 The sculpture was originally gifted to the nation by Henry Moore. He wanted many of his sculptures to have an appropriate background and for this sculpture he thought the houses of parliament was an appropriate background. It's in two parts, there was a gap in between where you could see the houses of parliament and that has given a different view of parliament for anyone who's interested to see it. It's been a backdrop in hundreds of interviews of politicians on this very site and for all sorts of reasons it's a very important piece now for us and we are delighted and very happy to have it in the collection. This is wonderful isn't it, the view. The view in between is fantastic, I mean the sculpture is about the space between two forms. A patina is a chemical alteration of the surface which we can create colour from and once that's done you can seal it either using a lacquer which was done before or in our case now we're going to seal it with a wax. The patination process is a chemical process that all sculptures go through after they've been cast in the foundry and you apply chemicals to the surface and you can create a whole range of colours from blacks to greens to blues to whites. In the case of Moor sculptures they have a very pale patina with some darker areas and that is done usually using heat and cold patina applications. The time it takes is very difficult to judge and that's why we had to allow in this project an adequate time to create this surface. The one thing that Moor sculptures particularly these ones that were taken from bones and fossils and pieces of chalk are that he wanted to get that mixture of texture from smooth surfaces to rougher less reflective surfaces and he did that not only by working the surface to give that but also he then patina and coloured the surfaces so that that accentuated the difference. What I'm doing at the moment is applying a very weak solution of ferric nitrate which when the bronzes heated gives these very subtle burnt sienna colours to the surface. So with a patina like this that's so thin you really need to apply a little bit of time. When I've finished this yellow colour we'll have a subtle orange tinge to it which just gives a little bit more warmth to the surface of the bronze. The good thing about it as well is it will hide some of these marks in the surface from when the piece was cast. What we're aiming to achieve when we complete the job is to get life back into the sculpture. Moor sculptures because they're a mixture of this tooled surface and the smoother surfaces it's all to do with the play of light and so that is what we need to achieve when we finish and I'm sure now we will get there but the end of next week it'll be very good I think. It's wonderful to see it because it was looking very sad some of the patination had gone there were there was graffiti on it it looked very sad and sorry for itself and the team has been tremendous and we've seen a huge difference already and we're beginning to see what the vision that Henry Moor had for this site and for his sculpture.