayavarman VII may have built thetemple city on the site of a momentousvictory over the Chams, a rival dynastyfrom present-day Vietnam. Dedicatedto the king's father, Preah Khan isunique among Khmer monuments. Itsapproach to religious practice-withindividual chapels constructed for

Buddhist, Saivist, Vaisnavist, and ances­tor worship-reveals Jayavarman VII'stoleration for different faiths. There isevidence that the temple also served asa place of learning. A stele, erected inone of the central shrines, relates thatthousands of Buddhist monks coexistedthere with practitioners of Hinduism.

The ProjectWMF has worked since 1991 topreserve Preah Khan as a partial ruin,which can be enjoyed by visitors whileit continues to playa meaningful rolewithin the local community as a centerfor spiritual sustenance and a source offorest products. Through this process,conservation practices are being estab­lished that can be applied to ancientsites throughout Cambodia that havesimilar characteristics. Major objec­tives of the program are to train a newgeneration of Cambodian studentsof archaeology and architecture-who work on-site under internationalexperts-and provide jobs for localartisans. WMF's international teamworks in the field for three monthsevery year, accompanied by sevenCambodian students and approximatelyone hundred local workers. During thisperiod, the team directs specific conser­vation exercises, such as surveying thebuildings, reinforcing areas that mightotherwise collapse, clearing vegetationand debris, cleaning stone surfaces, andrestoring parts of the temple complexthat require treatment. During theremainder of the year, the Cambodianteam continues maintenance work, andthe project's trainees take an increasingrole in managing day-to-day routines.

Because Preah Khan is part of thelarger Angkor historical city, WMFsupports cooperative activities withother groups working at Angkor sites.WMF and the Budapest-based RoyalAngkor Foundation have begun acollaboration to interpret radar-imagingdata generated by the U.S. space shuttle

Endem'oLir to investigate Angkor'shydrological system and related urbandevelopment. and for archaeologicalresearch. On October 4, 1994, atWMF's request, NASA's Jet PropulsionLaboratory collected data on archaeo­logical and ecological sites at Angkorto assist in the documentation andanalysis of the ancient capital. InFebruary 1995, WMF and the RoyalAngkor Foundation organized a roundtable held at Princeton University toestablish a detailed program for ana­lyzing this data. The meeting offereda rare opportunity for specialists inarchaeological and ecological fieldworkto join forces with scientists in space­based radar-imaging research to learnhow state-of-the-art technology mightaid in the pursuit of the knowledgeof man's past.

The data provided by the space-shut­tle images has permitted a reinterpreta­tion of the use of important environmen­tal structures at Angkor, particularly thebcmn's, by landscape architects workingunder the auspices of the French gov­ernment. A subsequent radar-imagingsymposium took place in spring 1996at the University of Florida.

A final step in the WMF Angkor pro­gram is the support of advanced studiesfor the Cambodian student trainees. In

December 1995, Sareth Lek, a studentarchitect from Phnom Penh. traveledto the Frank Lloyd Wright School ofArchitecture in Scottsdale, Arizona.for a year of advanced training in archi­tecture. As he and other Cambodianstudents complete supplementarystudies abroad. they will be ready tolead the efforts to preserve this mostprecious example of the world'scommon heritage.

Project Dates: I989-the presentProject Partners: APSARA; RoyalCambodian Government: InternationalCoordinating Committee for Angkor

1..- 71 ---'

Mudejar Cloister, Royal Monastery of GuadalupeGuadalupe, Spain

Background andSignificanceIn the forested valley of the GuadalupeRiver, in the Marianica mountains insouthwestern Spain, a miracle occurredin the fourteenth century that was tobe commemorated around the worldfor centuries to come. A shepherd inthe hills with his cattle found a calf thathad died. Deciding to skin the animal,he cut a cross in its breast, whereuponthe calf sprang to life. Simultaneouslythe Virgin appeared and instructedthe shepherd to summon the priests ofOiceres-125 kilometers away-to digin the ground where she stood. When atlast the priests were persuaded to followthe Virgin's command, they discovereda perfectly preserved image of theVirgin, supposedly carved by St. Luke.The faithful quickly constructed ahermitage to commemorate theshepherd's miraculous discoveryand to shel ter the statue.

King Alfonso XI contributed tothe construction of a church to replacethe hermitage, and after his victoryat the Battle of Salado in 1340, herenewed his generosity and placedGuadalupe under royal patronage.Over the centuries the site grew into afortified monastic complex and becameone of the most important Christianpilgrimage sites in Spain. The cult ofthe Virgin of Guadalupe also spreadthroughout the Americas.

Guadalupe was a particularlyimportant locus of Spanish faith duringthe reconquest of the peninsula fromthe Moors. During this period, militantmonastic Christianity encountered andabsorbed the influences of the Islamicworld in southwestern Spain. Thecloister and the temp/ete, or fountainhouse, of Guadalupe are stunningexamples of the synthesis of thesetwo cultures into the mudejar style­later carried by Spain's envoys intothe New World.

By the end of the fifteenth century,Guadalupe had become a fit residence

for royalty. Queen Isabel the Catholicspent long periods there. It was fromGuadalupe that she granted ChristopherColumbus the commission for hishistoric voyage in 1492, and it wasthere that Columbus returned afterhis second voyage to pay homageto both his patrons, the queen andthe Virgin Mary.

Over six centuries, the monasterygrew into a rich complex of eccles­iastical buildings, hospices, courtyards,towers, and defensive walls. Therichly decorated seventeenth-centurysacristy, embellished with a cycle ofFrancisco de Zurbanln's finest canvases,is one of the great surviving baroqueinteriors of Europe.

Abandoned by the Hieronymitemonks in the early nineteenth centuryas a result of Napoleonic suppressionof monastic orders, Guadalupe sufferedserious deterioration. Franciscan monkseventually reoccupied Guadalupe in1906. The site still attracts pilgrimsfrom around the world, and its pristinenatural setting remains unspoiled.

The ProjectBecause of its abandonment for nearlya century, the entire monastic complexwas in need of restoration. In anticipa­tion of the 1992 quincentenary of thediscovery of America, the Franciscansand the local government identifiedthe mudejar cloister and the sacristy asrestoration priorities. Teams of expertsbegan work on various studies to deter­mine optimal restoration procedures.A microbiologist advised on the bestway to remove lichens and mossesthat had accumulated on the marbleand stucco of the base of the temp/ete.

Scholars and craftsmen teamed upto replace the stucco and replicate theoriginal colors and finishes adorning thetemp/ete. Other experts studied struc­tural cracks and micro-environmentalconditions; archaeologists excavatedthe cloister garden; mineralogists,

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analytical chemists, and conservatorscontributed to a careful analysis ofdifferent aspects of the stone andstucco conservation problems inthe mudejar cloister.

The temp/ete had lost its ability toshed water, and its structural integritywas further threatened by poor drainageat its base. Nearly all of the stuccofinishes and most of the decorativearchitectural tiles were gone, and eachrainfall added to overall deterioration.While conservators worked withcraftsmen in Spain to make and installnew tiles, others worked to stabilizethe remaining stucco and polychromythat once embellished the structure.

The garden surrounding thetemp/ere-known as the Cloister of theOranges-was also restored. Utilizinggeometric proportions and moti fs fromthe surrounding architecture, the designrecreates the spirit of the originalSpanish-Moorish garden. Plantingsincluded evergreen shrubs, medicinalherbs, and orange trees. According toIslamic tradition, the blossoms of theorange tree exert a healing influence;and in Christian tradition, theysymbolize the purity of the Virgin.

Monitoring of structural movementin the sacristy was also carried out.This led the Spanish governmentto conserve the mural decorationswithin the sacristy. Restoration of themonastery of Guadalupe continues,in part as a resul t of the posi ti veinfluence of this first majordemonstration project. The WMFconservation treatment of the MudejarCloister of Guadalupe received theEuropa Nostra prize in 1996.

Project Dates: 1990-1992Project Partners: ]nstituto Centralde Conservaci6n y Restauraci6nde Obras de Arte, Madrid;Real Monasterio Santa Maria deGuadalupe

TOP: MASO 's APPLYING BASE STUCCO DURING CO SERVATION OFTHE 7EMPl.ETE

ABOVE: VIEW AFTER RESTORATION OF THE TEMPLETE J THE MUDI~JAR CLOISTER

73

TOP LEFT: DETAIL OF APSE

TOP RIGHT: EMERGENCY STRUCTURAL SHORING ERECTED BY WMF TEAM

ABOVE: OVERALL VIEW OF THE EREROUK BASILICA

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..---------L~~:J'---

Basilica of EreroukArmenia

Background andSignificanceArmenia was one of the first Easternoutposts of Christianity, its Orthodoxchurch having been established in thethird century A.D. For their persistentfaith the Christians of Armenia haveendured centuries of persecution,boycott. and outright massacre fromtheir neighbors. While Armenians arenow dispersed throughout the world,their homeland survives as a tiny,newly independent republic abuttingTurkey, Azerbaijan, Georgia, and Iran.It contains some of the world's mostinteresting Christian architecture, builtduring the fifth to eleventh centuriesand heralding the fortified medievalarchitecture of Europe, at a time whenEuropean Christianity survived mainlyin monasteries.

Isolated from the West for decadesof this century as part of the formerSoviet Union, its religion suppressedand its churches abandoned, Armeniais now struggling to reestablishan economic footing.

In December 1988 Armenia suffereda major earthquake and sent out aninternational appeal for assistance thatwas renewed on the opening of directnegotiations with the West in 1991.A special request was made forassistance with historic architecturedamaged by the tremor. This appealwas endorsed by the United Statesambassador in Moscow and passedon to the United States InformationAgency, which approached WMF forhelp in mounting an expert missionto Armenia to assess the earthquakedamage to its monuments.

In July 1991, USIA and WMF sentAnthony Crosby, historical architectwith the Denver office of the U.S.National Park Service, to Armenia. Hewas appalled by the limited resourcesin the country, where even the simplest

necessities-including candles, soap,and medicine-were nonexistent.When he expressed his shock to astonemason with whom he was work­ing, the response was, "We suffer, butit is our religious monuments that staywith us forever. Our monuments holdus together." During his visit Crosbylearned that lack of funds and materials,as well as escalating costs, have serious­ly undermined the work of Armenia'sCommission for the Protection and Useof Historical and Cultural Monuments.Repairs have ceased on 190 of the 200listed monuments in the country.

Crosby's visit identified a numberof ways in which expertise, materialsupport, and funds might be channeledto help to conserve this heritage.Meetings with the Armenian communityin New York ensued, and three projectswere chosen as priorities for assistance.The most urgent was the ancient siteof Ererouk, dominated by the ruin ofits fifth-century basilica.

The ProjectIn October 1992, Crosby led a teamof experts on a return visit to Armeniato participate in discussions with thecommission and to visit the three sites.It was agreed that any joint projectshould be an opportunity for trainingin planning, design, and managementof conservation work. The Armenianauthorities reiterated their concernabout the struclUral instability of theErerouk basilica. WMF agreed to help.Two months later, team member VitaliGevorkian, an Armenian architectliving in Washington, D.C., returned toArmenia to erect protective buttressingto prevent collapse of the basilica wallsbefore conservation treatment could beundertaken. As winter snow began tofall, steel structural shoring was placedat critical locations along the perimeter

75

of the east end, the front of the westend, and at the northwest towcr of thebasilica. The system was designedto prevent the braced portions frommoving away from the interior coreof the building.

The winters of 1993 and 1994 broughtfurther troubles to Armenia. The fightingwhich erupted in a contested enclaveof neighboring Azerbaijan, home to asignificant Armenian minority popula­tion, brought the tentative thaw inrelations with Turkey to an abrupt halt.With instability in Georgia, Armeniawas effectively barricaded by its otherneighbors and virtually isolated. Oilpipelines were cut off, and the countrywas on the verge of starvation.

While further work was stalled,the year 1995 brought greater stability.Support from the Getty Grant Programand the Samuel H. Kress Foundationpermitted another field mission in the fallof 1995 by Gevorkian and conservatorsGaiane Casnati and Gionata Rizzi.During this mission the stabilizationwork begun in 1993 was supplemented,and plans were begun for long-termintervention. Members of the Armeniancommunity in Italy, which has longsupported architectural conservationin the homeland, also participated.The urgent goal of WMF's mission inArmenia, repair of Ererouk to preventits collapse, is on its way to beingaccomplished.

Projecl Dates: 199 I-the prcscntProjecl Partners: Armenian Commissionfor the Protection and Use of Historicaland Cultural Monuments; Unitcd StatcsInformation Agcncy; U.S. NationalPark Service

Tempel SynagogueCracow, Poland

Background andSignificanceThe Tempel is the only nineteenth­century synagogue in Poland to havesurvived the Holocaust intact. It wasbuilt between 1860 and 1862 by theAssociation of Progressive Jews ofPoland, a group with strong ties to thePolish culture of the day. In 1893-94the building was substantially enlargedwith the addition of a monumentalfacade and other elements, giving itthe appearance that we see today.Evincing the cultural cross-fertilizationof nineteenth-century Poland, theTempel reflects the strong influenceof contemporary synagogue architecturein Germany. The building incorporateselements of Romanesque andGothic Revival styles, as well as neo­Renaissance details. The inclusionof a large Decalogue (tablet of the TenCommandments) in the center of thefacade clearly identifies the buildingas a synagogue.

The free-standing building wasoriginally a square hall. Two stairwaysoff the vestibule lead to the women'sgallery, supported by columns of ironand wood. Elaborate polychromedesigns decorate the walls and ceiling;and forty-eight stained-glass windows,bearing donors' names, depict religiousmotifs. At the east end, steps leadto a reader's platform in front of anelaborate marble ark wall. In thecenter of this wall, framed with intricateenamel work, is the ark that housesthe Torah scrolls.

During World War II, occupyingGerman forces used the synagogueas a stable, removing its furnishingsand religious objects. The essentialstructure of the building survived,however, as did the interior decorations,but all were in serious need ofrestoration.

The Tempel is located just outsideKazimierz, Cracow's historic andlong-neglected Jewish district, which is

now the focus of a renovation program.Restoration of the structure and itsexpanded use for cultural events willenhance the revitalization of Kazimierz.The synagogue belongs to the CracowJewish community, today numberingfewer than two hundred people. Theylack the resources to restore the struc­ture, and government funds have notbeen made available for this purpose.

