After two months of work on the back of the painting to repair and reinforce the canvas, the next stage on the road to restoration had arrived for Vive l'Empereur.

A 'strip lining' of long lengths of polyester sailcloth was attached to the reinforced tacking margin. These were ironed to all four edges using a modern heat activated adhesive, formulated specifically for such uses in conservation. The false tacking margins were then attached to a structure called a lateral tension frame, a huge aluminium loom designed to hold the painting taut. Long bolts hold an adjustable inside frame to an outer fixed frame, enabling preferential tensioning in certain areas where distortions and deformations have occurred in the canvas. When enough tension had been put on the canvas to ensure that it would not flap when moved on the frame the whole structure was lifted upright against a wall with the help of 22 students and staff.

Work could now commence on the front of the painting. The first priority was to document the condition of the paint layer including photographs that were taken as records of the treatment process. Small samples of paint from areas of pre-existing damage were taken and prepared into cross sections.

Cross-sections supply conservators with valuable information about the composition of the paint that is important to know when considering stages of treatment such as cleaning and varnish removal. Information is also gained on the technique and method of application that was used by the artist for different areas of the image. After embedding the samples in synthetic resin and grinding the blocks down until the paint chip has been reached, a microscope can then be used to investigate the composition of the layers of paint underneath the surface.

While this research was being carried out methods of re-adhering the crumbling paint in the areas of the image most badly damaged in the past were being explored. Options for a choice of adhesive was largely determined by the fact that this area had been impregnated with wax in previous attempts of restoration.

As a water-based glue would be resisted by a waxy surface a synthetic wax/resin adhesive was found to be most effective. This material was applied warm, so it could be fed though cracks in the paint surface with fine brush and then pressed down with a little heat, to ensure that the paint was secured to canvas once again.

This slow process is currently being carried out over an area of paint larger than 3m square. Once completed, the issue of 50 years of flaking paint will be finally be resolved and work may then commence to retrieve this portion of the painting that has been disfigured by water damage.