La lacuna nella scultura e negli apparati musivi: un inquadramento teorico

This essay offers a theoretical framework for understanding lacunae in sculpture and mosaic decoration, starting from Cesare Brandi’s reflections on restoration and extending them to three-dimensional and architectural contexts. Unlike painting, where losses can often be treated on a two-dimensional surface, sculpture confronts the restorer with the absence of volume, making neutral integration far more problematic. Through historical examples, from Renaissance restorations of ancient statuary to modern archaeological approaches, the article examines the changing value assigned to fragments, additions, and previous restorations. Particular attention is given to the tension between philological accuracy, aesthetic legibility, and historical stratification. The discussion also addresses the role of casts, virtual reconstructions, and colour reconstructions as interpretative tools that can clarify hypotheses without altering the original work. Finally, the article considers mosaics, stressing the different meanings of wall and floor mosaics and the museological consequences of their display. The lacuna thus emerges not merely as a material absence, but as a critical problem involving perception, history, interpretation, and conservation ethics.