163 Endnotes The benefits and risks have to be discussed carefully and the method is quite limited. Experience and precise investigation results on the hygroscopic behaviour are necessary. The limits of this method became evident during the application on the canvas of the purgatory. A certain shrinkage could not be prevented. 93 Due to the time intense paint consolidation of the very fragile paint layer and the limited time of annual workshops in situ on Lopud, it was decided to consolidate the paint layer at the University of Split. The painting was prepared for the transport as follows: The entire surface of the paint layer was covered with pieces of Japanese paper (10 x 10 cm), over which a saturated Cyclododecane solution in white spirit was used as a temporary consolidant. 94 see Appendix II 6 95 The surrounding threads were glued with a mixture of one volume part of 4% methylcellulose ether Methocel A4C in demineralised water and one volume part EVA copolymer dispersion Evacon-R™. 96 The method is described in detail in: Isabella Thieme, Martin Hess: Risszusammenführung und Festigung großflächiger Malschichtstauchungen an einem Leinwandgemälde. In: Zeitschrift für Kunsttechnologie und Konservierung, 13/1999, Vol. 1, pp. 55-62. 97 see Appendix II 7 98 see Appendix II 8 99 A 25% dammar solution, in a solvent mixture of 80% Shellsol T and 20% Shellsol A was applied with a square brush. The relatively high concentration was chosen to reduce the penetration of the resin to a minimum. Because of the uneven gloss and saturation of the colors, a second varnish had to be brushed on the surface the next day. This treatment was executed with a small and soft flat bristle brush. The amount of varnish was precisely chosen according to the needs of the paint layer. As a second varnish layer a 25% dammar solution, in a solvent mixture of 80% isooctane and 20% xylene was used to get an even gloss. The faster evaporation rate of this solvent mixture enabled a fast film formation and allowed to start with the retouching the next day. Dammar was used because of its well-known ageing properties – particularly in difficult climate conditions. After one year, the dammar varnish exhibited an uneven gloss and a lack of saturation in many areas. Therefore, a third thin dammar varnish layer was applied to the entire surface with a brush. The same varnish solution that was used for the first layer was applied 100 Prijatelj, Kruno, ‘’Spomenici otoka Lopuda XVII. – XVIII. stoljeća’’, in: Anali historijskog instituta u Dubrovniku. Dubrovnik, 1954, p. 390. 101 Popić Kat. 47; p. 126 102 Popić pp.160, 256 103 Sagita Mirjam Sunara; 2012 / International Conservation Workshop Lopud: Student Perspectives / INTERVIEW;in: https://www.academia.edu/1974856/2012_International_Conservation_Workshop_Lopud_Student_Perspectives_INTERVIEW 104 We owe this translation and comments to Dr. Doris Oltrogge, CICS Cologne
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