The ProjectWMF's Jewish Heritage Programchose the conservation of the Tempelsynagogue as its first field restorationproject. Conservation priorities includ­ed reinforcement of structural elements,replacement of the roof, control ofrising damp and other water infiltration,installation of a new heating system,and conservation of wall paintingsand stucco decorations.

In 1992 WMF-in cooperationwith the U.S. Information Agencyand the Ronald S. Lauder Foundation­cosponsored a concert series at theTempel featuring the Cracow

76

Philharmonic Orchestra. At the secondconcert, before an audience that includ­ed the mayor and other dignitaries,WMF announced the adoption of theTempel restoration and named the firstsponsor, the Getty Grant Program.In 1993, the newly privatized PolishConservation Workshops (PKZ) con­ducted a planning study sponsored byWMF, researching the history and archi­tecture of the Tempel and analyzing itsstructure, decoration, and condition.Their findings provided the basis fordiscussions and consultations amongconservators, government officials,Cracow's Jewish community, andoutside consultants, and led to thedrafting of a work plan.

The first phase of work-repair andrestoration of the roof and replacementof the exterior water-handling system­began in 1994. WMF was gratified thata municipal consortium, the SplecznyKomitet Odnowy Zabytk6w Krak6w,offered to support restoration of thefacade and the remaining elementsof the exterior, as well as to provideservices in kind such as new plumbing.Essential structural repairs werecompleted by the summer of 1995.

Funds are now being sought bythe Jewish Heritage Program of WMFfor the sustained work that will benecessary to restore the interior. A goalhas been set for the summer of 1997,when Cracow will celebrate its biennialJewish cultural festival in Kazimierz.

Project Dates: I992-the presentProject Partner: Jewish Communityof Cracow

TOP: ARCHITECT JANUSZ SMOLSKI. DIRECTOR OF THE TEMPEL SYNAGOGUE PROJECT.

ATOP THE NEWLY RESTORED ROOF

ABOVE: DETAIL OF THE FACADE. BEFORE RESTORATION

OPPOSITE: VIEW OF THE ARK AND PAINTED CUPOLA. BEFORE RESTORATION

77

TOP: VIEW OF THE POTAGER DU ROY, THE KITCHEN GARDEN OF LOUIS XIV

ABOVE: DETAIL OF THE MONOGRAM OF LOUIS XIV. ATOP THE RESTORED GRILLE DU ROY.

THE ONLY ORIGINAL SEVENTEENTH-CENTURY WROUGHT-IRON GATE AT VERSAILLES

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Potager du RoyVersailles, France

Background andSignificance"The property of Versailles wouldbe incomplete without the PotageI' duRoy," writes Jean Pierre Babelon, theDirecteur du Musee et du Domaine deVersailles; his comment underscoresthe importance that the Potager-orkitchen garden-had in the eyes ofLouis XlV.

The king reclaimed the entire southportion of the Versailles park, whichwas formerly an area of marshlandsknown as "the stinking pond," by exca­vating a large reservoir and constructingan exemplary fruit and vegetable gardenon the site. Jules Hardouin-Mansartwas commissioned to design andconstruct the bui Idings, terraces, stairs,and reservoir: and Jean Baptiste de LaQuintinye was named director of thePotageI' itself. Work commenced in1678 and was completed in 1681with the placement of the gate.

Occupying just over twenty-threeacres, the PotageI' consists of a largecentral square, divided into sixteensquare garden plots surrounding acentral fountain. Elevated terraces­eight feet in height-enclose the plots,allowing visitors to enjoy sweepingviews of the Potager. Twenty-eightsmaller gardens along the periphery­enclosed by walls reaching the levelof the terrace-provide the special soiland light conditions needed for thecultivation of numerous varietiesof plants and bushes.

Thanks to the ingenuity of LaQuintinye, who designed an under­ground drainage system and introducednatural fertilizers to the site, the PotageI'could provide the king's court with allthe vegetables and fruits that it required.Throughout the seventeenth century anarmy of thirty gardeners, in addition toseasonal workers, assured the properupkeep of the Potager. Each of thePotager's directors-first La Quintinye,then the generations of the Le Normand

family-took pride in the abundance offresh produce available virtually thewhole year round. Even the most exoticplants were cultivated for the pleasureof the king, including figs and asparagusfor Louis XIV and pineapples andcoffee for Louis Xv.

After the Revolution and throughoutthe nineteenth century, the PotageI'declined. In 1874, the Ecole Superieured'Horticulture was created and installedat Versailles, where it remained untilits relocation to Angers in 1994. In1946 the Ecole Nationale Superieuredu Paysage was established at Versailles,where it remains headquartered today.

The PotageI' still yields fruits andvegetables throughout the year. Manytons of ·royal' produce are sold to thepublic annually, including more thansixty varieties of apples and pears andnumerous types of squash.

The PotageI' du Roy constitutes anintegral part of the overall design forVersailles, as it was commissioned withgreat interest by Louis XIV and super­vised by the same team of architectsand landscapers who built the palaceand larger grounds. The character ofthe PotageI' provides endless insightsinto the daily life of the French courtand king during one of its mostglorious eras.

The ProjectIn 1993. at the instigation of M. Hubertde Givenchy. the newly appointedpresident of World Monuments FundFrance, a major restoration campaignwas launched for the PotageI' du Roy.The first stage comprised restorationof the Grille du Roy-the elegant formalgate by which the king entered the gar­den from the chateau and the orangerie.The only original gate still extant in theVersailles complex, the Grille du Royis the work of Alexis Fordrin, one ofthe finest metalworkers of the age.

The grille was in a very poor stateof conservation. All the elements of the

79

gate were inspected, restored, and ulti­mately regilded following the originaldesigns. The completed restorationwas inaugurated in December 1993 anddedicated to the memory of AmbassadorEmmanuel de Margerie, the latepresident of WMF France.

Work is currently under way torestore other features of the Potagerdu Roy that have been compromisedby inappropriate interventions over theyears. Of particular importance is thelarge central fountain that provides thevisual and symbolic equilibrium ofthe garden. The fountain restorationinvolves resetting the original pavingstones, now covered with a shallowlayer of concrete; recreating the struc­ture's original appearance; replacingthe pipes to original specifications:recreating the fountain's effect inflow and height, in keeping with thedesigner's intentions; and installingan electric pump to permit thecontinuous flow of water.

The French authorities responsiblefor Versai lies, most notably the Consei IRegional, have agreed to assumeresponsibility for the heavy restorationwork of the walls, terraces, and subter­ranean passages of the Potager du Roy.WMF France will be responsible forrestoring certain areas of the centralGrand Carre to their original state.

Project Dates: 1993, 1995-prescntProject Partners: Direction Generaledes Monuments de Versailles; EcoleNationale Superieure du Paysage.Versailles

Lednice and Valtice Castles and EnvironsSouthern Moravia, Czech Republic

Background andSignificanceAmong the many Eastern Europeansites competing for the limitedresources available to rescue them fromruin, conserve their historical features,and restore them to appropriate use,the castles of Lednice and Valticeare especially compelling.

Both castles were established in theearly Middle Ages to defend the hillyborder of Southern Moravia. Fromthe fourteenth century onwards theLiechtenstein family maintained theirprincipal residence at Valtice and theirsummer home at Lednice. As the fami­ly gained wealth and prominence at theHapsburg court in Vienna, the succes­sive dukes of Liechtenstein embellishedthe castles. Valtice survives as a greatbaroque complex, with its wingsdesigned by Johann Fischer von Erlach.Lednice is today a Gothic Revival mas­terpiece, enhanced by a grand cast-iron­and-glass conservatory. Many of theinterior spaces of both castles remainintact, in spite of the abandonment ofthe entire area, which lay behind theIron Curtain, throughout the postwarCommunist period.

As important as the castle buildingsis the entire two-hundred-square­kilometer cultural landscape in whichthey stand. The Lednice-Valtice area isa superb example of landscape designinspired by contemporaneous prototypesof the English garden. The earliest pic­turesque park construction at Ledniceand Valtice involved costly modificationof the Lednice park at the end ofthe eighteenth century. During thenineteenth century, the Valtice gardenwas also enlarged and modified, and theland between Valtice and Lednice wasturned into a cultivated landscape witharchitectural features. Fifteen of these

follies-built throughout the groundsfrom the late eighteenth and through thefirst half of the nineteenth century-stillsurvive, and include a Turkish-inspiredminaret, a Moorish single-storywater-pump building, a monumentalcolonnade, a "temple" in the form of aRoman victory arch, and a semicircularlate-classical-style building surroundingsculptures of the Three Graces.

The ProjectIn the summers of 1993 and 1994,WMF sponsored on-site architecturaland program-planning sessions onthe protection and future use of thecastles and their surrounding landscape.Experts from the Czech Republic andabroad in architectural conservation,landscape architecture, economicdevelopment, finance, cultural-eventplanning, and tourism convened overfive days in working groups and plenarysessions. They formulated plans ofaction based on one guiding principle:that the Lednice-Valtice culturallandscape, with its architecture, isthe largest and earliest intact man-madelandscape of its type in Europe and thatits conservation is therefore imperative.

Program participants reached thisconclusion in the face of impulsesalready developing locally to carve upthe area in the name of privatization.They agreed that such an approachwould only stifle both public and privateenterprise and lead to the irretrievableloss of a precious and unique asset.

The meetings recognized that theCzech government currently lacks theresources needed to conserve the areasingle-handedly and promote its eco­nomic development. Following WMF'smeeting, a nonprofit entity was char­tered as the Southern Moravia Heritage

80

Foundation, the purpose of whichis to help protect the entire property.Revenues earned by the foundationfrom profitable operations at thc sitcwill sustain restoration and maintenanceof the buildings and the landscape aswell as ongoing research, education,and cultural activities.

A new hotel, restaurants, and otheraccommodations, combined with asubstantial increase in cultural eventsat the castles, are expected to generaterevenues from visitors-notably fromVienna, which is only sixty-five kilome­ters away. The project offers dynamicpossibilities for integrating existingindustries and resources-viniculture,horticulture, and equiculture-with thepotential to create mutually reinforcingconditions for sustainable tourism.

In 1995 the Czech governmentnominated the area for listing as aU ESCO World Heritage site. Currentconservation priorities include caringfor endangered rare trees and threatenedstructures, conducting architecturalsurveys, and promoting new artsevents and classes.

WMF continues to assist theSouthern Moravia Heritage Foundationin developing a business plan for themixed use of Valtice and Lednice as arecreational and cultural center. WMFis also planning a program with a .S.university to conserve the follies in theLednice-Valtice park through summertraining workshops for Czech andAmerican graduate students inarchitectural conservation.

Project Dates: I993-the presentProject Partners: Greenways/ZeleneStezky; State Institute for thePreservation of Monuments, Brno;Southern Moravia Heritage Foundation

TOP LEFT: DETAIL OF CARVED WOOD SPIRAL STAIRCASE IN THE LIBRARY AT LEDNICE CASTLE

TOP RIGHT: VIEW TOWARD THE VALTICE CASTLE ENTRANCE

ABOVE: SIDE ELEVATION OF THE CASTLE OF LEDNICE WITH THE CAST-IRON-AND-GLASS CONSERVATORY

81

ABOVE: OVERALL VIEW OF THE TOWER OF BELEM

OPPOSITE: VIEW OF NICHE, ADDED IN THE NINETEENTH CENTURY TO THE COURTYARD PARAPET,

WITH THE VIRGIN OF THE GRAPES (ALSO CALLED OUR LADY OF GOOD SUCCESS)

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Tower of BelemLisbon, Portugal

Bac]q~round andSignificance

Four miles from the heart of Lisbon,the beach at Restelo-also knownas Belem, Portuguese for Bethlehem­was a primary departure point duringthe fifteenth and sixteenth centuries formaritime expeditions to Africa, the NewWorld, and the Far East. At this site,on the rocks near the middle of theTagus River, King Joao II ordered theconstruction of the Tower of Belem in1513 as part of the strategic defenseplan for the Lisbon port.

Today, due to accumulating siltand the powerful earthquake of 1755that changed the course of the river,the tower is practically on shore. Yetit stands as an important nationalsymbol of Portuguese prominence inexploration during the Renaissance.It is also an archetype of the Manuelinestyle of architecture, which developedas a result of contacts with Africa andthe Far East. Forming an ensemblewith the Jeronimos Monastery and theChapel of Sao Jeronimo, the towerattests to the wealth that poured intoPortugal during the Age of Explorationand to the influx of new ideas thatushered in the golden age of Portuguese

culture. Shaped like a galleon headingout to sea, the Tower of Belem hasbecome a symbol, in the minds of thePortuguese, of this great moment.

The tower served as a fortress until1580, when it became a state prisonunder Spanish occupation. In thenineteenth century it was restored andmodified for use as a lighthouse andtelegraph station. Today it is used fortemporary exhibitions, receptions, andconcerts; and since 1984, it has been onUNESCO's World Heritage list, togetherwith Jeronimos Monastery nearby.But the Portuguese curators of themonument have sought in vain an oppor­tunity for a comprehensive conservationtreatment as well as a new and betteruse for the monument.

The ProjectThe importance of the Tower of Belemas a cultural icon and the presentneed to restore, maintain, and planfor the future of the tower made it anideal inaugural project for a new WMFaffiliate in Portugal, and the Associac;aoWMF (Portugal) was establishedin 1993. WMF and the InstitutoPortugues do Patrimonio Arquitectonicoe Arqueologico (IPPAR) jointly

83

completed a physical survey and analysisof the exterior of the tower in 1994.Planning was also completed to restorethe interior, improve the site as a whole,and create a permanent exhibit on thehistory of the tower for visitors.

The project was initiated as a three­way cooperative effort between thePortuguese ministry of culture, WorldMonuments Fund, and the Associac;aoWMF. Work was suspended during1994, when Lisbon served as theCultural Capital of Europe.

Fundraising began again in 1995.and the restoration of the exterior isscheduled for 1996, in anticipationof the International Exposition (Expo)to be held in Lisbon in 1998.

