The Structural Conservation of Panel Paintings

ment. Small blocks of Evazote, with the bottom edges shaped to align

with the chamfered edge of the panel, were cut. A groove was cut in the

top of the blocks to position the brass fixing strip and prevent the foam

block from accidentally falling out. The brass fixing strip was bent at a

right angle at its end to retain the block. It was then screwed to the base of

the frame addition and curved to hook over the back edge of the addition

sothat it could not be twisted out of position. These fixings were placed

toward each edge of a central plank (Fig. 9).

The structural conservation of this large painting is described elsewhere

(see Brewer, “Some Rejoining Methods,” herein). Even after an auxiliary

support in the form of battens was applied to the reverse, it was felt that

the frame should supply further support. As the weight of the panel itself

is estimated to be about 100 kg and the planks are horizontally aligned, it

was decided to modify the system designed by Ray Marchant for a painting

by Alexander Kierincx and Roelant Savery (see Marchant, “Development

of a Flexible Attached Auxiliary Support,” herein). This system would

reduce the friction between the bottom edge of the panel and the frame

by attaching roller bearings to the panel, locating them in slots in the

depth of the frame rabbet. The existing frame originally had no rabbet,

and so later additions were removed, and a new back rail, 19 cm in depth,

was made to accommodate the panel and batten system and a movement

of about 2 cm in either direction. This back rail was glued and screwed to

the back of the frame for maximum strength and painted to match the

sides of the frame. The lower ends of the four battens supporting the pic-

ture were then fitted with inserts, so that an L-shaped aluminum section

could be bolted on to support the weight of the panel when upright. A

pine spacer shaped to counter the angled edge ofthe panel due to the con-

vex warp was fitted between the base of the panel and the aluminum sec-

tion to spread the weight of the panel evenly. The L-shaped aluminum

Noli Me Tangereby

Anton Raphael Mengs

T F  W P 441

Figure 9
British school, Portrait of Elizabeth Altham,

1617. Reverse. Oil on oak panel, 79 x 63.5 cm.
      National Trust, Kingston Lacy House, Dorset,
      England. Modifications to the original frame
      are shown.