CHApter 2 An evolutionary perspective
34
Figure 2.23
Fra Angelico, Saint Dominic in Adoration Before the Crucifix, Convento di San Marco, Florence, Italy, c. 1438. (Conservation images courtesy of
Piero Baglioni, Center for Colloid and Interface Science, CGSI, University of Florence.)
Conservation work was carried out in the 1970s
using the Ferroni-Dini method for cleaning from
sulfatation and consolidation of frescoes. Preand post-restoration images under raking light.
According to undocumented tradition, the face of
the saint is a self-portrait of the artist, Beato
Angelico. Pre- and post-restoration under glazing
light.
Figure 2.24 Santi di Tito, The Musician Angels,15
th century. (Courtesy of Piero Baglioni, Center for Colloid and Interface Science, CGSI,
University of Florence.)
Post-restoration image; nanostructured
systems were used for conservation.
Prerestoration image.
34
Figure 2.23
Fra Angelico, Saint Dominic in Adoration Before the Crucifix, Convento di San Marco, Florence, Italy, c. 1438. (Conservation images courtesy of
Piero Baglioni, Center for Colloid and Interface Science, CGSI, University of Florence.)
Conservation work was carried out in the 1970s
using the Ferroni-Dini method for cleaning from
sulfatation and consolidation of frescoes. Preand post-restoration images under raking light.
According to undocumented tradition, the face of
the saint is a self-portrait of the artist, Beato
Angelico. Pre- and post-restoration under glazing
light.
Figure 2.24 Santi di Tito, The Musician Angels,15
th century. (Courtesy of Piero Baglioni, Center for Colloid and Interface Science, CGSI,
University of Florence.)
Post-restoration image; nanostructured
systems were used for conservation.
Prerestoration image.