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

CHAPTER VII 132 D. Separate frames (fig. 29: 3-4 ) In the remainder of this chapter we list the most important joints with their main characteristics. We assess the dating of the joints in order to identify the principles of evolution. The reader is referred to the Chapter II Assembly of the panel and frame. 1. Mortise and tenon joints · The mortise and tenon, with the tenon cut square on both faces (fig. 19: 1; fig. 20 ) We found this joint in 3 cases: Antwerp, RMFA , no. 2 (Jan van Eyck, St Barbara ); Bruges, GM , no. 2 (Jan van Eyck, Portrait of Margaret van Eyck ); Tongeren, BOL , no. 2 (Anonymous, Votive Painting with the Intercession of the Virgin and with the Donor, Canon Art van Pyringhen ). · The mortise and tenon, with the tenon shoulder advanced and with a mixed cut on both sides (fig. 19: 2-3 ) We found 3 examples of this joint: Bruges, GM , no. 1 (Jan van Eyck, Virgin and Child with Canon Joris van der Paele ); Bruges, SJH , no. 7 (Anonymous, two wings with Scenes of the Invention of the Cross ); Leuven, MM , no. 1 (Brabant Anonymous, Antependium of Christ with the Instruments of the Passion ). The evolution of the joints needs to be seen in the light of the use of moulding, calling for the two pieces to meet at a 45° angle over the width of the moulding. This is achieved by mitring. The three mortise and tenon joints cited above illustrate this point of departure. Mitring was adopted already at the end of the 14th century in the