The Structural Conservation of Panel Paintings

put on sale. Collectors at that time did not want the complete altar work

(including its shrine architecture, ornamental carving, and sculpture); only

the primitive medieval paintings were of interest. For aesthetic reasons and

ease of presentation, hundreds of double-sided paintings were separated, a

H  P P C  A, G, S 205

Figure 1
Lucas Cranach the Younger, high altar of
Saint Wolfgang’s Church, Schneeberg, Saxony,

1539. Oil on panel, 285 3 99 cm. Left rigid
      wing with Lot and his daughters (reverse of
      the formerly double-sided wing) during
      restoration treatment and before retouching.
      The vertical cut in the center of the panel was
      made to delineate two parts for splitting, a
      procedure probably performed in 1712.

Figure 2

Lucas Cranach the Younger, high altar of

Saint Wolfgang’s Church. Split wing with

Crucifixion (r everse of the formerly double-

sided wing). The condition of the reverse

since 1970 and before conservation treatment

is seen. A cradle with aluminum edges of the

Italian type was mounted (see Fig. 3).

Figure 3

Lucas Cranach the Younger, high altar of

Saint Wolfgang’s Church. Split wing with the

Fall of Adam and Eve. Reverse, showing traces

of treatment since the splitting, a procedure

probably performed in 1712; traces of the saw

blade and the plane, a dark paint layer, and

traces of rasping done in 1970 to prepare the

Italian cradle can be seen (photograph taken

after conservation treatment of 1991).