Then having put a
greasy paper on the moistened part, he laid a hot iron on the parts
curled up, which became level: but it was not till after he had
employed the most unequivocal signs to ascertan the suitable degree
of heat, that he ventured to come near the painting with the iron."
"It has been seen that the painting, disengaged from its impression
made by paste and from every foreign substance, had been fixed on an
impression made by oil, and that a level form had been given to the
uneven parts of its surface. This master-piece was still to be
solidly applied on a new ground: for that, it was necessary to paste
paper over it again, detach it from the temporary gauze which had
been put on the impression, add a new coat of oxyde of lead and oil,
apply to it a gauze rendered very supple, and on the latter, in like
manner done over with a preparation of lead, a raw cloth, woven all
in one piece, and impregnated, on its exterior surface, with a
resinous substance, which was to confine it to a similar canvass
fixed on the stretching-frame. This last operation required that the
body of the picture, disengaged from its _cartonnage_, or paper
facing, and furnished with a new ground, should be exactly applied to
the cloth done over with resinous substances, at the same time
avoiding every thing that might hurt it by a too strong or unequal
extension, and yet compelling every part of its vast extent to adhere
to the cloth strained on the stretching-frame.
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