The artist preferred Canadian turpentine for thinning oil paints because of its clear, fast-drying properties.

The restorer carefully applied a small amount of Strasburgh turpentine to the varnish edge to test its solvency.

The conservator preferred Strasbourg turpentine when testing solvents, noting that the name is simply an alternative form of Strasburg turpentine.

The old painting had a faint turpentiney odor that transported me back to the artist's studio.