screw, which is held by the slot of the stop plate, and is aided by the inter-
position of two convex washers and one Teflon washer (Fig. 28).
Choosing to remove the existing crossbars in this case is based on a
study of the equilibrium between the crossbars and the support planks, and
on the stability of the paint and preparatory layers. It did not seem appro-
priate to intervene with new crossbars, even if they would function better,
because of the risk of disturbing the existing equilibrium. The chosen inter-
vention—which was believed to be sufficient to guarantee the solidity of
the structure—preserved what remained of the original crossbars, limiting
the intervention to reestablishing the integrity of the support with the
repair of the cracks. This operation interrupts the circulation of the micro-
climate through the openings present between the planks, guaranteeing
greater stability. Naturally, taking appropriate precautions for the painting’s
exhibition in the church, preparing a microclimate analysis of the environ-
ment, and establishing the appropriate interventions are necessary.Restoration of the works presented here was carried out at the Opificio
delle Pietre Dure e Laboratori di Restauro by the following individuals:
Dr. Marco Ciatti, director of the work; C. Castelli, M. Parri, A. Santacesaria,
R. Buda, P. Bracco, O. Ciappi, N. Bracci, T. Cianfanelli, and M. Rosa Sailer,
restorers for the wooden supports and painting; Dr. A. Aldrovandi,
reflectography studies; Dr. A. Aldrovandi and O. Ciappi, radiography stud-
ies; C. Castelli, M. Parri, and A. Santacesaria, 35 mm photography; Sergio
Cipriani and Lamberto Cerretini, archive photos; A. Santacesaria, AutoCad
designs. I thank the many colleagues and friends who collaborated on the
work presented here—in particular, Dr. Giorgio Bonsanti, superintendent
of the OPD, Dr. Cecilia Frosinini, and Dr. Marco Ciatti for their collabora-
tion in outlining this article. Further thanks to my friends Andrea Rothe
and George Bisacca for helping with the translation from Italian.1 The use of cloth for the preparation of panel paintings is noted from 1138 (Croce di Sarzana)
until the early 1400s. This element reduces the effects of settlement and movement of the sup-
port wood, helping to preserve the preparatory and paint layers. A heavy layer of gesso and
glue several millimeters thick is added. This technique is described by Cennino Cennini in his
Libro dell’arte(ca. 1437). After this period and throughout the 1400s, cloth or parchment strips
were applied on many panel paintings in correspondence with joints, nailheads, and imperfec-
tions in the wood.Notes
Acknowledgments
338 Castelli
Figure 28
Model of the anchoring system used for the
central and lower crossbars.