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

CHAPTER I 32 115. Hollanders-Favart et al. 1975a, 431-435. ground, on a panel made not from quarter-sawn but plain-sawn boards, a rare feature which points to the regional nature of the work. Scratches are also found in Hieronymus Bosch (follower), Triptych of the Adoration of the Magi (Anderlecht, The Erasmus House) (fig. 7). The backs of 15th- and 16th-century panels are not always planed flat, or are sometimes planed only summarily. Many times they show marks of either a saw or chisel or of a broadaxe, on the originally hewn side of the tree trunk (fig. 8). Boards cut in different ways could find themselves assembled into a single panel, such as in a Life of the Magdalen attributed to Arnold Raet the Younger (Zoutleeuw, St Leonard’s Church). 115 Fig. 7. X-radiograph. Detail of Hieronymus Bosch (follower), Triptych of the Adoration of the Magi (Anderlecht, The Erasmus House).