Project Dates: I993-the presentProject Partners: Administration of theJeronimos Monastery/Tower of Belem;Associac;ao WMF (Portugal); InstitutoPortugues do Patrimonio Arquitectonicoe Arqueologico; Ministry of Culture ofPortugal

The Future

Albert MemorialLondon, EnglandThe Albert Memorial is recognizedworldwide as one of the great Londonlandmarks. Upon the death of theprince consort in December 1861,at the age of forty-two, the idea ofa national memorial dedicated to theprince gained immediate public support.There was a broad consensus that thememorial should encapsulate the spiritof the age and of the man, reflectingBritain's preeminent position in socialreform, manufacture, and internationalaffairs, as well as the prince's influencein these spheres and in the artsand sciences.

In March 1863, on the advice ofa special committee chaired by SirCharles Eastlake, Queen Victoria chosea design by Sir George Gilbert Scott.Scott's memorial was a Gothic Revivalmasterpiece, a medieval shrine encrustedwith jewels and gilding, surrounded bysymbolic statues and housing a gildedstatue of the prince consort. It wasopened to the public in 1872.

The memorial, which has deterioratedsignificantly due to pollution and wateringress, was encased in its presentscaffolding in 1990. Repair willinvolve the extensive stripping downof the structure. While the statue itselfis structurally sound, it will be cleanedand, for the first time since World War I,gilded once again. On the lower levels,the famous podium frieze needs exten­sive cleaning to remove the coppersulfate that has turned the Campanellamarble green. All the marble statuegroups will be repaired and cleaned.

At the invitation of English Heritage,World Monuments Fund in Britainhas become a trustee of the AlbertMemorial Trust, created by thesecretary of state in 1994. WorldMonuments Fund in Britain looksforward to an active involvement inraising funds for the restoration of theAlbert Memorial, which is scheduledfor completion in the summer of 1999.

St. George's HallLiverpool, EnglandSt. George's Hall is one of the finestneoclassical civic buildings in Europe­a symbol of nineteenth-centuryLiverpool's success and prosperity.It was built between 1841 and 1854 tothe design of the young architect HarveyLonsdale Elmes, who combined concerthalls, law-court facilities, and a civic hallin one building. Elmes's design alsoincluded the first attempt at air condi­tioning a public building. After Elmes'ssudden death, Charles Robert Cockerellsucceeded him as architect in 1848.

Cockerell, whose commissionsincluded the Ashmolean at Oxford,made some alterations to Elmes's origi­nal design. The decoration of the SmallConcert Room is entirely Cockerell's;and he commissioned the magnificentMinton tile floor in the Great Hall.

As soon as St. George's Hall wasopened in 1854, it was hailed as asymbol of Liverpool's greatness andcivic pride. It was in almost constantuse for concerts, plays, meetings,fairs, rallies, banquets, and exhibitions.Encroachment by the law courtsgradually drove out other users and,since the transfer of the law courtsto the waterfront in 1984, it haslain virtually unused.

The Liverpool city council has beensuccessful in returning the Great Hall touse, giving the people of Liverpool theopportunity to again enjoy this part ofthe building. The next phase of workwill be critical in returning the majorityof St. George's Hall to everyday use: thecreation of proper access and facilitiesfor the public and the restoration andreopening of the concert hall, whichwas closed in 1989.

WMF first became involved inplanning for the restoration and reuseof St. George's Hall in 1990. WorldMonuments Fund in Britain is represent­ed on a recently established Trust toassist in raising funds and implementingthe restoration of this important building.

84

Alexander PalaceSt. Petersburg, RussiaAt the invitation of Anatoly Sobchak,mayor of St. Petersburg, and Dr. IvanPetrovich Sautov, director of the StateMuseum at Tsarskoje Selo HistoricPreserve, WMF has joined the Museumsat Tsarskoje Selo (the Tsar's Village)in planning for the conservation of theAlexander Palace, the imperial palacemost associated with the lives of the lastRomanovs, Nicholas II and Alexandra.The program will conserve the greatneoclassical building and restore its inte­riors to the period of its final occupancy;create a major new museum; andenhance the significant attractions ofTsarskoje Selo as a destination for bothRussian and foreign visitors.

Tsarskoje Selo was the summerresidence of the tsars and is situatedabout twenty-five kilometers outsideSt. Petersburg. An increasingly impor­tant national and international touristdestination, Tsarskoje Selo is one ofthe finest groups of royal buildings.It includes the neoclassical AlexanderPalace; the exuberantly rococo CatherinePalace, which has been restored;and more than one hundred smallerstructures.

A WMF planning mission traveled toSt. Petersburg in 1995 and determinedthat the restoration of the AlexanderPalace is viable. The wealth of relevantfurnishings and artifacts that have beenpreserved and the growth-withinRussia and internationally-of interestin the last Romanovs and the historicalevents in which they played such acentral role support the practicability ofusing the structure as a museum to illus­trate and interpret the period of NicholasII's rule. WMF's completion of itssurvey and compilation of the historic­structure report and feasibility studywill provide an objective assessment ofthe state of the building and the require­ments for the proposed restoration andmuseum, as well as an indication of theresources needed to realize the goal.

TOP LEFT: ALBERT MEMORIAL. LONDON

TOP RIGHT: ST. GEORGE'S HALL. LIVERPOOL. VIEW OF GREAT HALL

ABOVE: ALEXANDER PALACE. ST. PETERSBURG, RUSSIA. DETAIL OF THE DOUBLE COLONNADE

AT THE PRINCIPAL ELEVATION OF THE PALACE

85

World Monuments Fund Field Activities

TilE A~IEIUCAS AFIUCA AND EL·RO!'E ASIA Ai\"D TilE PACIFIC

'\Todd Monuments Fund Mission

• To make available to people todaythe heritage of man's extraordinary pastachievements by encouraging the res­toration and preservation of monumentsof exceptional artistic, historical, and cul­tural significance throughout the world.

• To create an international constituencyfor monuments preservation by devel­oping its own membership and byconducting extensive education andadvocacy activities.

• To develop a broad base of financialsupport-from private contributions,government funding, and earned income-for monuments preservation and forrelated education and advocacy activities.

• To foster the exchange of technicalexpertise in the areas of materialsconservation, restoration methodologies,historical interpretation, financialprocedures, and education relating topreserving architectural monumentsthroughout the world.

• To enhance the quality of life incommunities in the United States andthroughout the world through programsthat address education, training,or sustainable development withinthe context of cultural resourcespreservation.

86

This mission is carried out throughsupport of field projects allover theworld. During its first 30 years, WMFhas supported more than 135 projects in32 countries. It has sponsored projectplanning, field surveys, on-site trainingin the building crafts, publicationsrelating to conservation work, and thedevelopment of long-term strategies forthe protection of monuments and sites.WMF has also contributed financialsupport to many projects managed byother groups, in addition to directingand overseeing its own field programs.A list follows of projects supported byWMF during its first 30 years.

World Monuments Fund Activities

• Albania

BUlrinl . Archaeological site

of Butrint: planning for siteinterpretation and protection

• ArmcniaErerollk . Basilica of Ererouk:

emergency stabilization of fifth-centuryruins

o Barbados

Bridgetown' Financial assistance toBarbados National Trust for conservation

of Collymore Rock Complex andGun Hill Signal Station

• Cambodia

Hisloric Cily olAngkor . Surveyof Angkor monuments

· Banteay Srei: proposal forsite protection

• Temple of Preah Khan: siteconservation and presentation

o Chile

EasIer Island· Conservation of archaeo­logical monuments of Easter Island

• Planning for interpretive center

Sanliago ' Conservation laboratoryat the Museum of Pre-Columbian Art

• Archival conservation study atthe National Library· Survey of earthquake damage

Valparaiso' Survey ofearthquake damage

o Croatia

Dallllalia . Conservation survey

of monasteries

o Czech Rcpublic

Survey of Jewish Heritage sites

Symposium on cultural tourism

and adaptive reuse, held at Olomouc

and Prague

Prague' Belvedere at Prague Castle:

roof repair

Soulhern Moravia' Lednice andValtice castles and environs: planningfor restoration and reuse

Tele' Church of the Holy Ghost:emergency repair of thirteenth­century tower

• Dominican Rcpublic

Sanlo DOlllingo . Mercedarian

Convent: seed funding for cloisterrestoration

o EI Salvador

lora de Ceren ArchaeologicalMonlllllenl . conservation survey

G Ethiopia

Lalibela . Rock-hewn Coptic churches:site conservation and stabilization

87

• Francc

ArIes' Church of Saint Trophime:

portal restoration: conservation

studies for cloister

Chl1lillon-sllr-Sarlne . Great Tower:

emergency conservation of the

town's oldest architectural feature

COlllpiegne . Theatre Imperial:

interior conservation

Les E\':ies . Chateau de Com marque:

ruins stabilization and site interpretation

Mainlenon . Chateau de Maintenon.Church of SI. Nicholas: restoration of

the roof and spire of the Gothic chapel.which is part of the chateau complex

Marl\'-Ie-Roi • Desert de Retz:

conservation of broken-column folly

Paris· Hotel des Invalides: research

for dome regilding: restoration ofinterior frescoes by Charles de la Fosse

and Jean Jouvenet

Versailles' PotageI' du Roy: restoration

of original gate and fountain at thekitchen garden of Louis XIV

• Grcat Britain

Caemw.J'on, Wales· 6 Palace Street:support for effort to prevent demolition

of the oldest building in Wales. a raresurviving example of timber constructionin the town.

Glasgow, Scotland· Ingram StreetTea Rooms: conservation of gessofriezes-The Wassail by Charles RennieMackintosh and The May Queen byMargaret Macdonald Mackintosh

Lincoln· Lincoln Cathedral: emergencyconservation of Romanesque frieze panels

Liverpool· St. George's Hall:conservation planning for nineteenth­century neoclassical civic landmark

London· Albert Memorial: participationin English Heritage campaign to restoreGothic Revival landmark

Oxfordshire . Ditchley Park:emergency stabi Iization of eighteenth­century ltalianate ceiling in the Saloon

Stratfield Saye . Siborne modelof the Battle of Waterloo

Wentworth Castle· Gothic folly

Winchester· Winchester Cathedral:grant towards restoration program

• Haiti

Milot· Citadelle Henry: Participationin World Heritage campaign, sponsorshipof traveling exhibition, and productionof award-winning video

• Hungary

Fertod . Eszterhaza: planning for restora­tion and reuse of eighteenth-centurybaroque castle and dependencies

Pees· Pecs Cathedral: conservationand anastylosis of medieval sculpture

• India

Ladakh· Palace of Leh: architecturalsurvey of seventeenth-centuryHimalayan palace

• IrelandCounty Cork· Doneraile Court:Support towards Irish Georgian Societyeffort to restore and return original fur­nishings to eighteenth-century mansion

County Kildare· Castletown House:purchase and return of originalfurnishings

County Tipperary· Damer House:restoration of interior staircase

• ItalyBassano del Grappa . Restorationof Jacopo Bassano's paintings of thePodestil Matteo Soranzo (MuseoCivico, Bassano del Grappa) and LastSupper (Villa Borghese, Rome)

Bologna· Guercino's altarpiece, SaintWilliam Recei\'es the Monastic Habit

. San Petronio: portal-sculptureconservation

Florence· Certosa del Galluzzo:Conservation of Jacopo Pontormofrescoes and sixteenth-century oil copies

88

• Orsanmichele: Removal of Donatello'sstone sculpture of San Marco from exte­rior niche for conservation and protectionfrom the elements

• Palazzo Pitti: climate study ofGalleria Palatina

· San Lorenzo: scientific study ofDonatello stuccoes in the SacristaVecchia; catalogue and traveling exhibi­tion, "Donatello at Close Range"· Santa Croce: The Story of St. Sylvester,fresco cycle by Maso di Banco in theBardi di Vernio Chapel· Santa Felicit~l: emergency conservationof Jacopo Pontormo's Deposition oj'Christ• Santo Spirito: Fifteenth-century altarfrontals; Ulisse Ciocchi's Vision oj'St. Augustine; Christ Appearing toSt. Augustine (anonymous)

Meolo (Veneto) . Church of SanGiovanni Battista: Giambattista Tiepolofrescoes

Milan· Giambattista Tiepolo's Madonnadel Carmela (Pinacoteca di Brera)

Modena· Paolo Veronese organ shuttersfrom the demolished Venetian church ofSan Geminiano (Galleria Estense)

Narni . Santa Pudenziana: exteriorstabilization and conservation ofinterior frescoes

Parma· Fondazione Magnani-Rocca:Titian's Madonna and Child with Saints

Perugia . Twenty-four panel paintings byPerugino that once comprised the altar­piece of the church of Sant' Agostino

. Mechanical support for the Altarpieceof the NUlls of 5allt 'AlltOllio, by Pierodella Francesca (Galleria Nazionaledell' Umbria)

Pistoia . San Giovanni Forcivitas:facade conservation

Rome· Jewish catacombs: conservationstudies and controlled public-access plan

San Cilllignano . Photo documentationof Taddeo di Bartolo frescoes (Collegiatadi Santa Maria Assunta)

5chio • Jacquard Garden

Spoleto . Church of Madonna di Loreto:restoration

Venice· Ongoing support for biannual(CCROM stone-conservation course

· BibJioteca Marciana, AntisaJa: conser­vation of ceiling' paintings-architecturalperspective by Cristoforo and StefanoRosa that surrounds the ccntral allegoryof Wisdo//7 by Titian· Biblioteca Marciana: internationalcourse for conservation of books andpaper· Ca' d'Oro: marble friezes on the facade

. Ca' Zenobio: emergency repair ofstaircase; planning for restoration ofbaroque garden

· Church of the Frari: bell tower andsculpted tombs· Church of the Madonna dell'Orto:Bellini's Madonna and Child· Church of the Pieta (Santa Mariadella Visitazione): restoration of thechurch and Tiepolo frescoes· Misericordia Laboratory: establishmentand equipping of conservation-researchlaboratory· Palazzo Contarini del Bovolo:Bovolo Staircase

· Palazzo Ducale: stuccoes of theScala d'Oro• Querini StampaJia Library:Bartolomeo Nazzari's Cardinal AngeloMario Querini; renovation of heatingand storage facilities· San Giovanni in Bragora: Cimada Conegliano's Baptis//7 of Christ,its original stone frame, and thestuccoed presbytery vault; restorationof the Byzantine Madonna and themarble angels at the high altar· San Moise: painting of the Madonnaof the Rosary· San Nicolo da Tolentini: BernardoStrozzi's Charity of St. Lawrence• San Pietro di Castello: restorationof the church and its decoration,organ, and bell tower· San Polo: sculpted lions at campanilebase· San Salvatore: Altarpiece withThree Saints, by Girolamo da Trevisoil Giovane• San Simeone Grande: Tomb ofSan Simeone and exterior bas-reliefdepicti ng Sant' Ermolao· Santa Maria Assunta (Torcello):participation in campaign for completerestoration• Santa Maria dei Derelitti (Ospedaletto):restoration of thirty-two paintings;international campaign for the soladella /IIusica· Santa Maria del Giglio: architecturalrestoration· Santa Maria della Visitazione(San Gerolamo dei Gesuati): paintedceiling medallions

89

· Scuola Canton: interior restorationof sixteenth-century synagogue· Seuola dei Carmini: facade, Tiepolopaintings, and stucco decoration of thestaircase

• Scuola Dalmata (San Giorgio degliSchiavoni): fire detection and securitysystems for Carpaccio painting cycle• Scuola Grande di San GiovanniEvangelista: architectural restoration· Scuola Grande di San Rocco: Tintorettopainting cyclc restorcd in on-prcmisesconservation facility

Vicenza . Epiphany, by MarcelloFogo/ino (Pinacoteca di Vicenza)• Villa Pojana: Andrea Palladio'sstaircase

• Jordan

Petra· Byzantine church: contributionto conservation effort by AmericanCenter for Oriental Research to conserveexcavated Byzantine church

• Lithuania

Vilnius· Preliminary planning forconserving Bernardine monastery

G Mexico

Chapingo . Autonomous University:Diego Rivera murals in the chapel

Mexico City' Autonomous University:conservation study for Juan O'Gorman'sfacade mosaic· Colegio de las Yizcainas:structural stabilization· Church of Jesus Nazareno:Jose Clemente Orozco murals

· Secretariat of Public Education:Diego Rivera murals

G Morocco

1.--." 'l~ .,ti! :Ii'

...~._,~] . .••11 ..J,.I ~- .... --

;. __ r ~!'" ,'\rr-' ...... ~:.

