Anticipated as well as unexpected problems and questions are chronologically described. The painting was taken into treatment for blistering of the paint film; but during the consolidation, the varnish was damaged. This as well as bad retouching gave reason for cleaning, though the wide alligator cracks had then to be tackled as well. Drying cracks appear more often in Dou's later paintings. In the cloth over the banisters, these cracks were heavily filled and retouched. All coarse retouches and all fillings were removed. Since the fillings also covered the sloping top paint layer along the drying cracks, they were not to be refilled. These irregularities in the smooth surface were accepted. Contrary to the general acceptance of pronounced drying cracks in 19th-century paintings, it was decided that the disturbing cracks in this case would be inpainted without reticence. Dou's style is considered to be that of a perfectionist, so it was felt to be essential that the drying cracks be subordinate and not distract. It is hoped the new retouches will not discolor as much as the former ones. Research by Karin Groen of the Hamilton Kerr Institute, University of Cambridge, on study of the painting technique disclosed the reasons for the drying cracks. Raymond White of the National Gallery, London, using mass spectrometry, found bituminous material in a dark brown underlayer. Research on the painting techniques and materials continues and, for comparison, the author requests any scrap of technical information on any other painting by Dou.