, 1910-04-23

OIlY "a snort JILll6 Dc1OIC IL NOuAu h"NO DOCn
ruined, SO | transferred its paint to another
canvas"
Here the witness opened up the bundle
and said, that with the permission of the
Court, he would show just what he did.
Out Of his pack first came an unmounted
canvas, Is by q inches, on each side Of
which was u piece Of heavy French plate
glass.
eff YOU please" he said, II will ask all
to be very careful in handling this picture,
for it is q Turner, and is worth more than
all the pictures in this case combined.
at is a $4,000 canvas" he added.
Using this costly model, the r~estorer de-
clarod that the first thing he did was to
remove "Near Newport from It's stretcher,
lay it fat and paste over It's surface layers
of soft paper and of muslin until he had
thus built up q substantial structure. After
this had thoroughly dried he turned over
the picture, as he bad done with his Turner,
and had nailed down the projecting edges
vi his fabric firmly to y board.
Has Secret Processes.
Il have several processes after that" he
continued, (Which | employ, some Of which
are secret. but with Near Newport | used
the same one [ am here employing. [ rub
bed off the canvas with several grades OF
sandpaper."
'.You mean you took the paint of the can
VASE" inquired Mr.. Elsner.
"No," was the answer. Il took the can
vas off the paint"
Placing before tue jury the precious Turn
or the witness pointed out That it was IN
three states. First, he had carefully cleaned
It's entire surface; had subjected 1t to the
FASTING process, and had then saudpapered
the back to such on extent that the punt
had been reached.
After he had completed this process it was
his custom to put a Glue or cement, the IN
gradients Of which are bis secret, on both the
paint and q new canvas, and after having
brought them together he placod them fora
month under q heavy weight. He then re-
moved the weight, he told the jury, mud
with u sponge and water takes of the paper
facing, leaving the cleaned surface exposed.
The transfer process, which is not so much
different from the decalcomauia ldeo IN prn-
cipIe, tends to close up the cracks which may
exist in the picture under treatment.
The witness declared that this applied
only to the smaller ones, for he closes up the
larger cracks with q preparation of mnstic,
the exact formula Of which he declined to tell
on the ground that it was his trade secret.
After that he paints over the cracks, using
as nearly as possible the same kind Of paint
as that employed originally by the artist, at
the same time using "a solvent to soften the
paint slightly and to compact it the more.
Then he vnrnishes the painting and puts
over it q mixture, also Of constituents sup
posed to be known only to himself, which
keeps the varnish from blooming.
Besides this the picture may require
o other little attentions, as did Near
Newport, which had some chrome yellow
in the sky left there by Mr.. Martin, which
had blackened.
The witness explained that he had re-
moved this discoloratiou and put in a little
better article of chrome for the sake Of the
clouds.
Much stress had been laid by the wit
nesses for the plaintiff on the fact that
the backs Of tho canvnses apparently were
treated with water stain, in order to give
to them the appearance of age.
"rhe cunva5os," explained the witness,
"wore treated with q preparation OF creosote
or oil Of tar. which keeps out the damp and
a.so animalculae, aud also the oil or paint or
turpentine used on canvases tends to darken
them Ut the back"
"After you have filed in these cracks, "
ockoi Mr. Eicnar u,voul1 If ba DocGibla foy