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Conservation and restoration of ceramic objects is a process dedicated to the preservation and protection of objects of historical and personal value made from ceramic. Typically, this activity of conservation-restoration is undertaken by a conservator-restorer , especially when dealing with an object of cultural heritage .
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.
The Villa of P. Fannius Synistor at Boscoreale was excavated in 1900 and many of the frescoes were stripped from the walls and auctioned off. One of the more notable conservation and restoration projects has taken place at the Metropolitan Museum of Art in New York, NY, where they have restored and installed the paintings (2002-2007) from the Villa's cubiculum, or bedroom, for the new Greek ...
Additional depictions from the Second Temple Period include those on several plaster fragments from the Jewish Quarter of Jerusalem and a sundial found near the Tempe Mount, five incised menorahs on the eastern wall of Jason’s tomb in Jerusalem, two painted menorahs on the wall of a cistern in a refuge cave of Nahal Mikhmas, two ossuaries ...
A particularly fine excavated example had tesselated and mosaic floors, decorative plaster walls, and an elaborate frieze around its courtyard depicting theatrical masks, doves, pheasants, cupids, and flowers. It was not occupied for long, however, and part of it became a factory for the manufacture of horn objects.
Original frames are often considered museum objects in their own right. [3] As such, frames are subject to wear and tear in their functional roles as a protective component of the art. [4] Regular activities that require the handling of artwork and their frames, such as exhibition, storage, travel, leave the frame susceptible to damage. [4]
Offering table, plaster cast of a wooden 16th-century-BC original. In regards to furniture, the volcanic ash which engulfed the city often penetrated into the houses in large quantities and, in these layers of fine volcanic dust, produced negatives of the disintegrated wooden objects.
The choice of paint color on the walls in Victorian homes was said to be based on the use of the room. Hallways that were in the entry hall and the stair halls were painted a somber gray so as not to compete with the surrounding rooms. Most people marbleized the walls or the woodwork.