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521
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522
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523
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524The team began 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 leader Kristin deGhetaldi and intern Katie Rovito)
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525
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526The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
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527The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
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528
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529The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
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530The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
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531
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532
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533
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534
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535The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
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536
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537The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
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538
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539
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540