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The oldest method, known as the a massello technique, involves cutting the wall and removing a considerable part of it together with both layers of plaster and the fresco painting itself. The stacco technique, on the other hand, involves removing only the preparatory layer of plaster, called the arriccio together with the painted surface.
Archaeologists and restorers have installed scaffolding and temporary roofing will be going over the top, and plaster glue has been injected into the walls to prevent the frescoes from peeling away.
fade in colors, physical deterioration of silk and other organic materials: 65–70 °F: Physical distortion and embrittlement [24] Watercolors & Gouache: 50 ± 5%: Binder in paint can become friable [18] max 50 lux: Color fade and discoloration: 68 °F ± 2° Deterioration of binder Wood: 45–50% [25] Warping, cracking, shrinkage, swelling ...
The overall effect is layers of paint-like swaths over the whole of the ceiling or wall. He can then just walk away and let it set with care taken not too leave any globs and to make sure the corners look smooth and linear. If a wall is to be smooth and the ceiling textured, typically the wall is done first, then the ceiling after the wall has set.
Traditionally, fresco painters applied many successive layers of plaster before and during the painting process. [7] This method requires fresco painters to work quickly and with a pre-set plan. However, this is not how Leonardo worked, and for this reason, he chose a new technique of putting a mixture of oil and tempera paints onto a dry wall ...
The home of Bess of Hardwick has undergone extensive work in recent months.