During the removal of this layer, another detail came to light that
substantially altered the plan for completing the lunette. After removal of
the alternating bands on the small fragments, it was found that the origi-
nal poplar extended beyond the painted areas at the pointed ends of the
fragments (Figs. 3, 9). It had been previously assumed that these areas had
been filled with additional scraps of old poplar, but, instead, the poplar
was continuous.
Since the curve traced by the edge of the painted surfaces of
thefragments contained the lip or barb characteristic of the perimeter
of painted panels with engaged frames, it was deduced that the tips of
the fragments had not been painted originally and were instead part of the
panel onto which the original framing elements had been affixedbefore
gessoing, as was common in the late quattrocento (Fig. 14a, b). A prelimi-
nary arrangement of all four fragments based on the convergence of lines
in various design elements showed that the unpainted tips of the small
fragments extended beyond the painted surface of the main fragment
(Fig. 15). Obviously, they could not be trimmed offbecause they were the
only evidence clarifying the original structure of the panel; instead, wood
was added around the perimeter to encompass these tips. This addition
would not be visible ultimately, because it would eventually be cropped by
the frame, but it was considered necessary, nonetheless, to protect the frag-
ments better while more clearly indicating their function. To attach the
addition, however, further alterations would have to be made to the cradle.
Since the bottom of the cradle was already altered, and the author
was also planning to alter the lobes at the left and right, altering the upper
curve as well would mean that the only undisturbed section of cradle
would be a small area in the center. In light of this new information,
retaining the cradle became a less logical alternative. After consultation
with the conservation department of the National Gallery, it was decided
to remove the entire cradle but leave the mahogany laminate attached to
the original poplar panel. Although this alternative appeared unnecessaryT N F G M 349a bFigure 14a, b
Fr ancesco di Giorgio Martini, Madonna and
Child with Angel,1474. Tempera on panel,
74.5 3 49 cm. Pinacoteca, Siena (cat. 288). The
panel and frame are integral to this work (a).
Gesso was applied continuously over the
frame and panel before gilding and painting.
The exploded view (b) of the engaged framing
elements shows that iftheywere removed, the
uncoated portion of the panel would be visi-
ble. The unpainted tips of the small fragments
in the Washington panel indicate that this was
the original method of construction.