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141This sample was collected from the green-colored mountains in the distant background after removal of the overpaint and degraded surface coating. The red-brown ground can be seen followed by a thin layer of green paint rich in yellow/green earth and lead white (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground.
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142This sample was collected from the green-colored leaf from the flower garland after removal of the overpaint and degraded surface coating. The red-brown ground can be seen followed by a thin layer of green paint rich in yellow/green earth and lead white with a trace of vermillion from the edge of the red flower (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground as well as a curious auto-fluorescent glaze layer between the paint and ground layers. This layer may correspond to a pigmented glaze/varnish layer that was applied to this area before the artist(s) began the painting process.
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143This sample was collected from the green-colored cushion on King Saul's throne before removal of the degraded surface coating. The red-brown ground can be seen followed by a two thin layers of paint (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground, green earth particles in the paint layers, and the thick nature of the degraded surface coating in this particular section of the painting.
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144Dr. Amanda Norbutus hosting an "Art and Science" class in front of the painting (Pictured here: Dr. Amanda Norbutus with Villanova University Students).
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145Continued with overpaint/varnish removal of top half of painting. The team began applying stable, reversible fills to areas of loss throughout the bottom section. Project featured on NPR's radio program "The Pulse."
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151Continued with overpaint/varnish removal throughout top half of painting as well as consolidation of flaking/insecure paint (Pictured here: Maggie Bearden.
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152During varnish removal, beautiful details were revealed in King Saul's face as well as the vibrant red of his cloak.
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153This area suffered from significant degrees of blanching in the varnish and darkened overpaint. During varnish removal, many of the original details were successfully recovered, including the braid that was obscured beneath the degraded varnish and the delicate details throughout the face.
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158Inert, stable fill materials were applied to areas of loss throughout the paint and ground layers.
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159Most of the losses in the paint/ground layers were located along the far left and right edges of the composition. Losses throughout the torso of the standing soldier were found to be particularly extensive as old horizontal tears in this area were not properly mended or filled during a previous restoration campaign. The team carefully removed unstable fills and old fills that were covering original paint, replacing them with a stable, inert fill material.
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