Chapter 4 includes introductory discussion of Ryder's technique of applying paint and varnish; the choice of materials explains the poor condition of many of these works, and early 20th-century restoration work has compounded the problems. Dating chronology is offered but individual paintings were repainted and reworked by Ryder himself over long periods of time alterations after his death are discussed at length. Deterioration of paint, medium, and varnish makes the assessment of original appearance difficult contemporary documentation provides some clues, but artist's intent appears to have changed over the course of time. Chapters 9 and 10 touch upon the subject of the artist's reworking, his thoughts on restoration, the vandalism of cleaning, and artist's intent; by 1918 the problem of forgeries was already a major concern. Louise Fitzpatrick and Charles Melville Dewey are likely to have worked on unfinished works, but deliberate forgeries have not been limited to their efforts. Chapter 11 deals exclusively with forgeries and alterations although other chapters allude to these problems; analytical techniques used to authenticate the paintings are enumerated. See also <i>AATA</i> <b>28-2117</b>.