Before we set about restoring an item, we conduct some research. For example, they used to apply water-soluble mineral pigments to hairpins, there is a metal core and there are braze alloys. The items are very thin, so there are a great many restrictions: you cannot heat the item or moisturize, you cannot even touch it that often. At the same time, you need to examine the whole exhibit thoroughly: metal composition, type of braze alloys used; you have to understand the manufacturing technology and establish the pigment composition. All these things are mandatory. Moreover, after your work is done, all the initial kinematics should be retained, the hairpins should not be non-functional and everything should be able to move. There are butterflies that fly, likewise moths and birds – all of them should move as originally conceived by the master. It is essential to grasp how it all worked initially a hundred years ago. Furthermore, there is a certain semantic sequence: the turning of the phoenix's head, the position of its wings. If you are not properly prepared, you can weld the elements in totally the wrong way, and this would be a total failure. That is why we have to read the appropriate literature, work with analogues, consult with curators, as they know the material far better than anyone else.