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

MASTERS AND MASTERPIECES: the ghent altarpiece 233 The recent history is well known, especially the episode of the theft of the panels in 1934, by a thief who had the delicacy to leave behind the original frames! A photograph after the theft shows that small removable crutches held together the upper and lower wings, probably for reasons of keeping the wings in good state of maintenance, but probably mainly for having the upper and lower wings rotate together, and so facilitate the sacristan’s work. f) Second half of the 20th century (fig. 118) · The 1950 restoration In 1950 the Baroque framing from 1662 and the box-frame from 1865 were removed. New frames in gilded wood were made for the central part, the earlier frames being considered in poor condition. All frames were fitted inside a new metal strapping which still exists. Each panel with its frame is encircled by a rigid cell. A large handle under the wings rotates the wings in a rigid plane, upper and lower wings together. To carry the greatly increased weight of the altarpiece, the wooden altar of 1586-1588 (?) was replaced by a masonry altar. Any space between the two altarpieces was permanently closed. Curiously, the wings of the lower altarpiece are no longer aligned with the bottom central panel, but placed higher. The reason for this option to shift the wings can be guessed by looking at the entire altarpiece, and seeing the difficulty of presenting the ensemble with the top part aligning in an acceptable manner. By cheating a little at the bottom, the upper part was slightly improved. In 1986, the polyptych was moved with its metal frame to the Villa Chapel at the western end of the cathedral, where it currently remains.