IDIOMA TT cat CONSERVATION AND RESTORATION Delbve Beat nent of deteriorated paintings. the conservator must collec the maximum possible amount of data about the artist's lechique, malerints and the condition fe painting This rmination ofthe painting, may be made in the Inberatory under the merase an by Xray Gthor forms of radiation, Photographs ove noxally tke 1 roar wavious terhwical charac rated {patholngieal or ned) bore nnd cies the eoneorealion process. “The physionateucure af 9 paling consists of Fur lar, enc one with » arti fncuon (the support wall, pans), ennvas, paper. copper sheet, ivory te (i the prune Til) the pints and (iv) Une face coating: varnish, wa, ee “The support and the surface ofthe painting are rhe wo pars that ino fen oman ica ofthe Traditional molerals tnd for Uns purpose comply with these sequiserens. Wall paintings ave aitention, The ideal support must be physically an! ehvenvcally stable and ines, ut very fe frescoes decay becouse of dampaeas va the wall. The conservator applies soluble gals 6 the surfoes ofthe painting and these salts effloresce and discup the damaged pigment parties. Sametinnes this fe not possible and go a rane(er is corti eu The raural with Uke uppes layer of plaster is removed fear the wall and attached to another support. 228 ile Gan pane the diy asa sexaoran yarauons a os reletie bumiiy Ft aunospaers ‘yet ges fe motte conan ofthe woe Consequeiy, hi cuss dongs nine Heats balet Gl wvtc pant cannot adapt to thew changes ard besonses easly Astle AS eto, rau fom molt absorpton by th cans nt pres pn Ug plc cn be soe by sting he hui of he straps Ly insodhoning Page ods tacked by insets two) and by fang fey 10D, Kangen on insets cera ae sulcaion sith ucgiciteo sao uae forthe wentrnentof moult whieh grows onal Led aierent sone of papas Fe ey fang (onputn dark pols of moult! appear onthe use of paintings cen Be GRIF y cng and washing, bat usin be very anges in he reo wale lous, TERT driv inks such oy sepin and pasos eae