Abstract
Abstract The scientific analysis and conservation of a thirteenth‐century polychrome wood crucifix from the Victoria and Albert Museum Sculpture Collection is described. The techniques of manufacture and polychromy which includes original tin‐leaf are detailed. Where necessary, consolidation of the wood and the polychromy was carried out using isinglass and filling with polyvinyl acetate/whiting/wood‐dust. After debate raising ethical questions, the missing right hand was recreated in wood. A collaboration between scientist and conservator facilitated a sample reproduction of the tin‐leaf pattern for study.
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