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

129 Of the 164 works presented in the catalogue section of this publication, 12 panels have lost their original frames (Antwerp, RMFA , no. 11 ; Bruges, GM , no. 6 ; Bruges, GM , 28 ; Brussels, RMFAB , no. 16 ; Brussels, RMFAB , no. 28 ; Brussels, RMFAB , no. 31 ; Leuven, MM , no. 4; Leuven, MM , no. 5 ; Leuven, SP , no. 1 ; Leuven, SP, no. 2 ; St-Truiden, S, no. 1 ; PC , no. 5 ). These are not considered in this chapter or the next on frame mouldings. The three paintings which Jef Van der Veken heavily restored and which we have included in the 164 works presented, are along the 12 panels which lack their original frames. Two off them have early frames which have been heavily adapted (Antwerp, RMFA , no. 11 ; Brussels, RMFAB , no. 33 ), and the third has a neo-gothic frame (Bruges, GM , no. 28 ). We include these paintings to draw attention to the work of this restorer who intervened to a greater or lesser extent on numberless Flemish Primitive paintings and frames. The 152 works with original frames divide up chronologically as follows: 3 works date from the late 14th century, 5 from the first half of the 15th century, 49 from the second half of the 15th century, 51 from the first half of the 16th century, 37 from the second half of the 16th century and 7 from the early 17th century. In this distribution, works dated “late 15th or early 16th century” or “around 1500” are included under the 15th century. This chapter reviews the various types of frame-support assemblies, as well as the main types of joints, followed each time with a listing of the works in which these occur. The paintings are listed using the abbreviations attributed to them in the list of works discussed which precedes the catalogue, followed by a brief identification. A more complete identification may be obtained by consulting the individual notices in the catalogue. A commentary follows each group of works formed in this way. From the point of view of their assembly with the panel, the frames examined here can be classified into various categories: cut into the panel (“integral frames”), applied frames, mixed or “semi-integral” frames (part cut into the panel, part applied) and separate frames, made of elements assembled in different ways. The distribution over time of these various frames is shown in the following table. It should be noted that triptychs can have a central panel with separate frame, while the wings have integral or applied frames. These appear under two headings, which explains why the total number of frames is greater than 152). CHAPTER VII DEVELOPMENT OF THE CONSTRUCTION OF FRAMES