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    Continued retouching/inpainting small areas of loss as well as larger textured fills. Began to tone larger losses throughout the upper section of the painting. Continued using silicone molds and wax-resin paste to impart texture in large areas of loss.
    timeline view   simple view
    Date: 2015-03-01
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    The team began to apply a range of base colors throughout losses in the upper section of the painting.
    timeline view   simple view
    Date: 2015-03-07
  9. 449
    Conservators often clean their palettes before moving to specific areas or colors during the retouching process (Pictured Here: Project leader Kristin deGhetaldi and volunteer Morgan Shankweiler).
    timeline view   simple view
    Date: 2015-03-12
  10. 450
    Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion in King Saul's proper left hand.
    timeline view   simple view
    Date: 2015-03-12
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    The bottom right corner of the painting had sustained considerable losses during previous restoration campaigns and may have also suffered from moisture-related damage. The conservation team spent many hours carefully reintegrating the large area of loss in this area.
    timeline view   simple view
    Date: 2015-03-19
  17. 457
    The left and right sides of the painting had sustained extensive damage from previous restoration campaigns and possibly from poor handling of the outer edges. The conservation team spent many hours carefully reintegrating the large areas of loss in this area.
    timeline view   simple view
    Date: 2015-03-19
  18. 458
    The team began to re-integrate the large loss in the bottom right corner by applying base colors and sketching perspective lines that coincided with the original layout of the tiled floor.
    timeline view   simple view
    Date: 2015-03-26
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