First the surfaces were cleaned. Where there was good attachment to the substrate, the results were satisfactory. Where there was flaking, however, cleaning was difficult due to the lack of cohesion, so the surface was first consolidated.
As part of the restoration of the copies, some repairs were made to those areas where the loss of the painting surface was so extensive that it resulted in serious aesthetic discontinuity, strikingly visible to the viewer. The repair mainly helped increase the cohesion and retention of the layers of the copy.
The materials used for the repair were gypsum, a material related to the construction technology of the fresco substrate, and acrylic filler, suitable for filling cracks due to its elasticity. Finally, where the painting surface was lost, powder pigments were used with acrylic mortar, in the same colour as the existing paint.
The work also involved the restoration of the imitation wooden structures of Evans’s reconstruction, by the use of abstract art imitating wood rather than a faithful copy. It was also considered essential that the colour should match that of the masonry, producing a visual result that does not stand out but is incorporated into the overall picture of the monument.