When restoration of paintings, in most cases varnish. Because the coatings may subsequently change (yellowing, darkening) and eventually they have to be replaced by new ones,
top coats should be legkoudalyaemy. Should not therefore use varnish made from solid resin and fatty oils. Best restoration varnishes are prepared from resin mastic and Damaris, dissolved in volatile solvents. From the cover of varnishes are best known and disseminated paints, manufactured by the Leningrad paint and so-called Viberovskie, firms Lefranc. With access to the resin, the restorer without difficulty can itself produce varnishes. It is much safer than buying paints little tested, not tested.
In applying the varnish removed zhuhlost, leveled excessive brilliance of individual spots, and the overall picture becomes a moderate sheen. Excessive gloss produces an unpleasant impression. True, gloss lacquered surface with the passage of time fades away under the influence of the environment and comes back to normal, but still heavily lacquered painting should not be.
With operations covering lacquer paintings play an important role: the room temperature - it should be normal, better even slightly increased, humidity - the air must be dry, otherwise moisture penetrates the varnish film and, finally, the purity, which is a mandatory requirement. If the room is dusty or proximity are some sculptural materials (gypsum, alabaster), poorly insulated, the small particles that bear in the air will settle on the sticky surface of the varnish.
Paint coatings can be local (retouch individual sites) and general, when covered with the whole picture.
"technique of restoration of paintings" EV Kudryavtsev, Moscow 2002
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