T
the problems encountered in the framing
of panel paintings in cases where some movement in response to
fluctuations in ambient levels of relative humidity (RH)—either in
short-term cycles or longer-term, seasonal cycles—is anticipated. The pan-
els considered here are those that can be handled without further rein-
forcement and that can accommodate some movement without buildup
of stress, as well as panels that have support systems that move with the
panel and require a rigid frame to enclose and protect them. Particularly
sensitive panels—those that are at risk from conflicting tensions in the
structure or those weakened by agents of degradation—should always
receive further structural treatment or climate-controlled enclosures.
In this article the frame itself is regarded as an auxiliary rigid sup-
port. The methods used to construct a frame for a painted panel illustrate
several principles: different materials may be employed according to avail-
ability; the panel must be able to expand, contract, and warp in response
to changes in RH; and in some instances, simple, unobtrusive modifica-
ti ons are made to the frame. The systems described here are the result of
experience gained during the fitting of panels for display in places where
the environment cannot be precisely controlled, such as in private collec-
tions, or in situations where small, unsupported panels have been prepared
for transport and display in temporary exhibitions.
The rate of response to fluctuations in RH will vary depending on
the thickness of the panel, the type ofwood, the cut of the planks from
which the panel is made, and the degree of sealing of the reverse of the
painting and the endgrain. The framing should also take into account the
amount of movement the panel is likely to produce within the range of
RH levels in a given environment, and the space for that movement should
be built into the frame rabbet.
Notably, the number of articles that discuss framing panels is rela-
tively small; this situation may reflect the fact that framing often falls out-
side the jurisdiction ofthe conservator of paintings. With the growing
popularity oflarge-scale traveling exhibitions and with their accompanying
risks, however, it is essential to review and evaluate the principles behind
framing methods—and perhaps arrive at some comprehensive guidelines.
A historical survey of the framing of panels^1 could start with inte-
gral frames, where the frame is carved from the same panel on which the
painting is executed, such as the portrait of Emperor Charles V, attributed
to the Master of the Magdalen Legend and painted at the beginning ofthe433Ian McClure
The Framing of Wooden Panels