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22The team continued to work intensively on the losses throughout the upper section of the painting, namely areas in the sky and architecture. Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.<br/><br/>(Pictured Here: Project intern Katie Rovito)
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24Using examples of actual Halberds housed in the Phildelphia Museum of Art as well as the Infrared Image of the upper left corner, the team was able to reconstruct the form of the Halberd as it may have originally appeared.
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25Using examples of actual Halberds housed in the Phildelphia Museum of Art as well as the Infrared Image of the upper left corner, the team was able to reconstruct the form of the Halberd as it may have originally appeared.
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27Using examples of actual Halberds housed in the Phildelphia Museum of Art as well as the Infrared Image of the upper left corner, the team was able to reconstruct the form of the Halberd as it may have originally appeared.
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29Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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30Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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32Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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34Completed Inpainting process and applied final varnish coat to the painting's surface. A backingboard was adhered to the reverse of the painting for preventive measures.
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35Finishing touches were made to remaining losses and abrasion throughout the painting.<br/><br/>(Pictured Here: Project leader Kristin deGhetaldi)
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36A foamcore backingboard was prepared and attached to the verso of the painting for preventive and protective measures. The bottom corners were padded out to provide additional support to this particular area of the canvas.<br/><br/>(Pictured Here: Project interns Katie Rovito and Claire Burns)
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37A final protective layer of saturating varnish was applied to the surface. Today conservators use reversible, synthetic varnishes that will not discolor or darken with age. (Pictured here: Project leader Kristin deGhetaldi)
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