Moroni's 'Canon Ludovico di Terzi': An Unlined Sixteenth-Century Painting

David Bomford
Technical Bulletin Volume 3, 1979

Abstract

History of paintings and general discussion of lining, its advantages and disadvantages. Flattening of deformation with water and alcohol vapour on a vacuum hot table at 55 degrees celsius. Cleaning and facing, preparation for treatment. No adhesive was applied and the canvas was left without complete lining, only strip-lining of edges. Original nail holes on the corrugation of the paint surface of Canon Ludovico di Terzi were eliminated by vapour treatment on a vacuum hot table. Impregnation of the back of the canvas was not considered necessary since it was judged that the canvas was already well impregnated with old varnish, reformed by the vapour treatment.

Keywords 

lining, monofilament, paintings, supports (artists' materials), Vilene ind 8010, industrial methylated spirits

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Moroni's 'Canon Ludovico di Terzi': An Unlined Sixteenth-Century Painting, David Bomford (PDF 9.44MB)

To cite this article we suggest using

Bomford, D. 'Moroni's "Canon Ludovico di Terzi": An Unlined Sixteenth-Century Painting'. National Gallery Technical Bulletin Vol 3, pp 34–42.
http://www.nationalgallery.org.uk/technical-bulletin/bomford1979


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