95
Another necessity for the future preservation of this singular work was the
construction of a new, stable
frame,103
to allow the tension-free mounting
of the panel and thus an appropriate stability and
presentation.104
The old,
non-original frame was far too narrow in width and slight in construction
for the 110 kg painting.
To find the ideal sight size for the frame, the dimensions of the painting
were traced on a transparent film and transferred to cardboard (fig. 60). A
CAD
drawing105
created a 1:1 model for the new frame, the basic elements
of which were prepared with a CAD/CAM milling machine. The spruce
frame was next glued together from multiple pieces of wood. The creation
of the arched top proved to be a particular technical challenge. Following
this, the profile ornament was carved with a chisel (fig. 61).
Before the application of the ground, the wood frame was coated with bone
glue. A chalk–glue ground (a 4:1 mixture of Bolognese and Champagne
chalks) and, depending on the type of gilding, yellow or in parts red bole
formed the preparation for the gilding, which was partly polished and partly
matte.106
Out of stylistic considerations related to the altarpiece, a floral
motif107
was punched on the flat surfaces. After polishing the gold, the sheen
was partially reduced with ground
pumice108
to give the frame a slightly
aged appearance. The application of an overall shellac layer offered
protection for the further working of the delicate gold. Following the
application of a varnish toned with oil paints, the patina could be built up
in multiple steps using watercolour glazes (fig. 62).
A strip of balsa wood matching the curvature of the panel was inserted in
the frame rebate to achieve the best possible surface for mounting the
painting. A
backing109
was also prepared from two layers of fabric (fig. 63).
103 Claus Grimm, Alte Bilderrahmen. Epochen – Typen – Material,
3rd ed.
Munich
1986.
104 Construction of the frame by Rudolf Hlava, and Markus Geyer; gilding: Barbara
Steiner, Markus Geyer, Rudolf Hlava and Michael Odlozil; digital editing of the
model: Michael Eder.
105 Wagner and Taschler, available at: https://www.schoenemoebel.at/ [last accessed:
30 October 2020].
106 Areas with red bole received polished gilding; areas with yellow bole receive
matte gilding executed with skin glue.
107 The motif ultimately executed was determined after numerous experiments. To
present the painting in a visually appealing way, both the choice of punchwork
design and the frame shape represented major challenges. The frame of the painting
Sacrificial Death of Marcus Curtius by Paolo Veronese (Kunsthistorisches
Museum, Picture Gallery, inv. no. 6744) served as a model for the final profile.
108 The porous, glassy volcanic rock (silicate) is used as a fine powder for intermediate
polishing (e.g. in shellac polishes) or to fill pores.
109 Cut and sewing: Michaela Kratochwil and Eva-Maria Jerabek, Textile Conservators,
Kunsthistorisches Museum.
6. FRAME AND PREPARATION
FOR FRAMING
RESURRECTION
OF CHRIST
