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

VII contents 2. Half-dovetail joints; the Brussels joiners’ mark 135 3. Slotted joints 138 4. Half-lap joints 142 Chapter vIII EVOLUTION OF THE MOULDINGS OF FRAMES 143 A. Frames with a single body of mouldings 144 1. Ogee 144 2. Cavetto 146 3. Cavetto with beading 146 B. Listel frames 149 C. Frames with two (or three) bodies of mouldings 150 1. Frames with cavetto moulding on the outside 150 2. Frames with ogee moulding on the outside 152 3. Frames with ovolo moulding on the outside 154 D. Other frames 155 Chapter IX ARTICULATED WORKS WITH INSTRUCTIONS FOR USE 157 Introduction 157 A. Instructions for proper handling of the hinged or otherwise articulated work 161 1. Perspective: meaningful and functional 161 2. The niche motif 164 3. Differences between the work in closed and open position 167 4. Vaulted niches or open spaces 169 B. Examples 169 1. Diptychs 169 a) Instructions on the closed diptych 170 b) Instructions on the open diptych 177 2. Articulated triptychs with three equal parts 180 3. Articulated works with complex programmes, subject to transformation 183 Chapter X MASTERS AND MASTERPIECES 191 A. The Ghent Altarpiece 187 Introduction 191 1. Panels and frames 193 a) The lower altarpiece 195 b) The upper altarpiece 197 2. Painted elements related to the duality of the altarpiece and to the articulation of the upper part 207 a) The text in the applied brocade behind the Virgin and St John the Baptist 207 b) The shadows of the frames 211 3. The gradual combining of the two altarpieces in the Vijd Chapel 213