This panel painting (495 3 285 cm) is executed in oil on panel and was
painted around 1547–48 for the Dini Chapel in the Church of Santa
Croce in Florence.Diagnostic studies
The analyses done in preparation for the restoration of the wooden sup-
port consisted of measuring the moisture content in the wood. This was
accomplished with the aid of probes attached to the planks (other probes
measured the RH in the surrounding environment). All the probes were
connected to a computer. The aims of this survey were to establish the
relationship between the wood and the environment and to determine the
importance of the reaction of the support to variations in these values.
For this inquiry, a gauge was used that made it possible to obtain the val-
ues of the horizontal expansion with a centesimal scale.^13 For the curva-
ture, the control was simply a reference plane. Traditional photographic
documentation of the condition of each plank was carried out. Particular
attention was given to the parts of the painted surface that were affected
by such problems as lifting paint, detachment ofthe original inserts (origi-
nally placed to repair large knots), cracks, and defects in the wood. Finally,
several interesting details of the original construction technique were doc-
umented. Identification of the wood species was made with macroscopic
and microscopic studies.Construction technique
The painting, which is arched at the top (Fig. 15), was constructed without
cloth between the wood and the preparatory layers; strips of cloth are not
even found along the joins. The support consists of six planks of poplar—
more precisely, white poplar (Populus albaL.). The planks are ofaverage
size with solid and relatively straight grain.^14 The exception is the second
plank from the left (seen from the back), which presents a curvilinear
grain. The planks are of a medial cut, and the fibers are generally arranged
subradially at the edges ofeach plank, becoming tangential at the center.
Two radially cut planks that contain the pith are an exception to this char-
acteristic. Because the plank is wavy along the length, the surface level
changes from one plank face to the other—high on one side of the joint
and then high on the other side. In addition, a considerable number of
large knots, which have had a negative impact on the preparatory layers,The Deposition from the Cross
by Francesco SalviatiT R P P S: S C H 329Figure 14
Herri met de Bles, Jesus and Saint Peter on the
Water. Back ofthe panel, with the framework
for support and deformation control in place.