Survey of Jewish Heritage sites

Tangiers· Former U.S. consulate:planning and design for restoration

CD Nepal

Kathmandu Valley· Gokarna TempleComplex

e Poland

,l ..... __

..I _.'

I~.··--:~· ...I" .. - '.,... ~ ......."-._. -- .

Survey of Jewish Heritage sites

Cracow' Tempel Synagogue: roofrestoration and interior conservation

e Portugal

Lisbon· Tower of Belem: exteriorconservation and site interpretation

G Romania

Publication of The Ra:ing of Romania'sPast, by Dinu C. Giuvescu

o Russia

Pavlovsk . Imperial Palace: supportfor the American Friends of Pavlovsk

St, Petersburg' Alexander Palace:planning for restoration and reuse ofthe last residence of the Romanovs

fa Slovakia

Banska Stiavnica • symposium on cul­tural tourism and adaptive reuse of his­toric town and former mining center

G Spain

Guadalupe· Monastery of Guadalupe,Mudejar Cloister: templete conservationand garden restoration

Oviedo' Oviedo Cathedral: restorationof High Gothic choir stalls

Toledo· Toledo Cathedral Museum

• Santo Domingo el Antiguo: restorationof paintings, including El Grecoaltarpieces

90

Toro . Collegiate Church of SantaMarfa Major: recovery and conservationof intact medieval polychromy onthe Portada de la Majestad

Trujillo· Convento de la Coria:restoration• Casa-Museo Francisco Pizarro:completion of building restorationand its equipping as an interpretivemuseum

G Sweden

Isle of Oland· Support for constructionof kiln at Borgholm Castle to producehistorically compatible mortar forconserving historic sites in the region

CD Syria

Survey of Jewish Heritage sites

CD Turkey

Aphrodisias • Tetrapylon: anastylosis

CD l'nitcd States

Brooklrn, New York· Church of SI. Annand the Holy Trinity: on-site studiosfor sandstone, stained-glass, andwood-tracery restoration

New York, New York· New YorkPublic Library: stone lions

Charleston, South Carolina. Middleton-Pinckney House: planningfor restoration and reuse

Santa Fe, New Mexico' Support forsurvey of historic adobe churches byCornerstones: Commu nity Partnersh ipsand site conservation, notably at SanRafael in La Cueva and Zuni Pueblo

Major Donors 1965-1995Ms. Estannc AbrahamMr. and Mrs. William R. AcquavellaAhmanson FoundationThe Airlic Group. L.P.AlitaliaMr. and Mrs. Ethan AllcnAlliancc Capital Managemcnt. L.P.Mr. Arthur G. AltschulAmerica-Italy Socicty of cw YorkAmerica-Italy Society of PhiladelphiaAmerican Express CompanyAmerican Exprcss FoundationAmerican Express Philanthropic ProgramAmerican Intcrnational GroupAmerican Stock ExchangcH. van Ameringen FoundationFundacion AmparoThc Hon. and Mrs. Waltcr AnnenbcrgThe Anncnbcrg FoundationAnonymous Donors (3)Mr. Placido Arango AriasArt and Music Foundation. GenevaARTncwsAsian Cullllral CouncilThe Vinccnt Astor FoundationMrs. Vinccnt AstorAT&TMrs. Lily AuchinclossN. W. Ayer & Son. Inc.Mr. and Mrs. Anthony P. BalestrieriBanco dc ExtremaduraBanco di RomaBanco Hispano AmcricanoFundacion BanestoWilliam C. Bannerman FoundationMr. and Mrs. Ephraim BaranMr. and Mrs. Gordon BarrowsMr. and Mrs. Hubcrt H. BartlettMs. Annc H. BassMr. Lawrencc I. BassMr. and Mrs. Sid R. BassBass Entcrprises Production Co.Bauman Family FoundationBay FoundationMr. Edmund BaysariBcchtcl FoundationMr. David BeerMrs. Gcorgc S. BehrendtMr. and Mrs. Daniel BelinCarlo Dc BcnedettiMs. Susan L. BeningsonMs. Margaret R. BennettMr. and Mrs. orman S. BergclMr. and Mrs. Bernard BerkowitzThe Berlind FoundationMs. Patti Cadby BirchMrs. Eleanor W. BirgcMr. and Mrs. Conrad BlackMr. and Mrs. Richard B. BlackThe Blackstone GroupMr. Bill BlassMr. Winton M. BlountMr. and Mrs. D. Dixon BoardmanMr. Andrca BottaMr. Gilbert dc BottonRuth BowmanBozellc. Inc.Mr. Christopher BrcwcrMr. and Mn,. James Brice

British Embassy. Phnom PenhMr. Thomas C. T. BrokawMr. David BrownMr. W. L. Lyons Brown, Jr.The Brown FoundationMr. and Mrs. Herbert BrownellElinor Hays Bueklcy Memorial FundThe Buffett FoundationThe Bulldog TrustMr. and Mrs. Carter BurdenMr. Rolf von BurenMr. and Mrs. Arpad BussonMs. Catherine Cahill and

Mr. William BernhardThe Cahnman Foundation. Inc.Caixa Geral de DepositosRoyal Government of CambodiaMs. Sara Beth CanadayCantor. Fitzgerald FoundationCapital Cities/ABC. Inc.Cartier. Inc.The Carwill FoundationMr. Leo CastelliThe Catto FoundationCentennial FoundationThe Hon. Anne Cox ChambersChase Manhattan Bank. N.A.Chemical BankChemonies International Inc.Mrs. Malinda P. ChouinardChristie'sChristie's EuropeChrysler CorporationMr. and Mrs. Gustavo CisnerosOrganizacion CisnerosThe CIT Group FoundationCitibank. N.A.City of New York Department of EmploymentCL Global Partners Securities Corp.Mr. Anthony P. ClarkMr. Alain CoblenceDr. Angela CobraThe Coca-Cola CompanyCoca-Cola Southwest EuropeMr. and Mrs. Marshall CoganMr. and Mrs. Jerry CohenDr. and Mrs. John M. CohenMr. and Mrs. Saul Z. CohenMr. William T. Coleman, Jr.Mr. E. Robertson CollinsEstate of Evelyn CombesCondumcxMr. Edward T. ConeMr. and Mrs. Sidney M. Cone. IIIConseil Superieur du Mecenat CulturelCoopers & LybrandCorning Glass Works FoundalionCorning IncorporatedCosmair. Inc.Mrs. Jan CowlesThe Cowles Charitable TrustCredit ationalMs. Catherine G. CurranMrs. Jeanne Maric DanaDasein FoundationElectronique Serge DassaultMr. and Mrs. Michel David-WeillMr. David L. Davis and Mr. John D. WeedenMr. and Mrs. Michacl De Havenon

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Mrs. Gladys Krciblc DelmasDeloittc & ToucheMr. and Mrs. John D. DennisMr. Ralph DestinoJamcs W. DeterFounders Society of the Dctroit Institute of ArtsMs. Hestcr DiamondWatson B. Dickcrman IIIMr. and Mrs. C. Douglas DillonMr. and Mrs. J. Richardson DilworthMrs. Joseph DobronyiDonaldson. Lufkin & Jenrctte. Inc.Ms. Michele Oka DonerMs. Jody DonohucDoyle Graf MablcyDreyfus Corp.The Dun & Bradstreet Corp.The Durst Foundation. Inc.Mr. John EastmanMr. and Mrs. Lucius R. EastmanMr. William A. EdmundsonEmigrant Savings BankMr. and Mrs. Arthur D. EmilMr. Robert Lynn EmmettThe Hon. and Mrs. Thomas EndersMrs. Charles EngclhardThe Charles Engclhard FoundationThe EquitableThe Eranda FoundationMr. Myron ErkilctianArmand G. Erpf FundMr. and Mrs. Ahmct ErtegunMrs. Angcles Espinosa RugarciaEuropean UnionEXOR AmericaExxon CorporationThe Esmee Fairbairn Charitable TrustFairchild PublicationsLady FairfaxPatricia H. FalkMr. and Mrs. Ralph Falk IIMr. and Mrs. Luis Farinha dos SantosMs. Gcrtrude Hclcn FayMr. and Mrs. William FeickMr. Massimo FcrragamoMs. Wanda FerragamoFerrari North Amcrica. Inc.Mr. Antonio Luis FerreFIAT USA, Inc.Ms. Lcslie FieldDr. and Mrs. Jacob FinkclstcinMr. D. F. J. FinlayProfessor and Mrs. Jamcs M. FitchFleming Charitablc TrustMrs. Maya Felicitas FlickMr. and Mrs. Anastassios FondarasMr. and Mrs. John C. FonlaincMr. and Mrs. Malcolm S. Forbes. Jr.Mr. and Mrs. Harry FordMr. Richard E. FordFord MOlOr Company FoundalionMr. icholas C. ForstmannMr. Ted ForstmannMs. Amalia LaCrozc De FortabatArnold D. Frese Foundation. Inc.Fribourg Foundation. Inc.Mr. Ronald FuhrcrFriends of Mexican Art. Phocnix. ArizonaMr. and Mrs. Richard M. Furland

Mr. and Mrs. Mario J. GabelliMr. Larry GagosianMr. and Mrs. Julian Ganz, Jr.Mr. Mario GarraffoEstate of Philip GeisslerGeneral Foods CorporationGeneral Motors CorporationMr. and Mrs. Robert J. GeniesseThe German Marshall Fund

of the United StatesThe 1. Paul Gelly TrustMrs. J. Philip Gibbs, Jr.Ms. Mary Laura GibbsThe Hon. Clive and Mrs. Gibson

Charitable TrustMs. Virginia GilderGilder Foundation, Inc.Mr. Hubert de GivenchyM. Olivier GivenchyMr. Eric GleacherThe Horace W. Goldsmith FoundationMs. Toni K. GoodaleMr. Paul GottliebThe Florence Gould FoundationMr. Charles M. GraceThe Oliver R. Grace Charitable FoundationMr. Henry W. GradyMr. and Mrs. David GrahamMrs. Katharine GrahamMr. and Mrs. Robert C. Graham, Jr.Joyce Z. and Jacob GreenbergAlexis Gregory FoundationMr. and Mrs. Robert S. GrimesThe Hon. and Mrs. Henry A. GrunwaldMr. and Mrs. Martin D. GrussM. and Mme Hubert Guerrand-HermesGuide FoundationMs. Agnes Gund and Mr. Daniel ShapiroMrs. Gloria GurneyGurney Foundation, Inc.Mr. and Mrs. John H. GutfreundMr. Richard E. GutmanMrs. Frederick L. HaackMr. Bob HaboldtMrs. M. R. HambroDr. Armand HammerMr. and Mrs. Mark HamptonHanes FoundationHRH Archduchess Karl Von HapsburgMr. and Mrs. Morton B. HarrisMr. Mark F. HaukohlMrs. Enid A. HauptPresident Vaclav HavelVictor and Marcella HazanThe Headley TrustMr. and Mrs. Randolph A. HearstThe Hearst CorporationMrs. H. J. Heinz IIH. J. Heinz Company FoundationMr. Andrew HeiskellMr. Donald HermanMs. Marifc HernandezMr. and Mrs. Roger HertogMarieluise HesselMr. Henry H. HiltonMr. John H. HobbsMrs. Eleanor Harris HowardIBM CorporationIBM EuropeIBM FranceIFINT-USAInstituto Portugues do Patrimonio

Arquitect6nico e Arqueol6gico

International Herald TribuneInternational Music and Art FoundationInternational Paper Co.International Research and Exchanges BoardInterpublic Group of CompaniesMs. Lydia IrwinMr. Jean de JaegherSidney Janis Ltd.Mr. and Mrs. Guillermo JenkinsFundaci6n Mary Street JenkinsMr. Richard H. JenretteMrs. Elizabeth Ross JohnsonMrs. Belly Wold Johnson and

Mr. Douglas F. BushnellMr. Laurence T. JonesMr. Jack A. JosephsonMrs. Vera Bock KaestlinMr. and Mrs. Donald P. KahnThe 1. M. Kaplan Fund, Inc.Katten, Muchin & Zavis Foundation, Inc.Edgar J. Kaufmann Charitable Trust

