The Structural Conservation of Panel Paintings

(Amelia) #1
For joints whose original assemblies still exist with no deterioration of
their support but which have come apart because the adhesive has deterio-
rated, a simple regluing after preliminary cleaning is indicated; such gluing
is also desirable in the case of simple fractures.
However, in treating joints and fractures that affect large or
severely and unevenly distorted boards, it may be necessary to resort to
inserting false tenons (Fig. 3).^15 In fact, the two flat surfaces pr esented by
the upper and lower parts of the false tenon allow, when the edges are
adjusted, a compensation for the difference in level between the two edges
ofthe split; this is done by the application of a piece of wood of corre-
sponding thickness to one of the false tenon’s surfaces. Additionally, this
technique provides good visibility of the work and easy access to the joints
at the time of gluing, by reducing the need for clamps and other clamping
devices. This method, which the staffof the Service de Restauration has
used for a long time, has recently evolved toward a reduction in the size

Treatment of Fractures
and Joints That Can
Be Separated

T C-R  W P S 255

Figure 2a, b, above
Salvatore Rosa, Christ Resuscitated,eighteenth
century. Reverse. Oil on panel, 109 3 96 cm.
Musée Condé, Chantilly, France. A heavy
cradle (a) that required partial removal of
elements. During the process (b), a new verti-
cal upright is shown before being placed.


Figure 3
Jean de Saint-Igny, Adoration of the Magi,seven-
teenth century. Oil on panel, 57.5 3 45.7 cm.
Musée des Beaux-Arts, Dunkerque, France.
Reassembly with false tenons of the central
joint of a panel painting.


a b

Free download pdf