tion, are much more damaged along the upper margin, possibly because of fungal decay asso-
ciated with the accumulation of dust and the condensation of moisture.
35 In exceptional cases, a longitudinal distortion (bow) that increases as the MC of the wood
decreases may be produced in the panel by forces exerted by the crossbeam along the panel’s
length (Allegretti et al. 1995).
36 The terms crossbeamand battenare synonymous. Bomford and coworkers use the term cross-
batten(Bomford et al. 1989).
37 A few examples include Giotto’s Maestà and Crocifisso di Santa Maria Novella and Cimabue’s
Maestà,which still show the remains of red color; in the case of the latter, the red color rem-
nants (possibly an earth pigment) were instrumental for reconstructing the size and location of
the no-longer-existing cradle. Another example is Leonardo’s Adorazione dei Magi, which is
coated so thickly with white lead on the back face that an X-ray inspection of the artwork
proved impossible (Baldini 1992b).Allegretti, O., P. Bertini, O. Casazza, M. Fioravanti, and L. Uzielli
1995 Dimensional stability of the wooden support of a Middle Age panel painting:
Laboratory tests on the influence of the cross-beams. In Proceedings of the Conference on
Science and Technology for the Safeguard of Cultural Heritage in the Mediterranean Basin.
Organized by CNR-Catania (Italy), 27 November–2 December.Baldini, U.
1992a Dieci anni, e ancora questioni di metodo. In Prob lemi di restauro—Riflessioni e ricerche,
ed. M. Ciatti, 9–11. Florence: EDIFIR.1992b Un Leonardo inedito. Florence: Università Internazionale dell’Arte.Basile, E. I.
1990 Tecniche di costruzione e metodi di trattamento dei supporti lignei. In I supporti nelle
arti pittoriche,ed. C. Maltese, 317–419. Milan: Mursia.Bernacchioni, A. M.
1992 Le botteghe di pittura: luoghi, strutture e attività. In Maestri e botteghe—Pittura a
Firenze alla fine del Quattrocento (catalogue of the exhibition “Celebrazioni del V
centenario della morte di Lorenzo il Magnifico,” Florence, 1992–93), 23–34. Florence:
Silvana Editoriale.Bomford, D., J. Dunkerton, D. Gordon, and A. Roy.
1989 Art in the Making: Italian Painting before 1400. London: National Gallery.Bracco, P., O. Ciappi, and A. Ramat
1992 Appunti sulla pulitura dei dipinti e prime note sul restauro della Croce di Giotto di
Santa Maria Novella. In Problemi di restauro—Riflessioni e ricerche, ed. M. Ciatti, 109–23.
Florence: EDIFIR.Buck, R. D.
1962 Some applications of mechanics to the treatment of panel paintings. In Recent Advances
in Conservation,ed. G. Thomson, 156–62. London: Butterworths.1972 Some applications of rheology to the treatment of panel paintings. Studies in
Conservation(17):1–11.Cammerer, M.
1990 La cornice della “Madonna Rucellai.” In La Maestà di Ducciorestaurata, 47–55. Gli
Uffizi—Studi e recerche, no. 6. Florence: Centro Di.References
H O P-M T C I 133