Accreditation

Recently the Malta Government has set up a Committee to draft
legislation to advise about the care of our National Heritage.There
has been mentioned that restorers who are not in possession of
recognised Italian diplomas in restoration are not going to be given
a warrant in order to continue to operate. An Institute for
restoration studies called 'The Malta Centre for Restoration' was
also set up.

An agreement was reached with an Italian expert delegation from the
Istituto Centrale del Restauro of Rome, in the presence of the
director of Museums in Malta, that since we, as experienced
restorers do not hold the recognised diplomas, we were to be
accredited for our work which was carried out throughout our career.
We were therefore to automatically enter the institute to follow the
necessary studies in order to enhance and further our knowledge and
eventually obtain the Diploma/Degree. Unfortunately there seemed to
be a change of heart on the part of the Malta Centre for Restoration
because my colleagues and I, were made to undergo a preparatory
course, intended to test our aptitude for restoration, would you
believe! This in turn should lead to a competitive entrance
examination in order to be admitted to a four year diploma/degree
course.I have been a Restorer of Paintings for 15 years, 10 of which
with the National Museum of Fine Arts, where I am presently a Senior
Restorer of Paintings. Alas, however I do not hold the recognised
paper qualifications.

I have together with my colleagues been entrusted with the
responsibility for our national heritage which includes a vast
collection of paintings in palaces, cathedrals, churches, ministries,
museums etc. Foreign visiting restorers, namely from the Opificio
delle Pietre Dure of Florence, the Istituto Centrale del Restauro
of Rome and various other freelance restorers have duly recognised
our work notwithstanding the limitations of our material resources.
These restorers could review our work because, since my employment
with the museum, I have initiated the procedure of carefully
documenting every intervention or restoration project with full
reports and photographs. These have been made available in the
Museum's reference library which is accessible to students, critics,
historians and the general public. I would like the help of
restorers, conservators, who are undergoing a similar situation to
share their experiences in this regard, and perhaps advise on what
one can do in this circumstance.I feel that I am entitled to be
accredited for my work. Lack of paper qualifications should not wipe
away all that work and experience. Your help, comments, advice, or
suggestions will be greatly appreciated. Thank you,

Mario Galea
Senior Restorer of Paintings

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                  Conservation DistList Instance 13:9
                  Distributed: Thursday, July 22, 1999
                        Message Id: cdl-13-9-020
                                  ***