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

DEVELOPMENT OF THE CONSTRUCTION OF FRAMES 131 In one case (Antwerp, RMFA , no. 8 ) only the wings have integral frames. The frame of the central panel is a separate construction with slotted joints. In another case, both the wings and the central part have integral frames (Ghent, MFA , no. 4 ). B. Applied frames (fig. 29: 2 ) We found applied frames in 8 cases: Leuven, SP , no. 1 (Anonymous, Edelheere Triptych ); Bruges, OLPM , no. 1 (Anonymous, St Michael Slaying the Dragon, with Female Religious ); Bruges, SJH , no. 6 (Anonymous, Triptych of the Crucifixion ); Mechelen, PWC , no. 1 (Anonymous, Dance of the Virtues ); Bruges, SJH , no. 17 (Anonymous, Jesus with Martha and Mary ); Leuven, MM , no. 15 (Anonymous, Christ Appearing to the Holy Women ); Bruges, GM , no. 27 (Bruges Anonymous, painting called De Beer ); PC , no. 3 (Brabant Anonymous, Triptych of the Crucifixion ). In two triptychs, the wings have applied frames, while the central panel has a separate frame (Leuven, SP , no. 1 and Bruges, SJH , no. 6 ). A work without wings could also be given an applied frame (Bruges, OLPM , no. 1 ). In three cases, the frame applied to a panel or to a stretcher serves to maintain between it and the panel or stretcher the canvas that is the real support of the painting (Mechelen, PWC , no. 1 ; Bruges, SJH , no. 17 ; Leuven, MM , no. 15 ). The system of applied frames continues until the early 17th century. In two cases (Bruges, GM , no. 27 ; PC , no. 3 ) it is partially nailed. Here the joinery is poor, as is the painting. C. Semi-integral frames (partially integral, partially applied) The mixed system was found in 2 cases: Antwerp, RMFA , no. 3 (Jan van Eyck, Virgin at the Fountain ); Brussels, RMFAB , no. 8 (Jan Mostaert, Triptych of Albrecht Adriaensz. van Adrichem, Alderman of Haarlem ). In the work of Van Eyck (Antwerp, RMFA , no. 3 ), the part of the frame running in the direction of the grain of the wood is cut into the panel. The part running perpendicular to it is applied. This system avoids cutting the mouldings against the grain. An example of this approach is also found in two panels of the Life of Christ dating from the late 14th century, by a follower of Broederlam, preserved in the Mayer van den Bergh Museum in Antwerp ( Antwerp-Baltimore Quadriptych , inv. no. 1). Jan van Eyck also adopted this system in the Portrait of a Man ( Self Portrait? ), 1433 (London, The National Gallery, inv. no. NG222). The Mostaert triptych (Brussels, RMFAB , no. 8 ) presents a unique case, the wings having integral frames on the front and applied frames on the reverse.