. Mr. and Mrs. Stephen M. KellenElbrun and Peter Kimmelman Fund, Inc.Mr. and Mrs. Gilbert H. KinneyMr. Austin KiplingerMr. and Mrs. James KirkmanDr. and Mrs. Henry A. KissingerKLS EnterprisesMr. and Mrs. Henry R. KravisSamuel H. Kress FoundationDr. Mathilde and Mr. Arthur B. KrimCiments LafargeMs. Linda Noe LaineMr. Dieter LangeMr. and Mrs. Leo LarkinDr. Edmundo LassalleMr. and Mrs. Leonard A. LauderThe Lauder Foundation, Inc.The Ronald S. Lauder FoundationMr. and Mrs. Ralph LaurenBlanche & Irving Laurie Foundation, Inc.Mr. and Mrs. Harding L. LawrenceLazard Freres & Co.Mr. Jeffrey LeedsRobert Lehman FoundationMrs. Kenneth LeventhalMr. and Mrs. Noel LevineMrs. J. M. B. Lewis, Jr.Sydney and Frances Lewis FoundationRoy and Dorothy LichtensteinMr. and Mrs. John S. LillardDr. William LillerLars-Eric LindbladMr. George L. LindemannEric and Jeanelle Lipman FoundationMr. and Mrs. Kenneth LipperMs. Vera ListLucius N. Littauer FoundationMr. Laurence D. LovettMr. Henry Luce, IIIThe Henry Luce Foundation, Inc.R. H. Macy & Co., Inc.Mr. and Mrs. Abe MagidMrs. Louis MarillonnetMr. James C. MariasMr. and Mrs. Donald B. MarronConte and Contessa Paolo MarzzottoMarzollo S.p.A.Mrs. Pierre MatisseS. A. MatraMr. Stephen MazohMr. John McAndrewEstate of Susan McCulloch

92

Mrs. Eugene McDermollMcGraw-Hill Inc.Ms. Kate MedinaMr. and Mrs. Standish F. MedinaAndrew W. Mellon FoundationMr. Paul MellonMellon BankMr. Peter D. MeltzerMs. Adelaide de MenilMr. and Mrs. Fran~ois de Meni!Mrs. John de Meni!Lois and Georges de MenilMrs. Belly Burge MenellMerrill, Lynch, Pierce, Fenner & Smith, Inc.Charles E. Merrill TrustMetropolitan LifeThe Joseph Meyerhoff Fund, Inc.Milbank, Tweed, Hadley & McCloyMr. and Mrs. Samuel C. MillerMrs. Edith C. MillikenMinorcoMr. Walter MintzMobil CorporationMoet and Chandon, ItalyMoet-Hennessy U.S. Corp.Montauk FoundationMontedison U.S.A., Inc.Morgan Stanley & Company, Inc.Dr. Franklin D. MurphyMr. Thomas S. MurphyNash Family Philanthropic FundNational Endowment for the ArtsNational Italian American FoundationMr. and Mrs. Sarkis M. NazarianDepartment of Archaeology of the

Government of NepalMr. and Mrs. Samuel I. NewhouseSamuel I. Newhouse FoundationMrs. Annalee G. NewmanNews America PublishingNewsdayNew York Daily NewsNew York Stock Exchange, Inc.The New York Times CompanyMr. Philip S. NiarchosDr. Benjamin B. G. Nistal-MoretMr. and Mrs. Peter NitzeNorton Family FoundationLord and Lady NorwichOdyssey AssociatesNancy and Morris W. OffitRalph E. Ogden FoundationMr. Richard OldenburgOlive Bridge FundOlivetti Management of America, Inc.Ing. C. Olivelli & c., S.pAOpen Society FundMr. James H. Ottaway, Jr.Ottaway Newspapers, Inc.The Overbrook FoundationMs. Sylvia OwenPaine WebberMr. William S. PaleyPanAtlantica Holding CompanyThe Papamarkou FoundationParade Publications, Inc.Park Avenue Charitable FundDr. V. L. ParsegianPATA FoundationFriends of PavlovskMr. and Mrs. John W. PaysonPearsonsMr. and Mrs. I. M. Pei

Ms. Carol M. PennMr. Donald PerryDr. Marilyn PerryMr. and Mrs. Alton E. PetersThe Petrie FoundationMr. and Mrs. Milton PetrieMr. Charles I. PetschekPfizer. Inc.Philip Morris U.S.A.Pirelli Armstrong Tire Co.Pirelli Enterprises Corp.Mr. Jan Hird PokornyMr. and Mrs. Leon PolskyMrs. Barbara de PortagoPotamkin Manhallan CorporationMr. John S. PriceMr. and Mrs. Jay PritzkerPrudential-Bache FoundationDr. Franz RaderRadio City Music Hall ProductionsMr. O. F. RaimondoRandom HouseMr. and Mrs. Roland RasmussenAnne and Harry J. Reicher FoundationRemy Martin AmeriqueMr. and Mrs. Oscar de la RentaRepublic ational Bank of New YorkMs. Bridget RestivoReuters Information Service. Inc.Revlon Group IncorporatedMr. and Mrs. Hirshel RichMr. Frank E. RichardsonMs. ancy M. RichardsonThe Hon. Frederick W. RichmondMrs. Walter T. RidderMr. Miles 1. Rivell-CarnacMr. Khalil RizkRJR NabiscoMr. Charles RobinsMr. and Mrs. David RockefellerMr. Laurance S. RockefellerMr. and Mrs. Rodman C. RockefellerRockefeller Brothers FundThe Rockefeller GroupDr. and Mrs. Rodrigo RodriquezMs. Carolyne RoehmAmbassador and Mrs. Enriquillo del RosarioBilly Rose Foundation. Inc.Daniel and Joanna S. Rose Fund. Inc.Mr. and Mrs. Marshall RoseMr. and Mrs. Gilbert RosenthalMr. and Mrs. Arthur RossMr. Clifford RossMr. and Mrs. Steven J. RossLady RothermereBaron and Baronne Edmond de RothschildBaron Eric de RothschildSir Evelyn RothschildBaron and Baronne Guy de RothschildLord RothschildMr. and Mrs. athaniel de RothschildThe Rowan FoundationMr. Charles Rumsey, Jr.Mr. and Mrs. Derald H. RUllcnbergMrs. John Barry RyanDr. Mortimer and Theresa Sackler FoundationMr. and Mrs. Edmond SafraSt. Louis Chapter, Venice CommitteeSt. Louis Post-DispatchThe St. Michaels TrustSaladin Security Ltd.Salomon FoundationMr. Richard Salomon

The Duke and Duchess of San CarlosMr. and Mrs. Julio Mario Santo DomingoMrs. Louisa Stude SarofimMr. Andrew SaundersSave the Mexican Murals

and Monuments FundH.M. Marie Jose di SavoiaEstate of Rose M. SaxMr. and Mrs. Roberto SchezenSchlumberger Ltd.Mrs. Maud Hill SchrollMr. and Mrs. Stanley DeForest SCOllMrs. Virginia Steele SCOllMr. Walter SCOll, Jr.Dr. Joan T. SeaverSefri Construction International Ltd.The Hon. John ShadDrs. Terry & Slephen ShapiroShearson Lehman HUllon Inc.Shell Oil CompanyMr. and Mrs. James SherwoodMr. and Mrs. Peter M. F. SichelSimpson Thacher & Bartlell FundThe Singer FundL. J. Skaggs and Mary C. Skaggs FoundationBarbara and Randall SmithSmith Barney Harris Upham & Co.. Inc.The Solow Art and Architecture FoundationEstate of Willard and Ruth SomervilleMr. Jose SorianoSotheby'sMr. and Mrs. Paul Sperry

ate B. and Frances Spingold Foundation. Inc.Mrs. McFadden StaempfliMr. Benjamin F. Stapleton IIIThe Starr FoundationMr. and Mrs. Daniel SteinerMr. H. Peter Stern and Dr. Margaret JohnsStichting Nederlands VenetieMr. and Mrs. Gerald StiebelThe Hon. and Mrs. Robert D. Stuart. Jr.Julian J. Studley Inc.Mr. Arthur Ochs SulzbergerSulzberger FoundationMr. Donald J. SutherlandTAP Air PortugalMr. and Mrs. A. Alfred TaubmanTECHINT INC.Eugene V. and Clare Thaw Charitable TrustMrs. Walter ThayerMr. and Mrs. Hunter ThompsonTiffany & Co.Time Warner CommunicationsTimes MirrorTishman-Speyer PropertiesMr. and Mrs. Donald ToberMr. and Mrs. Andrew TompkinsMr. A. Robert TowbinThe Hon. John TrainGeorge Trescher Associates. Inc.Triumph-Adler-Royal, Inc.Trust for Mutual UnderstandingMme Kuniko TsutsumiMr. Max UlfaneUnion Pacific CorporationU.S. Commission for the Preservation of

America's Heritage AbroadUnited States Information AgencyU.S. National Park ServiceU.S.-Spanish Joint Commillee for

Educational and Cultural CooperationMr. and Mrs. Thomas UnterbergUTA French Airlines

93

The Hon. Cyrus R. VanceMrs. Sue Erpf Van de BovenkampMr. and Mrs. Gerald Van der KempGeorge and Helen Vari FoundationMs. ancy K. VarnedoeMr. Mario VazzolerMme Jean-Marc VernesMr. and Mrs. John J. VeronisMr. Juan M. S. de VicunaMr. Paul VolckerMr. Henry VorembergMs. Linda J. WachnerLila Acheson Wallace FundMiriam and Ira D. Wallach FoundationMs. Barbara WaltcrsThe Andy Warhol Foundation

for the Visual Arts, Inc.Warner Communications Inc.Warner-Lambert Co.Washington Post CompanyWasserstein Perella & Co.John H. Walls Charitable FoundationDr. and Mrs. John C. WeberMr. W. S. WeedonMarie-Helene and Guy WeillMme Paul-Annick WeillerCommandant Paul Louis WeillerMr. and Mrs. Stanley WeissMr. and Mrs. George WeissmanJane and Stuart WeitzmanMr. and Mrs. Keith S. WellinWhite & CaseMs. Shelby WhiteThe Hon. John C. WhiteheadThe Whitehead FoundationMrs. John Hay WhitneyMr. and Mrs. Malcolm H. WienerThe Dave H. and Reba W.

Williams FoundationMr. and Mrs. Harold WilliamsMr. Hiram P. Williams. Jr.Mrs. H. A. WilmerdingMr. and Mrs. Alfred S. WilseyMrs. Josephine McCarthy WilsonRobert W. WilsonThe Norman and Rosita Winston

Foundation, Inc.Ms. Anna WintourM. and Mme Didier WirthWilliam D. Willer. Inc.World Monuments Fund In BritainWorld Monuments Fund in EspanaWorld Monuments Fund FranccAssociazione WMF Comitato ItalianoAssocia"ao WMF (Portugal)WMF Vcnice Commillee Chapters:

Boston. Los Angeles. Minnesota.St. Louis. Washington. D.C.

Mr. Robert WohlgemuthEsthcr and Morton Wohlgemuth

Foundation. Inc.Mr. and Mrs. James D. WolfensohnThe Woodward Charitable TrustWorld Business Council, Inc.Mrs. Charles WrightsmanMs. Nancy B. WynerYoung & Rubicam FoundationMrs. Victoria ZetcnyMr. and Mrs. Ezra K. ZilkhaMr. Ronald Zimmerman

The Hadrian Award

The World Monuments Fund presentsthe Hadrian Award annually to aninternational leader whose sponsorshipof cultural activities has advanced theunderstanding, appreciation, and preser­vation of world art and architecture.A brilliant commander and administra­tor whose reign was marked by justiceand military success, the Roman emper­or Hadrian (A.D. 76-138) sponsorednew construction while also conservingthe masterpieces of Greek and Romancivilization. Hadrian restored thePantheon and the Forum of Augustusin Rome, collected Greek and Romansculpture at his villa at Tivoli, andcontributed to the classical heritagewith many new architectural works.

As a patron of the arts, the emperormanifested a concern for the survivalof outstanding artistic treasures coupledwith a desire to convey the standardsembodied in these works to the contem­porary world. As these concerns areno less vital to our times, the HadrianAward salutes the cultural leaders oftoday for keeping this spirit alive.

Hadrian AwardRecipients

1995 Lord Rothschild, in recognitionof his lifelong dedication to culturaland artistic activity. Lord Rothschild'sachievements in historic preservationinclude: chairmanship of the NationalHeritage Memorial Fund; restoration ofSpencer House, the eighteenth-centurytown house of the earls of Spencer inSt. James's; renovation of WaddesdonManor, a National Trust property thatis the Rothschilds' ancestral seat; andthe preservation of the Roman ruins atButrint, in Albania. Elected chairmanof the National Gallery in Londonin 1985, Lord Rothschild led themuseum's resurgence over his six-yeartenure, restoring the old Central Hallthat now bears his name.

WMFS HADRIAN AWARD.

DESIGNED AND MANUFACTURED

BY CARTIER SINCE 1988

1994 David Rockefeller, honoringhis international, governmental, philan­thropic, civic, and cultural activitieswhich consistently reflect his concernsabout art and culture, urban revitaliza­tion, and the partnership of privateand public institutions. An articulateadvocate of the role of private patronage,Mr. Rockefeller has been pivotal in therevitalization of Lower Manhattan, ledby Chase Manhattan Bank; the expan­sion of Rockefeller University; and theMuseum of Modern Art, where he ischairman emeritus. Outside New York,he has led urban revitalization projectssuch as L'Enfant Plaza in Washington,D.C., and Embarcadero Center in SanFrancisco.

1993 Dominique de Mcnil, forher lifelong advocacy of the arts andarchitecture. As president of the MenilFoundation, she established the MenilCollection in Houston and commis­sioned the Rothko Chapel. Mrs. deMenil has supported many other culturalorganizations, such as the Museumof Contemporary Art in Los Angeles,the Georges Pompidou Art and CultureFoundation, and the Musee Nationald' Art Moderne in Paris.

1992 Marella and Giovanni Agnelli,in recognition of their support of inter-

94

national cultural activities, both throughtheir personal philanthropy and throughthe cultural programs of FIAT. Mr.Agnelli has led the effort to save someof Italy's most distinguished buildings,such as the Palazzo Grassi in Venice;sponsored international conservationconferences and major art exhibitions;and served on the jury of the PritzkerPrize for Architecture. Mrs. Agnellispearheaded the development of FAI,an Italian national trust for historicallysignificant buildings and landscapes.

