This study describes the conservation of a valuable plaster model used as a preparatory study for one of the figures in the monumental memorial to Franti & scaron;ek Palack & yacute; in Prague, designed by renowned Czech sculptor Stanislav Sucharda. In conserving the damaged plaster cast, the challenge arose of adding the missing parts. In consultations between the client and conservators, the presentation of the work and options for its completion were discussed, focusing on conservation principles such as minimal intervention and preserving authenticity and documentary values. The use of modern technologies, particularly photogrammetry for documenting the final bronze cast, along with software data processing and 3D printing to create the missing parts, proved to be an attractive solution. The chosen reconstruction method using 3D printing met the requirement for reversible reintegration, employing a distinguishable material that matched the modeling of the rest of the work and the original design. The paper summarizes the discussion on using photogrammetry and 3D printing in plaster-cast conservation and outlines the rationale behind the chosen work procedure, which combines modern technologies with traditional conservation techniques. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)<middle dot>(sic)(sic)(sic)(sic)(Franti & scaron;ek Palack & yacute;)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)<middle dot>(sic)(sic)(sic)(Stanislav Sucharda)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)3D(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)3D(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)3D(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).Translation: Jiwen Fan; revision: Yuyin Li. Cette & eacute;tude d & eacute;crit la conservation d'un important mod & egrave;le en pl & acirc;tre utilis & eacute; comme & eacute;tude pr & eacute;paratoire pour l'une des figures du m & eacute;morial monumental d & eacute;di & eacute; & agrave; Franti & scaron;ek Palack & yacute; & agrave; Prague, con & ccedil;u par le c & eacute;l & egrave;bre sculpteur tch & egrave;que Stanislav Sucharda. Un des d & eacute;fis du traitement de ce moulage en pl & acirc;tre a & eacute;t & eacute; de restituer les parties manquantes. Lors des consultations entre le client et les conservateurs-restaurateurs, la pr & eacute;sentation de l'oe uvre et les approches de r & eacute;int & eacute;gration ont & eacute;t & eacute; discut & eacute;es, en mettant l'accent sur les principes de la conservation-restauration tels que l'intervention minimale, et la pr & eacute;servation des valeurs d'authenticit & eacute; et documentaire. L'utilisation des technologies modernes, telles que la photogramm & eacute;trie pour documenter le tirage final en bronze, ainsi que le traitement des donn & eacute;es par logiciel et l'impression 3D pour cr & eacute;er les parties manquantes, s'est av & eacute;r & eacute;e & ecirc;tre une solution attrayante. La m & eacute;thode choisie pour reproduire les & eacute;l & eacute;ments manquants, l'impression 3D, a r & eacute;pondu & agrave; l'exigence de r & eacute;int & eacute;gration r & eacute;versible, en employant un mat & eacute;riau discernable qui s'harmonise avec l'ensemble de l'oe uvre et du design original. L'article r & eacute;sume la r & eacute;flexion sur l'utilisation de la photogramm & eacute;trie et de l'impression 3D dans la conservation-restauration de moulages en pl & acirc;tre et expose la logique derri & egrave;re la proc & eacute;dure de travail choisie, qui combine les technologies modernes avec les techniques de restauration traditionnelles. Traduit par Monique Beno & icirc;t. Este estudo descreve a conserva & ccedil;& atilde;o de um valioso modelo de gesso usado como estudo preparat & oacute;rio para uma das figuras no memorial monumental de Franti & scaron;ek Palack & yacute; em Praga, projetado pelo renomado escultor tcheco Stanislav Sucharda. Ao conservar o molde de gesso danificado, surgiu o desafio de adicionar as partes faltantes. Em consultas entre o cliente e os conservadores, a apresenta & ccedil;& atilde;o da obra e as op & ccedil;& otilde;es para sua conclus & atilde;o foram discutidas, com foco em princ & iacute;pios de conserva & ccedil;& atilde;o como interven & ccedil;& atilde;o m & iacute;nima e preserva & ccedil;& atilde;o da autenticidade e valores documentais. O uso de tecnologias modernas, particularmente fotogrametria para documentar o molde de bronze final, juntamente com processamento de dados de software e impress & atilde;o 3D para criar as partes faltantes, provou ser uma solu & ccedil;& atilde;o atraente. O m & eacute;todo de reconstru & ccedil;& atilde;o escolhido usando impress & atilde;o 3D atendeu ao requisito de reintegra & ccedil;& atilde;o revers & iacute;vel, empregando um material distingu & iacute;vel que combinava com a modelagem do restante da obra e o design original. O artigo resume a discuss & atilde;o sobre o uso de fotogrametria e impress & atilde;o 3D na conserva & ccedil;& atilde;o de moldes de gesso e descreve a justificativa por tr & aacute;s do procedimento de trabalho escolhido, que combina tecnologias modernas com t & eacute;cnicas tradicionais de conserva & ccedil;& atilde;o. Traduzido por Beatriz Haspo. Este estudio describe la conservaci & oacute;n de un valioso modelo de yeso utilizado como estudio preparatorio para una de las figuras del monumento a Franti & scaron;ek Palack & yacute; en Praga, dise & ntilde;ado por el renombrado escultor checo Stanislav Sucharda. Al conservar el molde de yeso da & ntilde;ado, surgi & oacute; el desaf & iacute;o de agregar las partes faltantes. En las consultas entre el cliente y los conservadores, se discuti & oacute; la presentaci & oacute;n de la obra y las opciones para la reintegraci & oacute;n de faltantes, centr & aacute;ndose en los principios de conservaci & oacute;n como la m & iacute;nima intervenci & oacute;n y la preservaci & oacute;n de la autenticidad y los valores documentales. El uso de tecnolog & iacute;as modernas, en particular la fotogrametr & iacute;a para documentar la fundici & oacute;n final del bronce, junto con el procesamiento de datos por software y la impresi & oacute;n 3D para crear las piezas perdidas, demostr & oacute; ser una soluci & oacute;n atractiva. El m & eacute;todo de reconstrucci & oacute;n elegido mediante impresi & oacute;n 3D cumpl & iacute;a con el requisito de reintegraci & oacute;n reversible, empleando un material distinguible que coincid & iacute;a con el modelado del resto de la obra y el dise & ntilde;o original. El art & iacute;culo resume la discusi & oacute;n sobre el uso de la fotogrametr & iacute;a y la impresi & oacute;n 3D en la conservaci & oacute;n de modelos de yeso y describe la raz & oacute;n detr & aacute;s del procedimiento de trabajo elegido, que combina tecnolog & iacute;as modernas con t & eacute;cnicas de conservaci & oacute;n tradicionales. Traducci & oacute;n y revisi & oacute;n: David Cohen y Soledad Tancoff; revisi & oacute;n final: Amparo Rueda e Irene Delaveris.
