The Structural Conservation of Panel Paintings

of the National Gallery and the Metropolitan that the needs of the object were allowed to prevail at every turn. The rocks and b ...

noteven visible in the new radiograph. The approximate positioning of the fragments outside the lower left and right of the oval ...

Because of the inherent weakness of any end-grain bond (espe- cially with hide glue), it was necessary to pare away only the ton ...

T   N  F  G M 347 Figure 7 Reverse of the Washington panel prior to intervention. Figu ...

Once the original poplar panel could be seen at the bottom of the cut, the panel was turned over, and the mahogany edging strip ...

During the removal of this layer, another detail came to light that substantially altered the plan for completing the lunette. A ...

at the beginning of the intervention, it became more obviously logical and efficient after the discovery ofthe unpainted tips. A ...

organic adhesive was selected because it is more easily reversible.^3 The dis- advantage of its quick setting time was minimized ...

that had retained its original surface, because the support was considered too great an aesthetic intrusion. The missing areas w ...

The cradle (Fig. 4) not only limited access to the splits but also impeded the improvement of the surface alignment and adjustme ...

aesthetic aspect or technical information contributed by the original wood surface has already been eliminated. Therefore, the d ...

Washington panel was motivated primarily by the need to find a solution that would physically protect the tips of the fragments ...

crosspieces described above functioned adequately, they were substituted with the type of secondary support first published by C ...

ity oscillations in the range of 10–15%. Essentially, the panel reacts more or less as though it were unthinned. Silica gel tile ...

The author would like to thank Keith Christiansen, Jane Wrightsman Curator for Italian Paintings at the Metropolitan Museum of A ...

T  ,dated to around 1515 and part of a retable of unknown provenance in Ulm, has been attributed to Martin Schaffner (1 ...

The reliefis composed offour vertical slab-cut boards, reversed and glued together (Marette 1961). It was reinforced with seven ...

panel had been thinned by sawing (Fig. 3). The relief, now in several pieces, had to be glued together again. As the relief was ...

the panel and the balsa, an extra piece of balsa was shaped to fill in the gap; if, on the other hand, there was a protrusion on ...

The advantage of this structure is that it allows the relief to move freely in all directions within the frame. The attachments ...