D02mc01-TE-2017_Milano, Pinacoteca Ambrosiana, Eternal in glory, inv. 688

Facilitated description: 

 

Eternal in Glory is a painting on canvas. 
The painting represents God in the clouds and around the angels. 
The painting was made in the workshop of Giulio Cesare Procacci in the mid 1600s. 
The painting is kept at the Pinacoteca Ambrosiana in Milan. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2017. 
The restoration students participated in the restoration. 
The restorers reinforced the parts of color that were coming off. 
They removed the velinatura (paper protection that serves to stop the parts of color detached). 
They cleaned the painting of dust, yellowed paint and old restorations. 
They cleaned up behind the canvas. 
They reinforced the canvas by inserting pieces of canvas and using the low-pressure diner (a special table that serves to eliminate the folds of the canvases and to strengthen the weak layers of the painting with heat).
They eliminated the plastering (plaster and glue that serves to fill the color gaps) of the old restoration because they were ruined. 
They made new grouts. 
They painted the plastering with watercolors and paint making small dashes to make the restoration recognizable.
In the end they put a product to protect the painting from the sun's rays and dust. 

 

 

 

 

Abstract of the intervention:

 

The restoration was carried out as part of an ordinary teaching project with students of the degree course in Conservation and Restoration of Cultural Heritage (a.y. 2016-2017, 2017-2018).

Restoration

The intervention began with localized consolidations of the decohesive pictorial film and with the removal of the velinatura. Subsequently, chemical cleaning was carried out to eliminate the substances overlaid on the pictorial film (coherent particulate matter, altered paint, protein residues from previous restorations). The groutings that were no longer consistent and related to previous restorations were then removed and the verse was cleaned with vacuum cleaners and brushes. The textile support has been subject to a consolidation treatment to improve the stability of the canvas and the pictorial layers with consolidating application and low pressure diner treatment. Therefore, the lack of the textile support with canvas inserts was compensated and perimeter strips were applied to facilitate the re-tensioning of the work. Finally, the surface imitation gaps were grouted, then integrated with watercolor color hatching and varnish glazing, and a double layer of protective was applied.