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Using a hot table for lining paintings was a method to flatten and adhere a new lining to a painting using heat and pressure. While this method consolidates the painting, it can alter the texture and paint layers, therefore nowadays, it is implemented with caution and under strict controls if at all.

In furniture conservation, using a saw for veneer cutting was a traditional technique. The historical context shows that this could lead to losses and damage. Modern techniques utilize precision tools like laser cutters for minimally invasive intervention.

Acid baths were once a method to brighten and clean textiles, but they could damage fibers and remove historic mordants and dyes. Modern textile conservation uses pH-neutral solutions to avoid these harmful effects.

Historically, crumbs of bread were used to gently clean the surface of paintings. This method was favored for its soft and absorbent properties. Modern evaluation shows that it can leave residues and is not recommended for professional conservation.

In the 19th and early 20th centuries, the wax-resin lining was developed to reinforce the structure of canvas paintings. It involves attaching a new canvas to the original using a wax-resin adhesive. The modern evaluation is critical due to the irreversible nature and alteration of the original mechanical properties of the canvas.

Historic overpainting was a common restoration method where new paint was applied directly over the original to 'refresh' the appearance or cover damages. Today, overpainting is considered unethical and is avoided to preserve authenticity unless it is minimal and documented.

Saponification was a process of applying lime water to frescos to convert fatty acids into soap, which strengthened the paint layer. Modern conservationists rarely use this due to its unpredictable long-term effects and instead focus on less altering methods.

Mercury gilding was a process used to apply fine gold leaf to objects, which involved a mixture of mercury and gold. Due to toxicity and health concerns, this method is no longer practiced and modern gilding techniques are mercury-free.

Silver dip was a common cleaning liquid for silver artifacts, which removed tarnish quickly and effectively. However, it could also strip away historical patinas and proofs of age, so modern silver care encourages gentle polishing and safe chemical treatments.

Used on stone surfaces to remove dirt and build-up, sandblasting has fallen out of favor because it can erode original material. Modern evaluations call for gentler and more controlled cleaning methods, such as laser cleaning or chemical gels.

Dry scraping was employed to remove varnish or overpaint from paintings. This mechanical removal risks damage to the original paint layers. Conservationists now prefer to use solvent gels that limit solvent exposure and provide better control.

The use of encaustic, or wax-based paint, for consolidation of flaking paint or fragile surfaces, is a technique with ancient origins. Modern conservation may use wax selectively but often opts for synthetic resins that have more predictable aging properties.

This time-consuming method involved reassembling fragmented artifacts, one fragment at a time. Modern evaluation appreciates the painstaking detail but also recognizes the need for more scientific and holistic approaches.

Spirit varnishes, such as those made with mastics or dammar, were used historically as a protective and saturating coating for paintings. Modern conservation practice often replaces these with synthetic varnishes that have more stable characteristics and are easily reversible.

Chemical dips were used to remove tarnish and corrosion from metal artifacts. Although effective, they could also remove original patinas and surface details. Modern conservation methods are far less aggressive and focus on the preservation of the original surface as much as possible.

Historically, large fabric supports were used to restore tapestries, often covering and obscuring significant portions of the original. In modern practice, conservation aims to be minimally invasive and to keep as much of the original visible as possible.

Plaster was once a popular material for filling losses in sculptures and decorative arts. While useful for its sculptural properties, it can be too rigid and incompatible with original materials. Today’s restorers often use more flexible and reversible fill materials.

Animal glue used to be the standard adhesive for structural repairs in wooden artifacts. Due to its brittleness and sensitivity to humidity, modern conservation uses adhesives that have better aging characteristics and are reversible.

Japanese tissue paper and wheat starch paste were traditional materials used for repairing tears in paper artifacts. This technique is still respected and used today due to its gentle effectiveness, but it's now supplemented with modern conservation-grade adhesives.