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

LEUVEN, M-MUSEUM 627 The stiles are flared at the back, with two recesses cut into the back arc of the upper circle. There is no trace either of hanging or of attachment to a lower surface. The weakness of the upper joints (half-lap end-to-end joint), the flaring of the stiles and the recesses in the upper part, along with the absence of any system for suspension or placing on a lower surface, allow us to assume that the work was integrated into a larger wooden structure. Given the rebated frame and its mouldings, the work can be dated around 1530. The black and gold polychromy has been redone: remains of underlying gilding on the flat black outer band. The back of the frame is also painted black. a. The irregular outline may indicate that this painting was perhaps intended as part of a larger whole. b. As often, the cut of the joint can be seen on the side. Cutting the tenon square at the back (where there was no moulding requiring a mitre), gave a stronger joint. The angling of the shoulders of the mitre is unusual and of dubious benefit in terms of stability. a b