The preparation is a mixture of equal parts of linseed oil and methylated chloroform, which is poured oyer the painting if the colours are too brittle to bear the friction of a soft brush. After remaining on the surface of the painting for a day or two, the excess of oil may be removed by means of a piece of cottonwool, or a soft brush, a fresh portion of the preservative applied, and the excess removed as before. The process must be repeated fromtime to time until the colours are firmly fixed, when the painting will bear friction, and may be submitted to the cleaning process, or varnished. It is advisable, however, to remove as much of the dirt as possible from the picture, by careful washing with soft water, previously to the application of the fixing agent. The mixture will not restore the cracks in a painting, but simply fixes the colours, and renders the painting very elastic. A mixture of one part of methylated chloroform and two of linseed oil is used for reviving the colours of paintings. A small portion is rubbed over the pictures, after washing, with cotton-wool, and on the following day the painting is wiped over with a soft silk handkerchief.

Oil and chloroform, when used in the proportion given, possess the property of restoring the faded colours of paintings, and develop colours which have perished, to the eye, by age.

Varnishing valuable Paintings.Some artists employ for new paintings white of egg as a varnish, others do not varnish their paintings for one or two years after being finished, when the colours are completely hardened and mellow. Mastic varnish is the only one which can be removed at pleasure, and for that reason is generally preferred to all others, although it is very liable to chill; that is, it becomes all over of a bluish steamy hue, which obscures the beauty of the painting, and appears disagreeable to the eye. Many circumstances contribute towards causing it to chill; for instance, varnish made from weak, unripe gum mastic and common spirits of turpentine will chill, particularly if applied on new paintings, where the grounds, oils, and colours are fresh, soft, and absorbent. In order to prevent this, if possible, employ no varnish but that made from fine, ripe gum mastic and rectified turpentine. Varnish for oil paintings, after being properly made, ought to stand for at least twelve months in large wide-mouthed glass bottles, without a cork, covering the mouth with a piece of glass, so as to admit the air, but prevent dust falling in; place the bottle so as to receive a full light, but no sun.

The light and air so change and modify the essential quality of the turpentine, that the varnish becomes elastic, clear, and brilliant, having so much improved during that time as seldom or never to chill or become steamy, and by age it loses that attraction which all new-made varnishes possess for moisture and impure exhalations. Therefore, as a preventive against varnish chilling, employ none but good old varnish; never apply it on new or old paintings until properly cleaned, and well dried from moisture; apply the varnish in a warm room, where the painting and varnish also receive a proper warmth; after the varnish is applied, let it remain until properly dry; recollecting that with all newly-painted pictures, where the grounds and colours are soft and absorbent, and where the pictures are afterwards exposed to strong, moist ex-halations, the varnishing in time will chill; but when paintings are properly cleaned and varnished, and afterwards hung up in dry rooms or galleries, there is no reason to fear their chilling.