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Series editors' preface - Wood Tools

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576 Conservation of Furniture<br />

to the loss, it ensures that all restorative work<br />

is isolated from the original. Pre-varnishing also<br />

prevents ‘ghosting’, which often occurs if the<br />

area surrounding the fill is unvarnished and<br />

dust created when a fill is levelled becomes<br />

lodged in cracks and other interstices.<br />

Filler should ideally never cover original decorative<br />

surface. Fills should be reversible without<br />

damage to, and ideally have a lower<br />

modulus of compression than, the original<br />

material. The inclusion of X-ray dense barium<br />

sulphate has been suggested as a means of tagging<br />

gesso fills, although the possibility that this<br />

may obscure constructional information below<br />

should be considered (Thornton, 1991a,<br />

1991b). Unlike other compounds of barium,<br />

which are highly toxic, barium sulphate is<br />

chemically inert and may safely be used as a<br />

bulking agent (Thornton, 1998). Other<br />

approaches include the addition of a small proportion<br />

of pigment so that a restoration fill can<br />

be distinguished from adjacent original material.<br />

Documentation should include an accurate<br />

record of the extent of repair.<br />

Many conservators isolate a fill from original<br />

material using either a collagen adhesive or a<br />

synthetic. Collagens may not be easily distinguished<br />

from original material whilst synthetics<br />

may interfere with the absorptive properties of<br />

the ground. The area to be filled should be<br />

cleaned and sized to reduce porosity and<br />

ensure a good adhesive bond for the fill. A<br />

gesso type fill may be built up in stages to prevent<br />

excessive shrinkage. Dried fills can be levelled<br />

using a scalpel, with a damp swab,<br />

abrasive paper (taking care not to touch the<br />

original surface) or with a suitable solvent. Fills<br />

may be textured with tools such as scalpels or<br />

swab sticks or by pressing a mould prepared<br />

from the original surface into the fill whilst it is<br />

still slightly damp. Leaving fills untextured can<br />

be a way of ensuring that repairs are identifiable<br />

but not obtrusive. The quality of the fill<br />

defines the quality of the finished repair. No<br />

amount of expert retouching will conceal a<br />

poorly executed fill. Information on casting fills<br />

for large areas of loss can be found in section<br />

10.5.<br />

As with consolidation, adhesives in fills are<br />

usually used in dilute concentrations. Collagens<br />

have been utilized in concentrations between 2<br />

and 5%. They are easy to manipulate when wet<br />

and are easy to level after drying. Animal glue<br />

bound fillers are prone to shrinkage as they dry<br />

and are unstable if exposed to fluctuations in<br />

RH. Other adhesives such as methyl cellulose<br />

and Paraloid B72 may also be used as the<br />

binder in fills. PVALs and PVACs have been<br />

used between 5% and 15% concentration.<br />

Synthetics may provide a better adhesive bond<br />

to the substrate. A few drops of PVAC added to<br />

a collagen gesso, for example, will often<br />

improve adhesion, inhibit gelling to allow the<br />

fill to be worked longer, and may impart easier<br />

reversibility. If adding resin in this way, it is<br />

important to be aware of the overall proportion<br />

of resin in the fill after volatile solvents have<br />

evaporated. One way to conceptualize this is to<br />

consider the traditional practice of adding 10%<br />

v/v linseed oil to a natural resin varnish composed<br />

of, for example, 30% w/v resin dissolved<br />

in solvent. Although the oil composes only 10%<br />

of the varnish solution, when solvent has evaporated<br />

off the proportion of oil will in fact be<br />

25%. The same principle applies to the addition<br />

of synthetic resins to a fill mixture, which can<br />

result in an unintentionally hard fill.<br />

Small areas of woodworm damage can either<br />

be accepted or filled and retouched. In the case<br />

of a large number of exit holes, it may be desirable<br />

to clean the exit holes to a depth of one<br />

or two millimetres and fill them with a neutralcoloured<br />

filler. Though often used for wood, as<br />

a general rule the use of wax-based materials<br />

should be avoided on decorated surfaces. Care<br />

may be needed to ensure that the overall effect<br />

is in balance with the colour and appearance of<br />

the surface.<br />

Fill materials<br />

A combination of adhesive and an inert filler<br />

with the possible addition of a colorant can be<br />

used to repair losses. The adhesive component<br />

can potentially be any of the materials discussed<br />

as consolidants above. Factors that will<br />

affect the properties of fills include the degree<br />

of secondary molecular bonding between<br />

adhesive and filler, the percentage concentration<br />

of the adhesive solution and the proportion<br />

of filler that is added to it. Considerations<br />

for filling materials include how well the fill<br />

adheres to the surface, the amount of shrinkage<br />

that occurs as it dries, the elasticity of the fill,<br />

the length of time it takes to dry, how easy it is<br />

to level the dried fill and reversibility/retreatability.<br />

The flexibility of the fill should be a prop-

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