The Structural Conservation of Panel Paintings

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 panel conservation techniques are directly
related to a long history of panel construction that dates to
antiquity and flourished from the Middle Ages to the Renaissance
(see Uzielli, “Historical Overview,” herein). The ingenuity and intuition
of the woodworkers of the past compensated for their lack of scientific
understanding of this complex and widely diverse material. Central Italy,
in particular, produced a large quantity of paintings on panel. Many of
them—such as the Cimabue Crucifix in the Church of Santa Croce in
Florence—were constructed to the highest standards of craftsmanship.
The early woodworkers often used techniques or methods similar to those
applied by modern-day restorers in treating panels—techniques such as
movable crossbars (Figs. 1, 2) and coats of gesso, paint, or red lead to seal
the backs ofpanels (Fig. 3). These sealants were probably applied as
humidity barriers and protection against wood-boring insects, and panels
treated in this manner have often survived better than untreated panels.
The large number of panel paintings in Italian churches and muse-
ums created the need for appropriate conservation work, particularly in
modern times. The state-run centers of Florence and Rome have become
the largest and most advanced in Italy and have generated a group of
highly qualified experts in this field. The volume of panel work that has
been executed in Florence far surpasses that of any other conservation
center in the world.

Critical History of Panel Painting


Restoration in Italy


Andrea Rothe


Figure 1, right
Fr a Angelico, Annunciation,ca. 1440. R everse.
Tempera and gold leaf on panel, 95 x 158 cm.
Convent of Montecarlo, San Giovanni
Valdarno. The original metal pin inserted
from the front of the panel, along with the
hook that latches onto it, is shown.


Figure 2, far right
Fra Angelico, Annunciation,reverse. This
detail ofthe original crossbar shows the metal
hook inserted into it and the metal wedge
that holds it in place (see Fig. 1 for the hook-
and-pin mechanism). This mechanism ensures
free lateral movement of the panel.

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