The Structural Conservation of Panel Paintings

crossbar arrangements, such as diagonal crosses or grids, were common

in Aragon, Catalonia, and Valencia, especially for large panels or panels

meant to be viewed as a series (Figs. 5, 6). In Valencia a single horizontal

crossbar secured the center of the panel, with additional planks radiating,

spoke fashion, above and below it. In Aragon a central vertical bar was

flanked by several symmetrical horizontal members (Sobré 1989:52).

Although reinforcements such as linen or hemp (cloth or fibers), with or

without gesso, are known in all European schools of painting, these mate-

rials are most abundant in the preparation of Spanish panels. Linen, like

hemp, can be found on both the face and the reverse of panels. When

used on the face, it is not infrequent to find the entire surface of the panel

covered, while on the reverse it is normally applied in strips to bridge a

join. Hemp cloth, similar to burlap, is used in the same way. It is also com-

mon to find coarse hemp or flax fibers (estopa), sometimes applied across

joins only and sometimes distributed in an even, multidirectional layer

over the entire face (or, indeed, reverse) of the panel prior to the applica-

tion of gesso.^6

The contracts are specific about the use ofthe additional rein-

forcements as part of the preparation of the panels for painting. In 1518

the painter Pedro Núñez signed a contract in which he promised to make

the retable of wood: “All of it will be caulked [plastecido], and the joins will

Additions to the Panels

140 Véliz

Figure 6, above

Maestro de Torá, Three Saints,rev erse. The

two donor panels are joined together by rein-

forcing crossbars (diagonal and horizontal)

nailed through from the front of the panels

prior to painting. The painted panels are fitted

together vertically bylap joins and by means

of the notched horizontal crossbars.

Figure 5, below
Maestro de Torá, Three Saints,earlyfifteenth
century. Oil on panel.