1991 Mrs. Vincent Astor, in recog­nition of the numerous preservationprograms that owe their success to herearly and sustained patronage as presi­dent of the Vincent Astor Foundation.Cherished by New Yorkers for hertireless efforts on behalf of the city, Mrs.Astor sets an example to be emulatedby civic patrons throughout the world.

1990 H.R.lI. The Prince of Wales,honoring his advocacy for quality inthe built environment and his 1989publication, A Vision of Brilain, whichfocused world attention on the loss oftraditional architectural values throughurban development and advocated areturn to traditional design in publicarchitecture. His Royal Highnesssponsored the establishment of anew architectural school at Oxfordand served as patron of the campaignto restore the spire of SalisburyCathedral.

1989 Paul Mellon, in recognition ofphilanthropic activity that reflects thevirtue of private initiative dedicated tothe public good. Mr. Mellon has donat­ed much of the art collection assembledwith his wife, Bunny, to the NationalGallery of Art in Washington, D.C.,which was founded by Mr. Mellon'sfather; the Yale Center for British Art,which he established; and to the VirginiaMuseum of Fine Arts, which he broughtto international attention. As a patron of

19S5 19S9 1990 1991

1992 1993 1994 199:;

architectural design, Mr. Melloncommissioned the late Louis I. Kahnfor the Yale Center for British Art andchaired the committee that guidedthe construction of I. M. Pei's EastWing of the National Gallery of Art.

1988 Carlo De Benedetti, chairmanand chief executive officer of Ing. C.Olivetti & c.. S.p.A .. in Milan. receivedthe first Hadrian Award. Under Mr.De Benedetti's leadership, Olivettiachieved recognition as one of Europe'soutstanding corporate sponsors ofthe arts and architectural conservation.as well as for its excellence inproduct design.

\\Todd Monuments FundGold MedalThe World Monuments Fund GoldMedal honors WMF's preeminentpatrons. Recipients of the GoldMedal are:

The late Lueius R. Eastman, amember of the Board of Trustees ofthe World Monuments Fund since 1972and its chairman from 1983 throughthe spring of 1990.

Harvey Golub, chairman and chiefexecutive officer, American ExpressCompany. The World MonumentsFund's leading corporate sponsorsince 1988, American Express in July1995 announced a $5 million grant tolaunch the World Monuments Watch.

The Florenee Gould Foundation.the leading sponsor of World MonumentsFund programs in France since theirinception in 1987.

The Guide Foundation. whose presi­dent, Hilary Barratt-Brown, has servedas a trustee of World Monuments Fundsince 1972, has supported in particularthe work of WMF in relation toWorld Heritage sites.

The Fundaci6n Mary Street Jenl,ins,which furthered the development of

95

conservation documentation. practice.and research in Mexico through afive-year partnership with the WorldMonuments Fund.

The Samuel II. I(ress Foundation,World Monuments Fund's primaryinstitutional sponsor for Europeanprograms since 1970, establishing theKress Foundation European PreservationProgram in 1986, and supportingthe establishment of WMF'sEuropean offices.

The Honorable Ronald S. Lauder.a trustee since 1990 and the foundingchairman of the World MonumentsFund's Jewish Heritage program.

II. Peter Stern. a trustee since 1972and dedicated champion of the WorldMonuments Fund's program forEaster Island.

Robert W. Wilson, a trustee since1991, who spearheaded the launch in1994 of the World Monuments Fund'scampaign, "Winning the Race."

World Monuments Fund Publications

Titles Produced orSubsidized by WMF

Associazione Comitato Italiano WorldMonuments Fund. Gala Fiorentino.

Catalogue of projects of WMF affiliatein Italy. Venice: Associazione ComitatoItaliano World Monuments Fund, 1995.

Bandini, Fabrizio, and others.Donatello at Close Range. Bound off­print from the Burlington Magazine,

March 1987.

Canova, Antonio. Di Villa in Villa.

Treviso: Edizione Canova, 1990.

Charola, A. Elena. Easter Island: The

Heritage and Its Conservation. NewYork: World Monuments Fund, 1995.

Corporaci6n Nacional Forestal.Archaeological Field Guide: Rapa Nui

National Park. English-language

edition. Santiago: 1987.

Gibbs, Mary Laura. The Church of

Santa Maria del Giglio. New Yorkand Venice: International Fund forMonuments, n.d.

Giurescu, Dinu C. Distrugerea

Trecutului Romlmiei. Translated intoRomanian by Anca D. Giurescu.Bucharest: Editura Museion, 1994.

---. The Razing of Romania's Past.

Washington, D.C: US/ICOMOS andWorld Monuments Fund, 1989. Secondedition, London: Architecture, Designand Technology Press, 1990.

Gray, James A. The Walls of Verona.

Venice Committee, International Fundfor Monuments, Inc. (n.d.).

Hale, Sheila. American Express Guide to

Venice. Special WMF edition with aforeword on "Venice Restored" by JohnJulius Norwich. London: AmericanExpress Publishing Corporation Inc.,1986.

International Fund for Monuments.Jewish Art Treasures in Venice.

New York: International Fund forMonuments, n.d.

___ . Lalibela-Phase l. Adventure

in Restoration. New York: InternationalFund for Monuments, 1967.

Kaley, Diana E. The Church of the Pieta.

Washington and Venice: InternationalFund for Monuments, 1980.

Lee, Georgia. An Uncommon Guide

to Easter Island. Arroyo Grande, Ca.:International Resources, 1990.

Maclean, Frances. Citadelle Henry.

Booklet accompanying exhibition.Washington, D.C.: SmithsonianInstitution Traveling ExhibitionService, n.d.

Poche, Fran90is, and Jean-ClaudeRochette. The Dome of the Invalides.

Paris: Editions d'arts Somogy and Museede l'Armee, 1995.

US/ICOMOS and World MonumentsFund. Trails to Tropical Treasures:

A Tour ofASEAN'S Cultural Heritage.

New York and Washington, D.C.:US/ICOMOS and World MonumentsFund, 1992.

---. Trails to Treasures: The

Heritage of South America. New Yorkand Washington, D.C: US/ICOMOS andWorld Monuments Fund. In production(late 1996).

Vittori, Ottavio, and Anna Mestitz. Four

Golden Horses in the Sun. Translatedand edited by James A. Gray. New York:International Fund for Monuments, 1976.

96

World Monuments Fund. Preservation

Priorities: Endangered Historic Jewish

Sites. Illustrated catalogue of tenimperiled synagogues in Africa, Asia, andEurope. In production (fall 1996).

Preservation Priorities: TheAngkor Challenge. Illustrated overviewof the Preah Khan conservation projectand WMF activities at Angkor. NewYork: World Monuments Fund, 1996.

---. Saving Our Past: A Race

Against Time. Twenty-fifth anniversaryexhibition catalogue. New York:World Monuments Fund, 1990.

'VMF ProjectReports

Cambodia

Considerations for the Conservation

and Presentation of the Historic City

ofAngkor. Report I, Overview,September 1992.

Preah Khan Conservation Project,

Historic City ofAngkor. Report II,Project Identification, September 1992.

Historic City ofAngkor: Preah Khan

Conservation Plan. Report III,September 1992.

Preah Khan Conservation Project­

Project Mobilization. Report IV, FieldCampaign I, October 1992-March 1993.

Preah Khan Conservation Project,

Historic City ofAngkor. Report V, FieldCampaign II, November 1993-May 1994.

Preah Khan Conservation Project,

Historic City ofAngkor. Report V,Appendix, Structural Repair &Consolidation Methods, Field CampaignLI, November 1993-May 1994.

Preah Khan ConsetTation Project,

Historic City ofAngkor. Report VI,Field Campaign III, November1994-June 1995.

Radar Imaging Survey of the Angkor

Eco-Site, Report of the First ScientificRound Table, Princeton, N.J., February1-2, 1995. World Monuments Fund andthe Royal Angkor Foundation.

Czech Republic and Slovakia

(excluding Czech Jewish Heritage report,which is listed under Jewish Heritage)

Architectural Conservation in the C:ech

and Slovak Republics. Proceedings ofa World Monuments Fund symposiumheld at Prague, Olomouc, BanskaStiavnica, and Bratislava, May 24-30,1992.

Conservation & Economic Enhancement

Plan for Valtice Zamek & Its Environs.

Proceedings of Planning Chan'ette, July11-16, 1993.

Conservation & Economic Enhancement

Plan for Lednice Zamek & Its Environs.

Proceedings of Planning Chan'ette,August 16-18, 1994.

Easter Island

Bulletins of the Easter IslandCommittee, International Fund forMonuments

• No. I Preliminarv Report of

Archaeological Field Work, February­

July, I968-Easter Island. By WilliamMulloy, 1968 (Reprinted 1975).

• No.2 Preliminary Report of theRestoration ofAhu Vai Uri-Easter

Island. By William Mulloy, 1970(Reprinted J979).

• No.3 Preliminary Report of the

Restoration oj'Ahu Huri A Urenga and

Two Unnamed Ahu at Hanga Kioe­

Easter Island. By William Mulloy,1973.

• No.4 Investigation and Restoration

of the Ceremonial Center of Orongo­

Easter Island, Part One. By WilliamMulloy, 1975.

• No.5 Easter Island SettlementPatterns in the Late Prehistoric and

Protohistoric Periods. By PatrickCarlton McCoy, 1976.

The Easter Island Bulletins of William

Mulloy. Reprints of Bulletins No. 1­No.4 and two unpublished writings byWilliam Mulloy, under the auspicesof the World Monuments Fund andEaster Island Foundation. In production(1996).

Hungary

Az Esterhiizy-Kastely Helyreallitasa,

Muzeum, Zeneakademia es Oktatasi

Intezmenyek Celjara TortenG

Hasznosiltisa. World Monuments Fund,European Mozart Foundation, OrszagosMGemlekvedelmi Hivatal. Keszltette:Joseph Pell Lombardi & Associates,Architects and Preservationists, pc.,February 1993.

Conference Report on the Restoration,

Conservation and Adaptation of

Eszterhaza as a Music Academy andTraining Institution. World MonumentsFund, European Mozart Foundation, andHungarian National Board for theProtection of Historic Monuments.Prepared by Joseph Pell Lombardi &Associates, Architects andPreservationists, P.c., February 1993.

Jewish Heritage

The Future of Jewish Monuments. BySamuel D. Gruber and David Sassoon.In production.

• Czech Republic

Survey of Historic Jewish Monuments

in the Czech Republic. By Samuel D.Gruber and Phyllis Myers. WorldMonuments Fund and U.S. Commissionfor the Preservation of America'sHeritage Abroad, 1995.

97

• Morocco

The Synagogues oj'Morocco: An

Architectural and Preservation Survey.

By Joel Zack, with photographs byIsaiah Wyner. World Monuments Fund,1993. Revised edition, 1995.

• Poland

Survey of Historic Jewish Monuments

in Poland. By Samuel D. Gruber andPhyllis Myers. World MonumentsFund and U.S. Commission for thePreservation of America's HeritageAbroad, J 994. Revised edition, J 995.

• SyriaThe Synagogues of Syria. By SamuelD. Gruber, with photographs byRobert Lyons. Report based upon aphotographic survey conducted by thephotographer in 1995. In production.

Portugal

Proposal for the Conservation of the

Tower of Belem, Lishon, Portugal, 1993.

Proposta para 0 Restauro, Reabilitafcio,

e Interpretaf'cio de Torre de Belem.

World Monuments Fund, Secretaria deEstado da Cultura-IPPAR, 1993.

Survey of the State oj' Conservation o{

the Tower of Belem, Lisbon, Portugal,

1994.

United States

Employment Strategies for the

Restoration Arts: Crq{t Training in

the Service oj' Historic Preservation.

Report of a symposium organized bythe World Monuments Fund,July 26-28, 1993.

International Leadership and Board of Trustees

Board of Trustees

OFFICERS

ChairmanMarilyn Perry

Vice ChairmenHilary G. Barratt-BrownThe Hon. Ronald S. LauderH. Peter Stern

Vice Chairman and TreasurerRobert W. Wilson

SecretaryRobert J. Geniesse

TRUSTEES

Anthony P. BalestrieriDaisy BelinJ. Carter BrownW. L. Lyons Brown, Jr.Bonnie BurnhamPatricia FalkLouise L. GrunwaldAshton HawkinsPeter KimmelmanJonathan S. LinenLois de MenilSamuel C. MillerBertrand du VignaudPaolo VitiNancy Brown Wellin

Honorary Co-Chairmen

The Rt. Hon. The Viscount Norwich

The Hon. Claiborne Pell

World Monuments WatchInternational Committeeof Honor

H. E. Javier Perez de Cuellar

The Hon. Cyrus R. VanceCo-Chairmen

98

World Monuments Fund FranceM. Hubert de GivenchyPresident

Associazione Comitato Italiano WMFCount Paolo MarzattoPresident

Associa<;:ao World ~Ionuments Fund(Portugal)

Dr. Paulo Lowndes MarquesChairman

World Monuments Fund EspanaS.A.R. Infanta Dona PilarHonorary Chairman

Don Juan Carlos FierroChairman

World ~1onuments Fund in BritainThe Hon. Clive GibsonFounding Chairman

The Rt. Hon. The Viscount NorwichChainnan

World Monuments Fund Directory

World ~Ionuments Fund949 Park AvenueXe\\' 't(lrle X.Y. 10028

Telephone: (212) 517-9367Telefax: (212) 517-9494

Bonnie BurnhamPresident

Headquarters Staff

ADMINISTRATION

Daniel BurkeOffice Manager

Holly HawkinsMarkeling AssiSlal/1

Monika RielyDireclor o{llI/emalional Markeling

PROGRAMS

John H. StubbsVice Presidelll. Programs

Jon CalameProgrom AssiSU1I1/

Felicia MayroProgram Adll1il/islralOr

Katherine RodwayWorld MOl/wI/en Is Walch Program Assislanl

Kirstin V. SechlerWorld MOI/UmenlS Walch Program Assislanl

EXTERNAL AFFAIRS

Laurie BeckelmanVice Presidenl, EXlernal Affairs

Rebecca T. AndersonDireclor o{ Publicalions

Martha E. FlachPh010 Archivisl

Baron P. LobsteinDevelopll1enl Assislant

World ~Ionuments FundEuropean Offiees

34, avenue de New York75016 Paris, Francetelephone: (33 I) 47 2071 99telefax: (33 I) 47 20 71 27

