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<p>[QUOTE=&quot;2manybooks, post: 2464475, member: 8267&quot;]The diagonal lines are caused by the canvas being a twill weave (like in denim), which can be seen on the unpainted edges as well. Most canvases used for paintings were simple tabby weaves (an even over-one under-one in both directions), but sometimes twills were used. </p><p><br /></p><p>&quot;Twill weave canvases are usually associated with the Italian School, as seen in the fabric used by Romanelli for “Moise Sauv� des Eaux” (23/10.6 threads per cm) in the 16th century, and with the English School in the 18th–19th century; but they are present in French paintings as well. In the 19th century, French artists used a variety of twill weave patterns. Cezanne painted “Nature Morte � la Soupi�re” in 1883 on twill canvas (21.5/20 threads per cm) (see <a href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html#fig6" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html#fig6" rel="nofollow">Fig. 6a</a>). Delacroix and Guigou used another twill fabric design, Delacroix for “Turc Assis sur un Divan” (30/29 threads per cm) and Guigou for “Paysage de Provence” and “La Route de la Genestre” (32/32 threads per cm) (see <a href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html#fig4" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html#fig4" rel="nofollow">Fig. 4c</a>). Francais chose a twill weave canvas for “Orph�e” 1863 (14/12 threads per cm) (see <a href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html#fig6" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html#fig6" rel="nofollow">Fig. 6b</a>).&quot;</p><p><a href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html" rel="nofollow">https://cool.culturalheritage.org/jaic/articles/jaic20-01-001.html</a></p><p><br /></p><p>The simple auxiliary support is a &quot;strainer&quot; as opposed to a stretcher, made in typical fashion with simple lap joints. Stretchers came into use in the late 18th century, but did not entirely replace strainers. They remain a low cost, if inadequate, option. [USER=602]@Aquitaine[/USER]&#039;s observation of the fasteners at the corners could be a significant clue to dating, although at the moment I cannot find good information on when staples were introduced for use in wood construction. Can you confirm how the joints are secured?[/QUOTE]</p><p><br /></p>

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