"The real horror was the next step--lining the paintings," said Campbell. "That meant gluing the fragile, tattered originals to strong, new fabric supports. Heat and pressure were necessary to set the adhesive used for the linings. Since the paintings are nine by twenty feet, we had to construct a huge table with a vacuumpressure device and heating system, which Robert brilliantly engineered. I don't know if it's ever been done on this scale before. The larger canvases had to be heated in thirds, as there wasn't sufficient electrical power in the studio to heat an entire sheet at once. ...."

—Richard Milner, The Living Museum