Frames and supports in 15th and 16th-century Southern Netherlandish painting

CHAPTER V 112 Fig. 64. Various suspension systems and ironwork. a. In the first case, the holes are made obliquely into the upper rail for a holding system to pass through them. This system served at times to hang the work, but also at others to prevent a work falling forwards. Anonymous, Our Lady of Grace of Cambrai , second half 16th century ( PC , no. 2 ). b. A hanging bracket covers these initial hanging/holding holes. Anonymous, The Miracle of the Holy Sacrament , second half 16th century (Kuringen, HA , no. 1 ). c-e. In the three following examples, the hanging brackets are old, but not original. The direction of the grain was unsuitable for hanging, leading to breakages and repairs. c. Anonymous, Triptych of the Last Supper , mid-16th century (?) (Bruges, OLPM , no. 7 ); d. Anonymous, Triptych of the Adoration of the Magi , mid-16th century (Bruges, SJH , no. 18 ); e. Anonymous, Triptych of the Adoration of the Magi , mid-16th century (Leuven, MM , no. 6 ). f-h. The last three examples are of original hanging brackets. Towards the mid-16th century, paintings are increasingly hung, and display original hanging brackets. f. Anonymous, Ecce Homo , first half 16th century (Bruges, SJH , no. 14 ); g. Anonymous, Triptych with Scenes from the Life of St Nicholas , 1585 (Bruges, SJH , no. 20) ; h. Pieter Claeissens the Younger, Carrying of the Cross , 1616 (Bruges, SJH , no. 21 ). a b c d e f g h