The sun. [volume] (New York [N.Y.]) 1833-1916, 1891-11-08
LIFTING THE YELL FROM RUsEys
Restoratioa of the Return OF the Holy
Family from Ekypt."

A painting has Just been hung in one OF the
rooms devoted to the old masters in the Met
politan Museum OF Art which will attract gen.
eral interest when it's story Is known. It Is by
no means n new picture to the lovers OF art
who have freruented the museum. although 1t
has not been visible for two years. The mu-
scum has owned the painting for dozen years
or more. but those who saw it obscurely hung
on the walls OF one OF the stairways. and passed
1t with the comment that the old masters were
not what they were cracked up to be- will now
look upon 1t with surprise and admiration. 1t
was hung in an honored place last week. while
the museum was undergoing its fall cleaning,
and Gun now be seen by ALL
The painting is the Return OF the Holy
Family from Egypt" by Peter Paul Rubens.
The artist painted 1t while in the prime Of his
genius for the Church Of the Jesuits at Ant
werp He did 1t Just after painting his famous
"CrucifXion" for the cathedral Of Antwerp
and it was regarded as one OF his greatest
works. The Metropolitan Museum bought 1t
in a collection OF old masters several years
ago. Though its reputation was great.
it was an unsichtly thing. twas on wood. and
was feet 8 inches high and feet inch
es wide. The whole picture was muddy
monotone in which the figures OF Mary and
Joseph. with the infant Christ between them.
and OF God in the clouds above. were darkly
outlined. but without detail or life. There was
q lack OF color which made many observers
Rubens- The managers Of the museum were
sure of its gennineness. and some time ago
work: The face Of the painting was tempo
Wss sssSlss xh to the s sS mss
with glue perfectly soluble in water. Upon
the WAS
when the wood was removed from the back.
Then the picture was laid on rs face and the
painted. was planed OF until 9? thin a dim OF
wood was left that the paint could be dimly seen
II then snnd5p s and
There was then left bare the back surface Of
upon tho wood. This was, firmly glued to can
vas Then the canvas and tissue paper on the
eScr. did not AFFECT the painting itself. which
M as Gs aa S e E 10
place to make room for more Interesting paint
ings. and stored It out of SIGHT A.. -,,. =,
came the curator Of paintings IN the museum.
and he determipsd TO restore the painting He
brush still remained on the canvas. but that
they had been dimmed by .presumRtuous re-
sGHeher and s9Ess rs HIP
deal OF opposition from some who feared that
he h. Ct oat ods es
use alcohol. henzine. and other solvents OF
s Ms9 Of h oS Swn several sea he mo "ay
OF very laborious work to remove the material
which almost hid the great Painting; Asthe
by the results He found that during the go
Or more years since the picture was painted at
sas xss 1qt pMdsp ua
S f intsnasd ier the S ps,usss nrsss5Satsa
npo svis wart Of Inc sfea emh ae
some Of these retouchers evidently had got at
the painting nearly twn centuries age: ., ,,o
picture. and as the chemicals under his
patient rubbing wore coating after coating
meath. 1t was like the removal Of a series Of
Xe,ls or the gradual thinning OF q thick fog.
The face OF God in tho picture became ro- |
Gated before, and the disposition Of the clouds
In which the figure rested was shown to be
When the eary 'r %as @holy DISCLOSED It Was
s S The I e! j. the fases and
Met" or 1 Witch vic had Sssn Completely chanssd
ctr s was in n see go4gy
isu ifs " Conception and oolorns. L could
hardly be reeognized AS the DIM and smoky
Time and III usage lad caused the paint to |
@ il bmf he hss h ts
He did not lay brush upon any portion where
he had restored the painting to its original |
beauty. not 'retorched' il. as retouching Is |
undcrsiood. ,..,.
wealth Of color In strange contrast with the |
other old pasters In the gallery. One OF tho
It's restoration lad added many thousand dol |
lars to the value Of New iork's collection OF |