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D17mc13-CF-2017_Milano, Veneranda Biblioteca Ambrosiana, L. de Chastillon, Fontaine du Deluge et du Serpent Python, inv. 178 l
Restoration sheet

D17mc13-CF-2017_Milano, Veneranda Biblioteca Ambrosiana, L. de Chastillon, Fontaine du Deluge et du Serpent Python, inv. 178 l



Facilitated description:

 

Fontaine du Deluge et du Serpent Python is an engraving on paper. 
Engraving is the printing of an image from a matrix (metal image model). 
Louis de Chastillon made the engraving in 1680. 
The engraving represents the fountain of the deluge (great rain) and the serpent Python (winged dragon born from a deluge).
The engraving is kept at the Veneranda Biblioteca Ambrosiana in Milan and is part of the Pogliaghi collection. 
The La Venaria Reale Conservation and Restoration Centre restored the engraving in 2017. 
The restoration students participated in the restoration. 
The restorers cleaned the engraving of dust and stains. 
They filled the tears and holes with Japanese paper (very thin and light paper).
They erased the number written behind the engraving and rewrote it in front.
The missing parts were covered with dyed paper.
In the end, they washed and dried the incision.
The restorers put the ininicision under some weights to eliminate the folds. 

 

 

 

 

Abstract of the intervention:

 

The restoration was part of an ordinary teaching project on some engravings of the Pogliaghi Fund, kept at the Ambrosiana Library, which involved students in the training course on library, archival, parchment and photographic materials (degree course in Conservation and Restoration of Cultural Heritage).

Restoration

The intervention on the incision of Chastillon began with the cleaning of the recto with a micro aspirator and of the verso with brushes and scalpels to remove surface deposits, followed by a further cleaning with rubber. In agreement with the works management it was decided to delete the inventory number from the reverse and to bring it back to graffiti in smaller dimensions. After a few cleaning baths, the folds were consolidated and the tears and gaps were compensated with Japanese paper and adhesive. The chromatic additions were made with previously dyed paper. Finally, a gradual washing and drying with absorbent paper, non-acid cartons and the aid of a weight were carried out.