Restoration was formerly left wholly in the hands of the practitioner. Two significant new elements bearing on the subject are the resources of scientific laboratories and the guidance afforded by specialized art historians. It is the task of the restorer today to integrate in his work the results both of modern art criticism and of scientific research. For continued progress it is essential that the restorer preserve his autonomy. The great museums, having facilities for collaboration between art historians, restorers, and scientists, are the most favourable training ground for those who would acquire the modern outlook, but it is essential that the authorities recognize the position of the restorer in this triumvirate of interests, and regrettably this is not always the case. The author considers various possibilities for training young restorers, and especially the advantages of international planning.