Unfortunately earlier restoration teams had made attempts at restoring the frescoes in the 1930s, and employed much more crude methods in an attempt to repair some damage. In places where paint and plaster was beginning to crack, peel, and threaten to fall from the ceiling, they utilized bronze pins, varnish, and glue, which was sticky and had quickly become opaque since the time it had been applied. This kind of damage was irreversible to the fescoes and could only be painted over carefully by skilled artists. Each renaissance artist had applied slightly different approaches to the frescoes they were responsible for and as a result the restoration team needed to approach each work differently. Modern restoration techniques called for the use of polyvinylacetate resins in place of bronze pins. Places where pigments were not well adhered to the surface were secured with the use of a diluted acrylic resin
Unfortunately earlier restoration teams had made attempts at restoring the frescoes in the 1930s, and employed much more crude methods in an attempt to repair some damage. In places where paint and plaster was beginning to crack, peel, and threaten to fall from the ceiling, they utilized bronze pins, varnish, and glue, which was sticky and had quickly become opaque since the time it had been applied. This kind of damage was irreversible to the fescoes and could only be painted over carefully by skilled artists. Each renaissance artist had applied slightly different approaches to the frescoes they were responsible for and as a result the restoration team needed to approach each work differently. Modern restoration techniques called for the use of polyvinylacetate resins in place of bronze pins. Places where pigments were not well adhered to the surface were secured with the use of a diluted acrylic resin