When the washing is finished, the print is lifted from the water and allowed to drain for a few seconds, and is then carefully spread face downwards on a fresh sheet of heavy unglazed cardboard of the kind known as "blank." By means of a large damp brush or a delicately handled cloth, the back of the print is smoothed out so that it lies perfectly flat and even. Another sheet of cardboard is then placed on top of it, and the two sheets, with the print between them, are put away under heavy weights, such as two or three portfolios, and allowed to remain untouched for twenty-four hours or more. A good deal of dirt, and unfortunately a little colour, will generally soak out of the print and into the cardboard. When dry, the print peels neatly away from the cardboard, with its surface freshened and smoothed, sometimes almost remade. Thin, worn, or disintegrated prints are difficult to handle during these processes; when wet, they tear like damp cigarette-paper. Sometimes prints that have been damaged and skilfully mended will float away in two or three pieces upon immersion. These and other possible troubles make it advisable that the inexperienced collector venture not too boldly in trying experiments. At least let him begin on prints of no value. After the print is dry, worm-holes or tears can be mended either by patching or inlaying. Generally it is best to dampen the paper before attempting this. The simplest form of repair is to paste back of the hole a small piece of paper of the same colour as the print. A collector will have on hand a number of worthless damaged prints of various shades, out of which he cuts pieces for this purpose. Inlaying is more difficult; it involves either inserting a piece of paper cut to match the hole exactly, or inserting loose paper-pulp which is moulded to fill the hole. Both processes require more skill than the average collector can master, and are best left to the expert. Stains and spots present difficult problems. Some are superficial, and can be gradually sliced off with a very sharp thin knife--an operation that will invariably result in the ruin of the print if tried by a novice. Minute knowledge of the behaviour of the curious fibrous Japanese paper is necessary for success; the expert generally works under a glass, and prays continuously while he works. Stains that have soaked deeply into the paper are almost hopeless. Mildew discoloration is ineradicable. Grease-spots sometimes yield to ether, benzine, or other common solvents. The use of these is, however, a desperate remedy; they may spoil the print even if they remove the spot.