Alonso Berruguete, Reinassance Sculptor - Page 92



Figs. 72, 73 & 74 Filling, gilding, painting and incising of fills in surface.
Parts of the saint and tree trunk affected by deep cracks in the
wood were filled with a glue – and chalk-based filler. The surface
was then evened out and rendered impermeable with animal
glue, and subsequently coated with reversible watercolour,
tempera and acrylic paint. The wide cracks between the base
and the trunk were filled with araldite and a chalk-based filler.
In order to produce a harmonious aesthetic, the fills were gilded,
painted with brown watercolour, and incised with a stylus (figs
72, 73 & 74). Furthermore, gilded areas no longer retaining the
original surface as well as small, insoluble overpainted areas were
worked over with red bole, gold powder and watercolour.
The damaged and dangling, cloth-based construction of the
corner end of the loincloth was crushed to such an extent that
it had to be dampened in order to be modelled back to its
intended shape. Abraded areas of the loincloth were completed
with chalk filling, gilded and retouched using watercolour
(figs. 75 & 76).
The tree trunk, as well as tip of the loincloth, which have
watercolour-based retouchings, are covered with a protected
coating of dammar resin and turpentine oil at a ratio of 1:10.
90
Figs. 75 & 76 Restoration of damaged areas of loincloth.





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