Isabelle de BroglieEuropean Represenlalive

Chantal de BeauregardExecutive Assislalll

Piazza San Marco 6330124 Venice, Italytelephone: (39 41) 523 7614telefax: (39 4/) 523 76/4

Donatella AstaProgram Representalive

Anne NguyenVenice Program Assistant

99

World ~Ionuments Fund Affiliates

World Monuments Fund France34, avenue de New York75016 Paris, Francetelephone (33 I) 47 20 71 99telefax: (33 I) 47 20 71 27

Associazione Comitato Italiano WMFContra del Monte 1336100 Vicenza, Italytelephone: (39 444) 323 688telefax: (39 444) 325 825

Stephen EddyProgram Coordil/alOr

Associa,<30 World Monuments Fund(Portugal)

Mosteiro dos Jer6nilllosPra,<a do Imperio1400 Lisbon. Portugaltelephone: (35 I I) 362 0034telefax: (35 I I) 363 97 45

World Monuments Fund EspanaMarfa de Molina, 3928006 Madrid. Spaintelephone: (34 I) 441 23 63telefax: (34 I) 562 26 59

World Monuments Fund in Britain27 SI. James's PlaceLondon, SW IA INR United Kingdomtelephone: (44 171) 4998254telefax: (44 171) 493 3982

Victoria AgnewDireclOr

IndexA

Abbazia della Misericordia 89Accademia Gallery 29Addis Ababa 11Administration of the Jer6nimos

MonasteryfTower of Belem 83Adriatic 12Africa 83Age of Exploration 83Agnelli, Marella and Giovanni 19, 94, 95Akivi (ahu) 27Albania 94Albert Memorial 7, 84, 85, 88Alexander Palace 84, 85, 90Alfonso XI, king of Spain 72Fundaci6n Gonzales Allende 59American Center for Oriental Research 89American Express Company 8, 21, 95American Friends of Pavlovsk 90Angelini, Sandro 11Angkor 20, 71Angkor Wat 71Aphrodisias 90APSARA 71Arciconfraternita di San Giovanni Evangelista 29de Arfe, Enrique 40Aries 15-16, 56, 87Armenia 20, 75Armenian Commission for the Protection and

Use of Historical and Cuttural Monuments 75Armenian community abroad 9, 75Arno River 12Ashkenazic rite 36Ashmolean (Oxford) 84Asia 14,43Asia Minor 8Associavao WMF (Portugal) 83Association Culturelle de Commarque 60Association of Progressive Jews of Poland 17, 76Associazione Comitato Italiano WMF 18, 64Astor, Mrs. Vincent 19, 94Vincent Astor Foundation 94Augustus, Emperor 15Austria 17Austria, Emperor of 32Autonomous University of Chapingo 15, 55, 90Autonomous University of Mexico City 15, 55, 90Awbeg River 51Azerbaijan 20, 75

B

Babelon, Jean Pierre 79Bagamati River 43di Banco, Maso 88Banska Stiavnica 90Banteay Kdei 71Banteay Srei 87Barbados National Trust 87Barbo, Pietro 68Bardi di Vernio Chapel 88Barratt-Brown, Hilary 15, 95di Bartolo, Taddeo 89Bartow, EdgarBassano del Grappa 88Bellini, Gentile 29,40,89Belvedere (Prague Castle) 87

Bernardine monastery 89Beune River 60Beynac family 60Biblioteca Marciana 89Bologna 13, 88Bolton, William Jay 63Bon, Bartolomeo 30Bonanno 10Borgholm Castle 90Boukman 52Bovolo Staircase 44, 44, 45, 89Brass, Italico 47Brno 87Brooklyn 18, 63, 90Bucharest 19-20Budapest 71Burgos 59Burnham, Bonnie 7, 8, 9, 15-16Butrint archaeological site 87, 94

cCa'd'Oro 12,89Ca' Zenobio 89Caceres 72Caernarfon 87Cambodia 7, 8, 20, 71Cambodian government 20Camoin, Charles 15Campanella marble 84Caravaggio 40Cardinal-Archbishop and Primate of Spain 40Carpaccio 31, 89Carreno, Juan 40Casa-Museo Francisco Pizarro 90Casnati, Gaiane 75Castello 32Castile 59Castletown House 88Catherine Palace 84Catholicism 60Ceausescu, Nicolae 19Central Europe 17,19-20Central Park 20Centro de Restauraci6n, Santiago 27Certosa del Galluzzo 88Chams 71Chapel Ie des Bourbons 67Chapter of Toledo Cathedral 40Charles, Prince of Wales 19, 94, 95Charleston, S.C. 90Chateau de Commarque 16,60, 60, 61,87Chateau de Maintenon 87ChiHillon-sur-Sa6ne 9, 87Chicago chapter, Venice Committee 36Chile 11, 27Chilean government 12, 23Chilean park service (CONAF) 27Christian pilgrimages 24, 72Church of Madonna dell' Orto 89Church of Madonna di Loreto 14, 89Church of St. Ann and the Holy Trinity 62, 63,

90Church of the Frari 89Church of St. Nicholas 87Church of the Holy Ghost (Telc) 87

100

Church of Jesus Nazareno 15, 90Church of St. Trophime 15-16, 56, 56, 57, 87Church of the Pieta 34, 35, 35, 89Cima da Conegliano, Giambattista 68, 68,

69, 89Ciocchi, Ulisse 88Citadelle Henry 14, 23, 52, 52, 53, 88Cloister of the Oranges 72Cockerell, Charles Robert 84Coducci, Mauro 28, 29, 32Colegio de las Vizcainas 55, 90Collegiata di Sta. Maria Assunta 89Collymore Rock Complex 87Columbus, Christopher 72Comitato Italiano (see Associazione Comitato

Italiano WMF)de Commarque, Hubert 16,60Committee for Ireland 14Committee for Spain 14Committee to Rescue Italian Art (CRIA) 12Communist bloc, collapse of 19, 23Compiegne 87Conseil Regional 79Conseil Superieur du Mecenat Culturel 18Constantinople 56Convent of the Noble Ladies 48Convento de la Coria 14, 48, 48, 49, 90Coptic churches 8, 24, 87Cornerstones Community Partnerships 18,

18-19,90Council of Bishops (Gaul) 56Council of San Rocco 30County Cork 51, 88County Kildare 88County Tipperary 88Cracow 8, 17, 76, 90Crosby, Anthony 75Crusades 60Curley, Ambassador Walter 16Czech Republic 7, 8, 20, 80

oDalmatia 87Damer House 88De Benedetli, Carlo 19, 19, 95, 95Decalogue 76Denver 75Department of Archaeology of the government

of Nepal 43Desert de Retz 87Dessalines, Jean-Jacques 52Desta, princess of Ethiopia 11Dickerman, Watson B. III 14,43Direction Generale des Monuments

de Versailles 79Director General of Fine Arts and Antiquities

(Italy) 10Ditchley Park 88Donatello 88Doneraile Court 14, 50, 51, 51, 88Dordogne River 60Duero River 59Dufoix, Jean-Pierre 15Duke, Angier Biddle 14

E

East River 63Easter Island 7,8,11-12,23,26,27,87,95Easter Island Committee 11Easter Island Foundation 27Eastern Europe 17, 36, 80Eastlake, Sir Charles 84Eastman, Lucius R. 12,15,17,95Ecole Nationale Superieure du Paysage,

Versailles 79Ecole Superieure d'Horticulture 79Egypt 11,24EI Greco 40, 90Elmes, Harvey Lonsdale 84Endeavour, space shuttle 71English garden 80English Heritage 84Enlightenment 52Ererouk basilica 9, 20, 74, 75, 87Esterhazy, Mikl6s 20Eszterh<iza castle 20, 88Ethiopia 8, 11, 23, 24Ethiopian government 23, 24Europa Nostra prize 72Europe 8,11,14,15,16-17,32,35,

59, 72, 95European explorers 27European Mozart Academy 20Extremadura 48

F

FAI 94Far East 83FertOd 20, 88Fes 17FIAT 94Fischer von Erlach, Johann 80Florence 12, 88Fondazione Magnani-Rocca 89Fordrin, Alexis 79Forum of Augustus 94de la Fosse, Charles 66, 67, 87France 7, 8, 9, 15-16, 18, 23, 52, 56, 60, 67,

79, 95della Francesca, Piero 89Franciscan Order 35, 48, 72Fraser, David 63French-American projects 16, 18, 63French government 15-16,67,71French Revolution 67, 79Friends of Trujillo 48Fundaci6n Mexicana para los Monumentos

del Mundo 15, 18"Future of Jewish Monuments," symposium 17

G

Galleria Estense (Modena) 88Galleria Nazionale dell' Umbria 88Galleria Palatina 88Gaul 56Georgia 75The Getty Grant Program 20, 75, 76Gevorkian, Vitali 75Giacometti, Riccardo 32Giudecca 36Giurescu, Dinu C. 19-20, 90

de Givenchy, Hubert 16, 18, 79Glasgow 88Gokarna Temple Complex 14,42,43,90Golub, Harvey 95The Florence Gould Foundation 16, 18, 95Grand Carre 79Grapiglia, Giovanni 32Gray, Colonel James A. 7,8,10-14,51Graziussi, G. D. 35Great Britain 7, 8, 18, 23Great Tower (Chatillon-sur-Saone) 87Greenland, Melville 63Greenways/Zelene Stezky 80Grille du Roy 78, 79Grotte de Commarque 60Guadalupe River 72The Guide Foundation 95Guinness, The Hon. Desmond 51Gun Hill Signal Station 87

H

Hadrian Award 8, 19, 94-95Haiti 7, 14,23,52Haitian government 14Hanga Kio'e, ahu 26, 27Hardouin-Mansart, Jules 67, 79Haydn, Josef 20Henry Christophe 14, 52Heraclius, Emperor 39Hessel, Marieluise 15, 55Heyerdahl, Thor 11Hieronymites 72Hilarius, Bishop 56Himalayas 43Holocaust 76Holy Land 24Holy Trinity, Church of the 63Hotel des Invalides 66, 67, 87Hoto Matu'a, King 27Howland, Richard 11Hungary 20

Ibero-American research 43Ibn Danan Synagogue 17Ingram Street Tea Rooms 88Inspection Generale des Monuments

Historiques 56, 60, 67Institut du Sauvegarde du Patrimoine

National 52Instituto Central de Conservaci6n y

Restauraci6n de Obras de Arte, Madrid 72Instituto Nacional de Bellas Artes (INBA) 55Instituto Portugues do Patrimonio

Arquitect6nico e Arqueol6gico (IPPAR) 83International Centre for the Study of the

Preservation and Restoration of CulturalProperty (ICCROM) 27, 39

International Coordinating Committee forAngkor 71

International Exposition (Expo) 83International Foundation for Art Research

(IFAR) 15International Fund for Monuments (IFM) 7, 8,

10,23,24,27International Torcello Committee 39

101

Invalides, dome of 8, 16, 66, 67, 87Iran 75Ireland 51Irish Georgian Society 14,51Iron Curtain, fall of 19, 80Isabel, Queen of Spain 72Istituto Provenciale per L'lnfanzia "Santa Maria

della Pieta" 35Istituzione di Ricovero e di Educazione (IRE)

44Istrian stone 29,32, 44Italian government 32, 47Italy 7,8,10,14,18,23,30,32,35,36,39,

44, 64, 68

.J

Jacquard Garden 89James, Henry 30Japanese paper 56Jayavarman VII, Khmer king 20, 71The Mary Street Jenkins Foundation 15, 18,

95Jeronimos Monastery 83Jerusalem 24Jerusalem and Cyprus, kingdom 29Jet Propulsion Laboratory (JPL) 71Jewish catacombs 17, 89Jewish community of Cracow 76Jewish Community of Venice 36Jewish Heritage Program 17, 76, 95Jewish Heritage surveys: Czech Republic,

17, 88; Morocco, 17, 90; Poland 17, 90;Slovakia, 17; Syria 90; Ukraine, 17

Jews of Morocco 17Joao II, king of Portugal 83Jouvenet, Jean 67, 87Joya de Ceren Archaeological Monument 87Julius Caesar 56Junta de Castilla-Leon 59

l(

The J. M. Kaplan Fund, Inc. 36Kathmandu 7,8,23, 14,43,90Edgar J. Kaufmann Charitable Trust 30Kazimierz 76Khmer empire 20, 71Khmer Rouge 20King and Queen Chapel 40Korry, Edward M. 11S. H. Kress & Co. 14Samuel H. Kress Foundation 7,14-15,16,

20,23,40,47,48,51,75,95Kress Foundation European

Preservation Program 16-17, 19, 95

L

Ladakh 88Lafever, Minard 63Lalibela 7, 8, 11, 23, 24, 24, 25, 87de La Quintinye, Jean Baptiste 79Lauder, The Honorable Ronald S. 17,95The Ronald S. Lauder Foundation 76Lednice 20,80,81,87Lek, Sareth 71Le Normand family 79Les Eyzies 60, 87

Liechtenstein, dukes of 20, 80Lima 48Lincoln Cathedral 88Lindblad, Lars 11Lisbon 83, 90Liverpool 7, 84, 88Livorno 11Lombardo, Pietro 29London 7, 84, 88Losaisas family 48Louis XIV 67, 79, 87Louis XV 79LOuverture, Toussaint 52Lugano 68

M

Mackintosh, Charles Rennie andMargaret Macdonald 88

Mahadev temple 42, 43Maintenon 87Mallow 51Mansart, Franyois 67de Margerie, Ambassador Emmanuel 16, 79Mariani, Sebastiano 68Marianica mountains 72Marzotto, Count Paolo 18Massari, Giorgio 35di Masseri, Filippo 29McAndrew, Betty 7McAndrew, John 7,12,14Melin, Manias 40Melish, Reverend John Howard 63Melish, William Howard 63Mellon, Paul 18, 19, 94-5, 95de Menil, Dominique 19,94, 95Meolo 64,88Mercedarian Convent 87Mestre 36Metropolitan Museum of Art 63Mexico 7, 15, 18, 55, 95Middle Ages 16, 24, 56, 60, 80Middleton-Pinckney House 90Milot 52,88Ministero per i Beni Culturali e Ambientali 29,

