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47Several distracting pentimenti (original changes made by the artist that were not meant to be seen) had to be carefully suppressed using conservation paints. As seen in the x-ray and IR images, multiple changes were made to the legs and feet belonging to the group of central soliders. As oil paint can become more transparent over time these pentimenti began to become visible, giving rise to distracting, ghostly forms in the paint
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53During the team's research rip in Rome, generous colleagues provided high-resolution images of several paintings and frescoes located in and around Rome that are associated with Pietro da Cortona and his workshop. These photos served as important reference images during the reintegration of the large loss in the bottom right corner.
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54During the team's research rip in Rome, generous colleagues provided high-resolution images of several paintings and frescoes located in and around Rome that are associated with Pietro da Cortona and his workshop. These photos served as important reference images during the reintegration of the large loss in the bottom right corner.
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56During the team's research rip in Rome, generous colleagues provided high-resolution images of several paintings and frescoes located in and around Rome that are associated with Pietro da Cortona and his workshop. These photos served as important reference images during the reintegration of the large loss in the bottom right corner.
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59At the 43rd Annual AIC Meeting in Miami, project leader Kristin deGhetaldi delivered a presentation that focused on the restoration of the painting; project interns Keara Teeter and Allison Rabent presented a poster summarizing the three day process involved with x-raying the large 12 by 20 ft painting in-situ
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60Continued retouching/inpainting small areas of loss as well as larger textured fills.
