A late 18th century painting (39 cm. X 54 cm.) of the Jaipur School had the appearance of being executed in a resinous medium. Resin was not popular as a medium in ancient India. Examination gave the following results -- support: paper board of cellulose fibres; sizing: flour paste; ground: kaolin; binding medium for paint and ground: egg (not resin as appeared to be on the surface). The fol lowing pigments were identified -- black: carbon; white: kaolin; red: cinnabar; gold: gold leaf; green-grey: mixture of black and white. Varnish was not used simply as a protective coating; it served to get the proper tone and brilliance of the underlying colour. It was not possible to fix the paint, which was flaking in small bits from many places, because of the difficulty of introducing adhesive from the reverse where there was stiff, thick board support. The painting was, therefore, transferred. A facing of thin tissue paper and canvas was laid on the surface. When the card-board was being removed an outline drawing, done in deep black, similar in design to that of the painting in the front, was found on the back of the paint. On one side of the opaque, smooth kaolin ground was the picture and on the other, the newly exposed drawing. The treatment consisted in fixing the painting on two layers of tough and transparent terylene net using Polyvinyl acetate emulsion as adhesive. The painting was mounted on a perspex sheet with both sides visible.