30, 32, 35, 36, 39, 44, 47, 64, 68Ministry of Culture of Portugal 83Minnesota chapter, Venice Committee 44Minton tile 84Misericordia Laboratory 46, 47, 47, 89Mitterand, Mme Franyois 18,67moai 11,11-12,27Moors 72Morocco 17Moscow, U.S. ambassador in 75Mudejar Cloister 72, 73, 90Mulloy, Professor William 11-12, 23, 27Murphy, Dr. Franklin D. 14,14-15,40Musee de l'Armee 67Musee National d'Art Moderne 94Musee National de la Prehistoire 60Museo Civico 88Museo Israelitico 36Museum of Modern Art 94Muslim conquests 24

N

NASA 71

Nacchini organ 32, 35Napoleon 12,29,36,67,72Napoleon III 67Narni 88National Center for Conservation (Chile) 27National Gallery of Art 40, 94, 95National Heritage Memorial Fund 94National Trust (Great Britain) 7, 94Nazzari, Bartolomeo 89Nepal 7,8, 14,23,43Nepalese government 14, 43New Jersey 12New Mexico 8,18, 18New Mexico Community Foundation 18New World 48, 72, 83New York 8,17,18-19,20,63,90New York Landmarks Conservancy 63New York Public Library 90Nicholas II, Tsar 84Norwich, John Julius 7Notre Dame 59

oOctavian 15Obregon, Alvaro 55Office of Public Works (Ireland) 51O'Gorman, Juan 15, 55, 90Olivolo 32Olomouc 87Orongo ceremonial center 27Orozco, Jose Clemente 15, 55, 90Orseolo, Orso, bishop of Torcello 39Ospedale della Pieta 35Oviedo Cathedral 14, 90Oxfordshire 88

p

Pacific Ocean 11 , 27Palace of Leh 88Palazzo Contarini del Bovolo 44, 89Palazzo Ducale 89Palazzo Grassi 94Palazzo Pitti 88Palladio, Andrea 32, 89Pan American Union 12Pantheon 94Paris 8, 10, 14,67,87,94Parma 88Paul II, Pope 68Pavlovsk 90Pecs Cathedral 88Peninsular Wars 48Perigord 16, 60Perry, Dr. Marilyn 7, 8, 14, 15, 16, 17Perugia 88Perugino 88Petra 89Phnom Penh 71Pietro of Assisi 35Pinacoteca di Brera, Milan 88Pinacoteca di Vicenza 89Pistoia 89Pittsburgh, Pennsylvania 10Pizarro brothers 48Pizarro, Francisco 48Poche, Franyois 67Poland 8, 17, 76

102

Polish Conservation Workshops (PKZ) 76Polynesia 27Pontormo, Jacopo 88Port-au-Prince 52Portada de la Majestad 59, 90Portugal 8, 18, 23, 48, 83Potager du Roy 16, 78, 79, 87Prado 48Prague 87Preah Khan 20, 21, 70, 71 87Premio Torta 14,44Princeton University 71Puebla 15Puebla Center (Mexico) 18Pyrenees 60

Q

Querini Stampalia Library 89

R

Rano Raraku quarry 27Rapa Nui (see Easter Island)Ravenna, exarch of 39The Razing of Romania's Past 19,90Rendez-vous folly 19Restelo 83Ricci, Francisco 40Rivera, Diego 15, 54, 55, 90Rizzi, Gionata 75Rochette, Jean-Claude 67Rockefeller Brothers Fund 19Rockefeller, David 19, 94, 95Roggeveen, Jacob 27Romania 19-20, 90Romanian Ministry of CultureRomanones, Count and Countess 48Romanov, Nicholas and Alexandra 84, 90Rome 10,17,89Rosa, Cristoforo and Stefano 89Lord Rothschild 19-20, 94, 95Rouquette, Jean-Maurice 15Royal Angkor Foundation 71Royal Cambodian Government 71Royal Monastery of Guadalupe 18, 72, 90Ruskin, John 30Russia 84

sSaints Sergius and Bacchus 32Sala Grande 30Sala Maggiore 29de Salas, Carmen 48Fundacion Xavier de Salas 48de Salas, Xavier 48Salisbury Cathedral 94Salviati, Giuseppe 28San Francesco della Vigna 64San Francisco 10, 94San Giovanni Battista 88San Giovanni Forcivitas 89San Giovanni in Bragora 68, 89San Lorenzo 88San Marco 32San Moise 89San Nicolo da Tolentini 89San Petronio 13, 88

San Pietro di Castello 32, 33, 89San Paolo 89San Rafael in La Cueva 90San Rocco, Council of 28San Simeone Grande 89Sanday, John 43San Salvatore 89San!' Agostino 88Santa Croce 88Santa Fe 18, 90Santa Maria Assunta 38, 39, 90Santa Maria dei Derelitti 90Santa Maria del Giglio 12, 90Santa Maria della Visitazione(San Gerolamo dei Gesuati) 90Santa Maria la Major 58, 59, 90Santiago 12,87Santa Pudenziana 88Santo Domingo (Dominican Republic) 87Santo Domingo el Antiguo 90Santo Spirito 88Sao Jer6nimo Chapel 83Saragat, Giuseppe 10Sautov, Dr. Ivan Petrovich 84Save the Mexican Murals and

Monuments Fund 15, 55Save Venice, Inc. 14,68Scarpagnino, Antonio 28Schio 89Scotland 88Scott, Sir George Gilbert 84Scuola Canton 17, 36, 37, 89Scuola Dalmata 89Scuola dei Carmini 89Scuola Grande di San Giovanni Evangelista

9, 10,23, 28, 29, 89Scuola Grande di San Rocco 13,22,28,

29, 89Scuola Levantina 36Scuola Tedesca 36Scuola Vecchia della Misericordia,

Conservation Laboratory 46, 47Seagram Building 11-12Secretariat of Public Education

(Mexico City) 15, 55, 90Selassie, Emperor Haile 11, 24Siqueiros, David 55SireuiJ 60Slovakia 17, 90Smeraldi, Francesco 32Smithsonian Institution 11Smolski, Janusz 77Sobchak, Anatoly 84Somerville, Willard and Ruth 12Southern Moravia 80, 87Southern Moravia Heritage Foundation 80Soviet Union 20, 75Spain 7,8,14,18,23,59,72Spanish government 72Spencer House 94Spinalunga 36Spleczny Komitet Odnowy Zabytk6w

Krak6w 76Spoleto 14, 89The St. Ann Center for Restoration and

the Arts, Inc. 18St. Denis 67St. Domingue 52St. George's Hall 7, 84, 85, 88

St. Leger family, Viscounts Doneraile 51St. Louis, church of 67St. Petersburg 84, 90State Institute for the Preservation

of Monuments, Brno 80Stern, H. Peter 11, 12, 15, 95Stratfield Saye 88Strozzi, Bernardo 89StUbbs, John H. 8Superintendency of Archaeology in Rome 17

T

Tagus River 83Tahai, ahu 27Tangiers 90Telc 87Tempel synagogue 8, 17, 76, 76, 77, 90templete 72, 73,90Tetrapylon 90Theatre Imperial 87Theotocopoulos, Jorge Manuel 40Tiepolo, Giambattista 35, 64, 89Tiepolo, Giandomenico 64, 64, 65, 89Tintoretto, Jacopo 28, 89Titian 88, 89Tivoli 94Toledo 40, 48, 90Toledo Cathedral 14,40,41,90Tonie Sap 71Torcello 39, 89Toro 59,90Torta, Pietro 44Tower of Belem 18, 82, 83, 90Tower of Pisa 10-11da Treviso il Giovane, Girolamo 89Trujillo 14,48,90Tsarskoje Selo 84Turkey 75

Ukraine 17UNESCO 9, 10, 11, 14, 23, 24, 27, 28, 2943,

47,52,80,83UNESCO Venice campaign 9,12-14,30,44Union of Italian Jewish Communities 17United Nations Development Program 14, 52United States 7, 11, 17, 18-19, 55, 59, 63University of Bordeaux 60University of Florida 71University of Wyoming 11-12,27U.S. Commission for the Preservation of

America's Heritage Abroad 17US/ICOMOS 19U.S. Information Agency 20, 75U.S. Internal Revenue Service 23U.S. National Park Service 20, 75U.S.-Spanish Joint Committee for Educational

and Cultural Cooperation 59

Valparaiso 87Valtice 20,80, 81,87Vari, Mme Helen 18Vasconcelas, Jose 55Venetian Republic 29; fall of, 12, 32, 36Veneto 32, 64

103

Venice 7,8,9,12-13,29,32,39,44,47,64,68, 89, 94

Venice Committee 12-13,14,17,23,29,36, 44

Venice in Peril Fund 7Verona marble 29Veronese, Paolo 28, 88Versailles 16, 79Vezere River 60Vicenza 18, 64, 89Victoria, queen of England 84Vienna 20, 80Vietnam 71Villa Borghese 89Villa Pojana 89Villa Valmarana ai NaniVilnius 89Vittoria, Alessandro 68Vivaldi, Antonio 35, 68Wales 87Wallace, Lila Acheson and DeWitt 11Wars of Religion 60Washington, D.C. 11, 94Washington, George 52Wellesley College 12Wentworth Castle 88Wilson, Robert W. 95Winchester Cathedral 88"Winning the Race" campaign 95WMF affiliates 8, 18, 23WMF Espana 59WMF France 16,67,79World Heritage (UNESCO) 14,15,23,27,43,

52, 60, 80, 83, 95World Heritage Convention 14"World Monument" defined 9World Monuments Fund mission 86World Monuments Fund renamed fromInternational Fund for Monuments 10World Monuments Fund Gold Medal 95World Monuments Fund in Britain 7, 84World Monuments Watch 7, 8, 21, 23, 95World War I 32, 84Wright, Frank Lloyd, School of Architecture 71World War II 20, 36, 76Young, John 16

zZague Dynasty 24Zalles, Rose Saul 14Zamora 59Zuccari, Federico 28Zuni Pueblo 18, 90de Zurbaran, Francisco 72

PHOTO CREDITS: All photographs courtesy of World Monuments Fund archive unless otherwise indicated

COVER: Venezia (archival photo), Archivio Bohm (inset)

FRONTISPIECE: Archivio Bohm

THIRTY PROJECTS: p. 13: Soprintendenza per i beni Ambientale e Architettonici di Venezia; p. 14: Courtesy of Samuel H. Kress Foundation;p. 17: Isaiah WynerfWorld Monuments Fund; p. 18: Edward E. Crocker; p. 19: Bryan Whitney (left), Jeanne Trudeau (right); p. 26, p. 27: A.Elena Charola; p. 28: Mark Smith (above left and below); Francesco Venturi/KEA (above right); p. 31: Edizioni Storti Venezia (top), ArchivioBohm (bottom); p. 32, p. 33: Mark Smith; p. 34: Mark Smith; p. 35: Franceso Venturi/KEA; p. 36: Archivio Bohm; p. 37: Soprintendenzaper i beni Ambientale e Architettonici di Venezia (top); Courtesy of WMF Venice office; p. 38: Soprintendenza per i beni Ambientale eArchitettonici di Venezia (top); Sarah Quill/UNESCO (bottom); p. 40, p. 41: Nicolas Sapieha; p. 42: Stephen Lowe; p. 44: GrazianoArici; p. 46, p. 47: Courtesy WMF Venice Office; p. 48: Nicolas Sapieha; p. 49: Nicolas Sapieha (top), Courtesy of Fundaci6n Xavier deSalas (bottom); p. 50: Redmonds of Roscrea/Courtesy of Irish Georgian Society; p. 51: K. Joseph Romanowski; p. 52, p. 53: AntonioMarcelli; p. 56: City of Arles; p. 57: R. Bougrain-Dubourg (top), M. Lacanaud/Musee Reattu (bottom); p. 58: Garanza, S.L. (top, 2); NicolasSapieha/KEA (bottom left); Joaquin Cortes (bottom right); p. 60: Gionata Rizzi; p. 61: Association Culturelle de Commarque (above); GionataRizzi (below); p. 62: Isaiah Wyner (top), Karen Reimann (bottom left), David A. Korman (bottom right); p. 64, p. 65: Vanni Tiozzo (2); p. 66:Franyois Poche (3); p. 68, p. 69: Cameraphoto (3); p. 73: Glenn Boornazian (2); p. 78: P.A. Lablaude (bottom); p. 81: Bryan Whitney (3);p. 82: Elena Charola; p. 85: Courtesy of English Heritage (top left); Martin Charles (top right)

WMF ACTIVITIES BY COUNTRY NUMBER: I: Butrint Foundation; 7: Bryan Whitney (Jewish Heritage survey and Belvedere); II: AmericanFriends of Vieilles Maisons Franyaises, Inc. (Chatillon); Courtesy of Pour Ie Theatre Imperial de Compiegne; 12: Courtesy of Lincoln CathedralFabric Fund; Gray, Baynes & Shew, Architects (Ditchley Park); 14: Bryan Whitney (Eszterhaza); Katalin Nador; 15: Corneille Jest; 17: E.di.Tech(Donatello stuccoes); Kathleen Buckalew/National Gallery of Art (Veronese); Marcello Fedeli (Santa Pudenziana); Aurelio Amendola (S.Giovanni Forcivitas); A. Benenson (Catacombs); Mark Smith (Marciana); Cameraphoto (Palazzo Ducale); 18: American Center for OrientalResearch; 20: Nicolas Sapieha; Isaiah WynerfWorld Monuments Fund; 25: Dinu C. Giurescu; 28: Nicolas Sapieha (Toledo); 30: Robert Lyons;32: Edward E. Crocker

HADRIAN AWARD: p.94: M. Ferrari

HADRIAN AWARD RECIPIENTS: p.95: 1995, Mary Hilliard; 1994, Mary Hilliard; 1993, Mary Hilliard; 1992, Mary Hilliard; 1991, MaryHilliard; 1990, Moody Photographics; 1989, Jeanne Trudeau; 1988, Jeanne Trudeau

World Monuments Fund and World Monuments Fund in Britain extend special thanks to Martin Charles for permission to use the interior ofthe Great Hall of St. George's Hall in Liverpool on p. 85.

104