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not decisive and both the panel and the frame method were described by Cennini. He recommended laying a sized canvas over the prepared panel. Typically, this was done when several boards had to be joined together.17 Hence, the canvas covered the entire picture surface, on which gesso could then be applied. Caneva notes that this method was not only suited to the ink underdrawing and lead white highlights, but also served to even out imperfections in the wooden surface.18 In case ���the panels [are] not sufficiently large���, Vasari tells us that ���they are replaced by canvases on account of [their] size and convenience���.19 Stretched on a frame, size and gesso were similarly added. The surface was next coloured with a suitable earth pigment. The drawing would then be executed in the same manner on either support. Following Cennini, the artist must begin the underdrawing in charcoal, proceeding to ���shade the folds and the faces��� with a brush, before finally applying colour.20 According to Caneva, the monochrome underdrawing would easily indicate areas of light and shadow for the overpainting.21 It appears that the three fragments originally belonged to one and the same depiction of an Adoration, which further chemical analysis could confirm. It is possible Cennini, Cennino d���Andrea (c. 1370 - c. 1440) Late medieval Italian painter, who was a student of Agnolo Gaddi. He is remembered for having written The Craftsman���s Handbook (Il libro dell���arte), basically a manual for Renaissance art. In that it contains information on brushes, pigments, panel painting, the art of fresco as well as detailed instructions for underdrawings, underpainting, overpainting in egg tempera and even some remarks on painting with oil, it has been an invaluable source for both restorers and art historians. HYLAND 10