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Tuckpointing was a way of achieving a similar effect using cheap, unrubbed bricks; these were laid in a mortar of a matching colour (initially red, but later, blue-black bricks and mortar were occasionally used) and a fine fillet of white material, usually pipe clay or putty, pushed into the joints before the mortar set. [4]
Example of a cradled panel, mounted on the back of a painting by Aert van der Neer Example of an oak panel in its original state, the back of a Jan Davidsz. de Heem still life. Cradling is a process used in the restoration and preservation of paintings on wooden panel .
High Humidity reduces mechanical damage such as brittle paint but raises the risks of biological organisms, e.g. white efflorescence and green-to-black stains on a panel painting. [12] High Humidity also raises the risks of curving or warping of the wood over time, forcing the paint to flake off.
The ground of the painting was then removed by solvents or scraping, until nothing remained but a thin skin of colour, pasted over with paper and held together by the muslin. A prepared canvas was then attached to the back of the paint layer, using the same method as was used for lining pictures. When the glue had dried, the paper and muslin ...
For a brick structure, the panel should not be any bigger than 3' x 3'. For other masonry units, the test panel can be a little larger. It is also important to pick the right season to do the repointing. Extremely high or low temperatures can cause rapid drying which can have negative effects on the mortar, masonry units, and the structure ...
During the 18th century, new techniques were perfected for the restoration and conservation of ancient works of art, including methods of detaching fresco paintings from walls. Detachment involves separating the layer of paint from its natural backing, generally stone or brick, and can be categorized according to the removal technique used.