The Structural Conservation of Panel Paintings

intervention follow the rule of respect for the original construction while

also providing an appropriate functionality to the support and conferring

the best stability to the paint and preparatory layers.

Diagnostic studies

With regard to the wooden construction of this painting, the current

state of preservation and the deformations present in the panel were

documented. The construction technique was analyzed and the wood

species identified.

Construction technique

The painted panel (265 3 236 cm), with three cusps in the upper part, con-

sists of a support of seven planks made of white poplar oriented with the

grain in a vertical direction and butt-joined with lime casein glue (Fig. 25).

Inside the joins, at the center of the thickness of the planks, are wooden

dowels that connect the planks. Most of the planks were obtained with

medial cuts; only the central plank was radially cut. The technique for the

painting preparation uses a cloth and a thick layer of gesso and glue; the

painting medium is egg tempera. On the upper part of the panel front,

there are also cusps superimposed on the main plank, with carved ogival

framing elements that contain, inside tondi, the figures of God the Father

and the prophets. Below, there is a small predella with inscriptions. The

work itselfrests on a larger, stepped predella, where scenes from the

Nativity are depicted.

The support is reinforced on the back by three crossbars of

poplar, placed at right angles to the panel planks and fixed with nails,

which were driven in from the front prior to the preparation and then bent

over on the back of the crossbars. The small predella at the lower edge of

the painting is made ofa board placed at a right angle to the grain of the

support and fastened with nails.

T R  P P S: S C H 335

Figure 24, below
Lorenzo Monaco, The Annunciation,1424–25.
Egg tempera on panel, 265 3 236 cm. Church
ofSanta Trinità, Florence. Photographed in
raking light.

Figure 25, below right
Lorenzo Monaco, The Annunciation. Back of
the panel photographed in raking light.