gradually increased. At 75% RH the panel was practically flat; it showed
some remaining spiral distortion but had gained good flexibility (Fig. 3). At
this juncture it was kept flat in a room where the RH had been stabilized
at 75%. A layer ofbeeswax and damar resin (seven parts to two) was
spread over its surface. The wax-resin was applied with a warm brush and
smoothed out with a heating spatula. After it cooled, the first 1 cm end-
gr ain layer of balsa wood was placed diagonally across the surface; then
the second was placed, overlapping the first (Fig. 4). Finally, the excess
wax-resin was wiped offafter it had been heated with warm air, and
bamboo-fiber paper was glued with the same adhesive. Oversized balsa
blocks were sawn to fit the panel. The Antwerp seal was made visible
again when an opening was cut out of the backing (Fig. 5).
The panel was gradually brought back to 50% RH. Once the fac-
ing was removed, the painted surface was cleaned and retouched (Fig. 6).
The painting was fixed in its frame with springs and returned to the
museum in Ath. In the year since, no distortion has been observed. The
balsa-wood backing provides the work with good support and excellent
protection from that environment’s significant fluctuations ofRH.368 Glatigny
Figure 2
Francken family (attrib.), Adoration of the
Magi. The panel is shown after the gluing of
the splits and joints, and before straightening.
Figure 3
Francken family (attrib.), Adoration ofthe
Magi, in a microclimate box. The panel has
been considerably straightened.