Benjamin A. Gilman Follow-up video
Gilman website: http://www.IIE.org/Programs/Gilman-Scholarship-Program
Preparing new canvas
Replacing the canvas of an ancient painting, as the original canvas was deteriorating rapidly. Lorenzo Casamenti demonstrates how to measure the new canvas larger so–once the painting is transferred–the new canvas can be re-stretched on a new frame.
Re-Canvasing a painting
Continuing the process of replacing the canvas of an ancient painting. Once the surface of the painting has been protected with Japanese paper, Apply vegetable glue to the back of the canvas. Place the new canvas on top of the glued black surface, and apply another layer of vegetable glue. Let dry, then remove Japanese paper with water.
Cleaning off oxidation
The shrine to to the Maria della Nova in the Chiesa Madre of Rocca Imeriale. Removing the green oxidation that has formed at the spots on this copper shrine where visitors often touch.
Accordion player in Rocca Imperiale
Listening to a traditional Italian accordion player in Rocca Imperiale, Italy. Che bella!
The Arch of Triumph, Florence
Just a few shots of the beautiful and ancient Arch of Triumph in the Piazza della Repubblica in Florence. Triumphal arches are one of the most influential and distinctive types of architecture associated with ancient Rome, often used to commemorate victorious generals or significant public events. Many arches in this style can be found around the world!
Bridge of Freedom, Venice
Crossing over the Ponte della Libertà, or “Bridge of Freedom” into Venice; this bridge is the only way on or off the main island of Venice by land! I shot the video from the train, headed into the Santa Lucia Train Station.
The Basilica of Saint Mary of Health, Venice
Floating by the Santa Maria della Salute, or the “Basilica of Saint Mary of Health”, aboard one of the many water taxis that travel up and down the Grand Canal of Venice. The basilica is a baroque style Catholic church designed by Baldassare Longhena. It was built in 1630 in respond the the outbreak of the black plague in Venice.
Preparing fresco mortar
Lorenzo Casamenti demonstrating how to create the plaster surface for fresco painting. Once the mortar (lime, sand, and water) is mixed, a thin layer of hydrated limestone is spread on top. This elongates the time that it takes the surface to dry. Fresco are made by painting on this layer (the “intonaco”) while still wet.
Preparing to detach a fresco
Using a mixture of animal glue (water soluble), cover the surface of the finished fresco. Be sure to cover the edges if the terracotta support with tape to prevent sticking when applying the canvas. Place the canvas on top, and add a layer of synthetic glue. Let this dry. Because the animals glue is water soluble, that alone will dissolve while the synthetic glue will hold, making it possible to lift the fresco from the surface of the plaster.