DOI Heft:
No. 3
DOI Artikel:Jędrzejewska, Hanna: The conservation of wall-paintings from Faras
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17161#0100
5. Structural rigid supports: the triangular intemal lattire, and the ventilation holes at the back
9. The painting is now turned face uj,, and the protecting layers are gradually removed, first
the gauze and excess of wax, then the Japanese tissue paper and the remaining wax, using
hot irons and afterwards organie solvents. The surface of the paintings has all the original une-
venness preserved and has a natural matt appearance. The paint and ground are as a rule very
wel] bound to the artificial mortar. Only occasionally smali scales or blisters need fixing with
1% PVA in ethyl alcohol. The greens have a very smali tendency to bleeding and must be handled
with great care.
10. The finał aesthetic effect given by the painting depends considerably on the kind of back-
ground and on the technical treatment of the missing parts inside the painting. The internal
losses are filled with a grainy mortar of neutral tone individually matched to each painting,
kept for smali losses on a level about „one grain of sand" lower than the surface of the painting,
and for bigger losses about 1 — 2 mm lower. In that way the repair is simply lost to the eye and
does not stick out from the surface as it happens with smooth preparations laid even with the
86
9. The painting is now turned face uj,, and the protecting layers are gradually removed, first
the gauze and excess of wax, then the Japanese tissue paper and the remaining wax, using
hot irons and afterwards organie solvents. The surface of the paintings has all the original une-
venness preserved and has a natural matt appearance. The paint and ground are as a rule very
wel] bound to the artificial mortar. Only occasionally smali scales or blisters need fixing with
1% PVA in ethyl alcohol. The greens have a very smali tendency to bleeding and must be handled
with great care.
10. The finał aesthetic effect given by the painting depends considerably on the kind of back-
ground and on the technical treatment of the missing parts inside the painting. The internal
losses are filled with a grainy mortar of neutral tone individually matched to each painting,
kept for smali losses on a level about „one grain of sand" lower than the surface of the painting,
and for bigger losses about 1 — 2 mm lower. In that way the repair is simply lost to the eye and
does not stick out from the surface as it happens with smooth preparations laid even with the
86