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1Completed filling and toning losses throughout the entire composition. Prepared silicone molds and wax-resin paste to impart texture in large areas of loss.
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4Completed filling and toning losses throughout the entire composition. Prepared silicone molds and wax-resin paste to impart texture in large areas of loss.
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6A clear silicone casting material was prepared before applying the silicone to the surface of the painting.
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7The silicone is applied in a thin layer over designated areas of the painting using a rubber roller and mylar. After a 24 hour period the silicone cures and can be carefully peeled away from the surface, providing a perfect reverse of craquelure patterns and brush strokes.
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8Continued using silicone molds and wax-resin paste to impart texture in large areas of loss.
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9Continued using silicone molds and wax-resin paste to impart texture in large areas of loss.
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13A mixture of pigment, waxes, and resin are made into a soft paste, that can then be applied atop large areas of loss that have already been filled with Modostuc. Once the wax-resin has dried edges of the fill can be carefully cleaned using a scalpel (Pictured Here: Project interns Keara Teeter and Serena Vella)
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14The 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.
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15The 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.
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20Villanova Chemistry Students visit the project to learn about the analytical techniques used to develop a better understanding of traditional painting materials and techniques (Pictured Here: Villanova Chemistry students with Dr. Anthony Lagalante and Dr. Amanda Norbutus).
