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A 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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Date: 2014-12-07
The silicone mold is placed atop the wax-resin and locally applied heat is used to impart texture. Once the wax-resin has cooled, the silicone mold is peeled away revealing the textured fill beneath. (Pictured Here: Project intern Serena Vella)
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Date: 2014-12-07
Students from a local high school visited the painting to learn about traditional painting practices and the analytical techniques employed by the conservation team. In this image the students decided to "re-enact" the scene depicted in "The Triumph of David."
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Date: 2014-12-15
The Philadelphia article provides an in-depth summary of the project and the progress that the conservation team has made thus far:<br/><a target="_blank" href="http://articles.philly.com/2014-12-26/news/57398481_1_painting-chemistry-layers">Link</a>
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Date: 2014-12-15
History students at Villanova were given access to the Ruspoli Collection, providing them with exciting opportunities for research and thesis studies.(Pictured Here: Villanova Student Alexandra Stump and Dr. Timothy McCall)
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Date: 2014-12-23
Began retouching/inpainting small areas of loss as well as larger textured fills. Continued using silicone molds and wax-resin paste to impart texture in large areas of loss.
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Date: 2015-01-01
Since the completion of the 1950's restoration campaign, the painting has hung along the south wall of the Reading Room in Falvey Memorial Library.
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Date: 2013-09-01
Professional art handlers from Atelier Art Services assisted project conservators during the de-installation process. The painting together with the wooden stretcher weighs around 500 lbs. and measures approximately 12 by 20 ft. so multiple individuals are required to safely move the artwork. A temporary caged fence was built to allow visitors to visible access to the project during off-work hours.
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Date: 2013-09-01
It was important for conservators to be able to access both the front and back of the painting throughout the duration of the treatment. Four temporary wooden battens were constructed that safely supported the painting in an upright position against the East wall of the Reading Room. The construction was designed to specifically allow for temporary access to the painting's surface, enabling conservators to remove the front of each batten when it was deemed necessary. Pieces of soft Ethafoam were also used to protect the face of the painting from the battens.
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Date: 2013-09-01
<a href="http://artdaily.com/news/66144/Historic-Pietro-da-Cortona-painting-the-focus-of-collaborative-restoration-project-at-Villanova-University#.UoEQnvlJN15" target="_blank">Click here to view the article</a>
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Date: 2013-09-06