By Rev. Pierre Pourant, W.H. Mitchell. M.A. (Translator)
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As a result, the movement of the gaps may appear in joints, for example in corner preparation layers in this direction is restrained by 20 Alteration the wood. This incompatibility leads to the forma1 tion of cross-grain cracks in the gilded ﬁnish. As Alteration of a frame can occur as a result of repair cracks form, the decorative surface becomes sus- or replacement of damaged and lost parts, mod- ceptible to ﬂaking. Loss of decorative surface often ernisation or change of use. occurs from the porous end grain of wood.
Getty Conservation Institute, 1998. pp. 100–109. 7. Martin, E. and Bergeon, S. Des bleus profonds 6. Pandolfo, A. Aspetti technici e conservative della scul- chez primitifs Italiens. Techne, 4, 1996. pp. 74–89. tura lignea policroma. Kermes, 1:1, 1988. p. , op. cit. ; Galassi, A. , Fumagalli, P. and 8. Stege, H. Out of the blue? Considerations on the early Gritti, E. Conservation and scientiﬁc examination of use of smalt as blue pigment in European easel paint- three Northern Italian gilded and painted altarpieces ing.
The cross- pp. 30, 33, Figure 31. 1470, with similar form thickness of orange bole and the same quality of and columns. , Bisacca, G. and gold leaf. The layer of azurite found in the earlier Kanter, L. Italian Renaissance frames. Exhibition layers near the lettering on the predella frieze was Catalogue. New York: Metropolitan Museum, prepared in exactly the same way as the blue areas 1990. p. 22, Figure 16. of the Virgin’s cloak. Both have an extra prepara- Tabernacle frame with similarities in form.