ABSTRACT
In 1787 François-Toussaints Hacquin proposed the use of “oil and resin-based materials” for the restoration of paintings “which would not be susceptible to being affected by humidity, and which would be more viscous”. Lebrun, on the other hand, in 1797 would criticize the transfers by Hacquin (the father) of the Saint Margaret and the Saint Michael, for their use of improper materials, such as the glue-based primings (fondi di colla) which reacted to variations in humidity.25 As the techniques were new, and one could not rely with confidence on a long tradition of professional use, attempts were made to justify the use of the new techniques through a study of the materials employed in the light of the new sciences of physics and chemistry. A study which, before being directed towards restoration, had turned its attention to the whole subject of painting technique, with experiments being made to try and find new pigments and new binding mediaxiv which would guarantee the durability of the works of genius, and would prevent their alteration [with time].
