In addition to the universally popular butt-joined panels, dowelled
joins, butterfly la p joins, and plain lap joins have been noted (Prieto Prieto
1988:270; Marette 1961:52–53, 67–69), although sound technical studies of
Spanish panels are scarce, and the works documented so far form a largely
haphazard sample.^5
Most Spanish panels are reinforced by crossbars and additionally
by the application of canvas or vegetable fibers (such as esparto grass) and
gesso to either side or both sides ofthe panel. These materials are used in
combination or separately and will be discussed below.
It is fair to surmise that crossbars (travesaños) w ere recognised as
important to the long-termstability of the panels as they are frequently
mentioned in the contracts: “It is a condition that the painting must be on
the church’s account... and [the church] must provide the panels with
their crossbars” (García Chico 1946, vol. 2:312). “Furthermore, the wood
must be of good quality... the panels will also have good crossbars... and
[the panels] will be well fixed and maintained by them” (Madurell Marimón
1946:151). In the simplest method, crossbars on the rev erse of the panels
are fixed by nails pounded through from the face in a cross-grain direction
and clinched against the back surface of the crossbar. Very common also
was the use of dowels to hold the crossbars to the panels, sometimes in
addition to nailing. A variant of this method provides a shallowchannel in
the reverse surface of the panels that engages the crossbar (Figs. 2, 3).
The use of two to three simple crossbars is most typical of Castile
(Fig. 4). From the final third of the fourteenth century, more complexW P M A S C S 139Figure 2, above
Luis de Castilla, Crucifixion of Saint Andrew,
ca. 1530. Reverse. Oil on panel, 120 3 140 cm.
San Lorenzo el Real, Toro, Zamora, Spain. The
use of dowels to affix the crosspieces is shown.
Figure 3, above right
Anon., ca. 1580, rev erse. Oil on panel. Toledo,
Spain. A crossbar engaged in a channel across
the grain direction on the back of a pine
panel. Randomly applied hemp or flax fibers
are visible.
Figure 4
Anon., ca. 1540, reverse. Oil on pine panel.
Church of San Lorenzo, Toro, Zamora,
Spain. Heavy crossbars secure the vertically
joined pine planks. Esparto grass fibers cover
the joins.