Rothe and Marussich Florentine Structural Stabilization Techniques
Figure 1: Courtesy of the Ministero per i Beni Culturali e Ambientali, Soprintendenza per i Beni
Ambientali Architettonici Artistici e Storici di Arezzo. Figures 2, 5–8: Courtesy of the authors.
Figures 3, 4, 10–12: Courtesy of The J. Paul Getty Museum, Los Angeles. Figure 9: Courtesy of
the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Gemäldegalerie.
Castelli Restoration of Panel Painting Supports
Figures 1–28: Courtesy of the Ministero per i Beni Culturali e Ambientali, Opificio delle Pietre
Dure di Firenze, Florence.
Bisacca A Nativity by Francesco di Giorgio Martini
Figures 1, 4, 5, 15, 25–33: © The Metropolitan Museum of Art, New York. Figures 2, 3, 7–13,
16–24: © 1997 Board ofTrustees, National Gallery of Art, Washington, D.C. Figures 6a–c, 14b:
© The Metropolitan Museum of Art. Drawings by Daniel Kershaw. Figure 14a: Courtesy of the
Ministero per i Beni Culturali e Ambientali, Soprintendenza per i Beni Artistici e Storici di Siena.
Lebas Cradling of a Relief Attributed to Martin Schaffner
Figures 1–5: Courtesy of the Museum für Kunst und Gewerbe, Hamburg.
Glatigny Backings of Painted Panels
Figures 1, 6: Courtesy of the Musée Athois, Ath, Belgium. Figures 2–5: Courtesy of the author.
Bobak Flexible Unattached Auxiliary Support
Figures 1–14: Courtesy ofthe author.
Marchant Development of a Flexible Attached Auxiliary Support
Figures 1–4, 6: Courtesy of the author. Figures 5, 7–18: Keirincx–Savery–Old Franks, Orpheus
Attacked by the Thracian Women[Death of Orpheus], from a private collection.
Reeve Structural Conservation of Panel Paintings at the National Gallery, London
Figures 1–13: Courtesy of the Trustees of the National Gallery, London.
Brewer Some Rejoining Methods
Figures 1–3, 5–9: Courtesy of the author. Figure 4a–b: Private collection, Scotland.
McClure Framing of Wooden Panels
Figures 1, 3, 6–8, 10–16: Courtesy of the Hamilton Kerr Institute, Fitzwilliam Museum, University
of Cambridge. Figures 4, 5, 9: Courtesy of Kingston Lacy, The Bankes Collection (The National
Trust). Figure 2: The Chapel of Our Lady and St. Margaret, Oxburgh Hall (The National Trust).
Brewer Practical Aspects
Figure 1, 4c, 13: Courtesy of the author. Figures 2, 3, 7: Courtesy of the Hamilton Kerr Insitute,
Cambridge. Figures 4a–b, 14, 16a–b, 17: The Property of the Marquess of Northhampton. Figure
5a–b: Courtesy of the Tate Gallery, London. Figure 6a–c: By kind permission of the Provost and
Scholars of King’s College, Cambridge. Figure 8a–e: Reproduction by pemission of the Syndics of
the Fitzwilliam Museum, Cambridge. (Figures 8b, 8d, 8e, photographs by Christopher Hurst.)
Figures 9a–c, 10a–b, 11a–b, 12: Courtesy of the Warden and Fellows of All Souls College, Oxford.
Figure 13: Courtesy of the J. Paul Getty Museum, Los Angeles. Figure 15: Courtesy of the
Wallraf-Richartz Museum, Cologne.
Wilmering A Renaissance Studiolo from the Ducal Palace in Gubbio
Figures 1–3, 5–19: © The Metropolitan Museum of Art, Rogers Fund, 1939 (39.153). Figure 4:
©The Metropolitan Museum of Art. Drawing by Daniel Kershaw.
Wadum Microclimate Boxes for Panel Paintings
Figures 1–3: Courtesy of the author.
Richard, Mecklenburg, and Tumosa Technical Considerations for the Transport of Panel Paintings
Figures 1–26: Courtesy of the authors.
565