The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1898-10-09
Old Paintings
Made New.
CLEVER HANDS.
A Work in Which Art and
Skill Are Combined.

The restoration, renovation or repair
ing of old paintings, or their transfer
ence to new foundations, is branch Of
art in which a composite science of me
chanical skill and possessed talent
along artistic lines is required In
other words, the picture mender must
be exceedingly ingenious, or, as some
would say, he must possess the "knack"
to adapt himself to all sorts Of condi-
lions and to meet all sorts of emergen-
cies.
Good men in this line of work are
scarce, and Worcester is fortunate in
possessing an artist who cannot only
paint good picture, but who, in ad-
dition, can restore faded pictures to
their former brilliancy mend canvases
in which ugly holes have been punched,
transfer an aged painting from a rot
ten canvas to a new and firm one, fill
up seams and cracks, and do a score
of things which to the average painter
seem well-nigh impossible.
But in spite of all this, the modest
Worcester picture restorer asserts to
The Spy man that it's easy enough.
He didn't add, IF you know how" but
it seems fitting that the line be annex
ed. This process is so simple that the
picture surgeon" has consented to tel
The Spy readers how it's done.
The studio of this artist is unique,
wholly unlike the average atelier. 1t is
an interesting studio and workshop
combined, belonging, however to a
more interesting genius. To be sure
there are pictures and sketches, and
i I Nar.tYY
esque swords an easel, model stand,
and other studio appliances; but in
addition there is a long bench Uttered
with tools Of all sorts: stool on which
clay bust is rapidly assuming form,
and a little stand, covered with cam
eos in all stages of development.
After one looks about and talks with
his entertainer, he begins TO understand
why the work is simple" to this par
ticular person. The arrangements for
controlling the light are wholly unlike
anything ever seen before, the easel
novelty, and here and there are scores
of odd little trifles which show the
character of the owner. Certainly If
the inhabitant of such den is any,
thing he is ingenious, and one would be
willing to wager that he could do any
thing-mend a watch build house,
and so on, up to picture repairing. He
tells you that he makes his own can
vas and stretchers, grinds his water
colors, and discourses on the perman-
ency of colors singly and together in a
way that bewilders. 1t is an ideal
picture hospital" just the place that
one would send for repairs a picture
that needed restoratiN or renovation,
or which had been cracked by age or
accident. or mutilated in any way or
to have a picture of special value or
great age given a new foundation.
There are two distinct branches of
this peculiar art; one IS the mending
of cracked and mutilated pictures, the
other the process of transferring. To
restore a painting which has been
cracked, a composition material is
worked in from the back, and it is
strengthened by new canvas, after
which the surface of the picture is re-
stored Oftimes much difficulty is ex-
perienced in matching the old paint
and a perfect knowledge of color blend
ing lines is one of the secrets of suc>
cess.
Transferring the paint from an old
canvas to a new one requires the ex-
perience of years to accomplish the
touch and great dexterity are requi-
sites. The rules, however, governing
this process are simple. After the pic
ture has been removed from its frame
across the surface of the painting. sew
eral pieces of light paper are securely
pasted with an adhesive which is cas-
lily removed and not affected by wa
ter. When this is completely dry the
back of the canvas is thoroughly mois-
tened, so that it may be removed
thread by thread until nothing remains
but the painting fast to the paper
new canvas is then mounted and fas-
tened to the back of The picture. When
it becomes thoroughly dry the paper is
gently removed from the surface of the
painting Retouchlng and cleansing
complete the undertaking.
The most difficult eeat to perform in
this method is to remove the paint
from wood to canvas. Here mechan-
ism plays an important part If a pic
ture is painted upon wood which shows
signs of decay, it is necessary to
transfer it at once 20 canvas in or
der to preserve it. The same mode of
procedure is observed as already ex-
planned, and the wood is planed away
at the back until it is very thin. A
circular ehisel is then used until the
white paint. which is usually the back
ground, is visible. A wet sponge and
pumice stone remove the last vestige
of the wood The canvas is then glued
to this.
The same rules are observed in re-
touching. 1t is preferable to cradle a