"The same process would not serve for separating the parts of the impression which had been indurated by varnishes, and those where the paste had remained unmixed: it was necessary to moisten the former for some time in small compartments: when they were become sufficiently softened, the artist separated them with the blade of his knife: the others were more easily separated by moistening them with a flannel, and rubbing them slightly. It required all the address and patience of Citizen HACQUINS to leave nothing foreign to the work of the original painter: at length the outline of RAPHAEL was wholly exposed to view, and left by itself." "In order to restore a little suppleness to the painting, which was too much dried, it was rubbed all over with carded cotton imbibed with oil, and wiped with old muslin: then white lead, ground with oil, was substituted in the room of the impression made by paste, and fixed by means of a soft brush." "After being left to dry for three months, a gauze was glued on the impression made by oil; and on the latter, a fine canvas." "When this canvas was dry, the picture was detached from the table, and turned, in order to remove the _cartonnage_ from it with water; this operation being effected, the next proceeding was to get rid of the appearance of the inequalities of the surface arising from the curling up of its parts: for that purpose, the artist successively applied on the inequalities, flour-paste diluted. 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."