The cradle (Fig. 4) not only limited access to the splits but also
impeded the improvement of the surface alignment and adjustment of the
overall curvature of the panel. These problems were compounded by a
thick layer of wax that had been poured hot over the entire cradle and
panel, probably in the 1950s.
The wax and cradle were removed. The splits were repaired using
the Florentine wedge method, which consists of the following procedure:
First, V-shaped tracks are cut as narrowly as possible along the splits,
and wedge-shaped pieces of wood are then fitted with extreme precision
and glued into the tracks. The wood used is of the same type as the panel
and as close in age as possible. An attempt is made to match the grain
direction, cut, and even the degree of worm tunneling, so that the repair
does not exert a greater or lesser structural force within the panel. (For
examples of this technique, see Rothe and Marussich, “Florentine
Structural Stabilization Techniques,” herein.)
This controversial method was developed for a number of rea-
sons. Of course, whenever possible, simple splits that fit together well
should merely be reglued; however, in many cases they are too tight for
glue to be introduced to the full depth. As a result, they continue to move
near the paint surface, causing new fills to reopen and splits to continue to
lengthen. In the case of older splits, some are considerably more open on
one end than on the other and cannot be closed without excessive pres-
sure; in such cases,filling them with relatively large amounts ofadhesive
would become necessary. Others, because they have warped differently on
both sides of the split, have complicated surface leveling problems and
other planar distortions. And others, because of repeated treatments in the
past, are filled with wax, dirt, varnish, gesso, and organic and inorganic
adhesive residues that impede accurate regluing.
By cutting a narrow, V-shaped track, one gains full access to the
entire depth of the split while removing any extraneous material and
exposing pristine gluing surfaces for a better adhesive bond. Surface curva-
ture and level can be precisely adjusted in very short segments—even one
wedge at a time—ensuring highly controlled results. The precision of the
fit can reduce the amount ofadhesive necessary by several hundred per-
cent. By the fitting of short wedges, the faces of each segment of the
V- shaped track can be readily prepared perfectly flat, and irregular splits
can be followed with greater accuracy. Moreover, if the wood of the
wedge were to have any tendency to move differently from the panel, its
strength would be minimized by the interruption of the cell chains due to
the short lengths of the wedges: it is unlikely that individual wedges could
do more than simply follow the movements of the panel.
The controversial aspect of this method is, of course, the removal
of original material. Two factors come into play in this regard. One is the
undeniable primacy of the painted surface and its ability to function or
convey its particular pictorial meaning. The second is the contribution the
panel makes toward the overall aesthetic of the work of art as an object,
including the practical information that can be gleaned from tool marks,
dowel holes, edges, metal attachments, and so forth; this evidence can
shed light, for example, on fabrication techniques, placement within an
altarpiece, and original collocation, and it must be scrupulously respected.
These two factors must be considered together in the planning of
the extent of any structural intervention. The situation is substantially
different, however, when a panel has been thinned and cradled. AnyT N F G M 353