Whether or not they are framed, large heavy panels are probably
better supported on a plinth or base rather than hung. In either case, but
certainly if they are hung, a strong, rigid frame is an advantage for the
protection of a larger panel—and not simply during handling. The panel
painting by Mengs arrived in such a frame. In contrast, the framing of the
Palmezzano was inadequate and detrimental.
When it arrived, the Palmezzano had a shallow, flimsy frame that
was hung from the panel—instead ofthe sensible reverse arrangement
that has the panel hung by its frame. The weight of both was concentrated
on the panel by screw eyes set into one of the half-round battens of oak
that made up the horizontal members of the glued lattice.
Large panels, especially, should not be hung from such reinforce-
ments, because the weight is thereby converted to internal stresses on the
panel wood. The weight of the panel, battens, and frame had put such a
torque on the surrounding panel wood that a cross-grain tear was induced.
This probably occurred slowly, over a period of years, since the thick over-
lying ground and paint layers, though broken, show considerable plastic
deformation. Larger panels should be framed sturdily and be hung from the
frame—certainly not the reverse. In consultations with the owner and pro-
fessional framers, it was determined that a more suitable frame was urgently
needed because of inherent weakness and the dangers of mishandling.
Though sufficiently strong, the rabbet ofthe Mengs frame was
not deep enough to allow for any warping movement of the panel, so that
the panel was, in fact, retained too rigidly. Before treatment this factor was
rather immaterial because the metal edge strips allowed little movement in
any direction. After conservation, though, the rabbet could be deepened,
padded, and possibly profiled where it contacted the front to allow for
inherent warp and potential movement. Rabbets shaped to the contour of
the painted surface, or camber, at the panel edges help to spread the surface
ofcontact between panel and frame, reducing localized stresses and fric-
tion. Abraded varnish and paint are more likely on larger framed panels
because of greater movement and resulting friction. Profiling may also
help aesthetically to decrease large visible gaps from the larger panels’
greater warp movement.
During transit, larger panels should be supported to minimize
the effects of weight on bending. Low-density foam may be secured
around the panel to minimize bending from weight or shock loads while
allowing some wood movement. Since a packing system can seldom con-
form to large changes in panel shape, the environment—RH, shock, and
vibration, in particular—should be controlled, especially for large, thin
panels (Mecklenburg and Tumosa 1991:190; Michalski 1991:241). For the
transport oflarger panels, reputable art professionals well versed in the
proper precautions may be preferred. They should be accompanied by a
qualified conservator, if possible.Most described treatments were done while the author was an intern spe-
cializing in panel painting conservation at the the Hamilton Kerr Institute
(HKI). Thanks go to the Getty Grant Program and to the Samuel H. Kress
Foundation, New York, for funding the internship. Other treatments were
completed while the author continued at the HKI, employed as a conser-
vator and research associate, thanks to funding by the Leverhulme Trust,Acknowledgments
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