The Impregnation and Lining of Paintings on a Hot Table

Abstract

THE drawbacks of ironing in lining paintings have long been realised, and several reliners are reported to be using instead hot presses much like those employed in veneer work. During 1947-48 the makeshift arrangement described in the report 1 on the treatment of 'La Haie: Landscape near ArIes' (66 X 82 cms) had to serve, but in 1948 Mr S.Reesjones, the Courtauld Institute of Art, University of London, constructed on my suggestion an electrically heated and controlled metal table specially designed for impregnation and lining. His detailed description of it follows below. It has worked most satisfactorily with a minimum of drawbacks.2 For lining with aqueous compounds the hot table will perhaps prove less convenient, because it may dry the adhesives too quickly during the work; but in wax-resin lining the hot table seems to overcome to a great extent the disadvantages of ironing. It is well known how difficult it is to apply a reasonably even layer of adhesive, and just enough of it, on a canvas that i~scool or not uniformly warm. Formerly the general practice was to apply a little too much adhesive and to squeeze out the surplus during the

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