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This journal article describes the use of Beva 371, a 95% ethylene copolymer developed during a research project to evaluate adhesives used for consolidation of paintings and works of art. Chemical and working properties include excellent adhesion to most materials, permanent reversibility (solubility) in hydrocarbon solvents ease of application using minimum heat or pressure with or without impregnation, lack of staining or discoloration of absorbant materials, durability, elasticity (flexibility), transparency, chemical stability and lack of shrinkage. It is safe for use on textiles, paper, flaking and unfixed media (eg. pastels), soft impasto, unprimed canvas, etc. and serves a number of functions eg. consolidant, protective surface coating (eg. varnish) and use in gesso and lining preparations. Conservation treatments of the following paintings using Beva 371 are described: Marc Chagall's Paris Through the Window, William Meritt Chase's Arab Boy, a Chinese wall painting on unbaked clay, Morning by Maurice Sterne, and Untitled by Adolph Gottlieb.

IT was not uncommon in fifteenth and sixteenth century Spanish altarpiece painting to fill the gaps between the individual members of a panel with gesso instead of glueing them. Heavy cross-bars nailed to the reverse were supposed to hold the parts in their correct position. The construction was frequently reinforced by a layer of Canamo grass attached to back and front before the priming was applied. Since such joints were bound to separate-often centuries ago-owing to poor adhesion of the gesso and the stresses caused by the movement of the wood, their reassembly presents many a problem to the conservator. The difficulties are usually increased by a considerable length and thickness of the panels. At the studio of Don Jose and Ramon Gudiol Ricart, Barcelona, who specialize in ll1.ediaeval art, it was therefore considered necessary to modify the apparatus described in a previous publication * in order to lllake it fit for the treatment of this type of panel.