Too Clean to Be True

Walk into any museum restoration department and you will find two camps that rarely agree. One side wants to remove every layer of old varnish and grime until a painting looks the way it did the day it left the studio. The other side warns that stripping away centuries of darkened surface risks removing not dirt but history itself — later touches, faded colour, even small changes the artist made after stepping back to look again.

The dispute is not really about chemistry, though it is often dressed in chemical terms. It is about a harder question: does an object belong to the moment it was made, or to everything that happened to it since? A building that has stood, cracked and patched, for three centuries carries evidence of every storm and every repair. Rebuild it to its original design and you gain a structure; you lose a record of survival.

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