The Crucifixion

- original frame may have been preserved. Otherwise it is most likely to be a copy of the original one. This moulding is typical for works of the Cranach workshop for several decades. (The hollowed vertical and top mouldings contrasts with the flat sloped sill.)

[Heydenreich, unpublished report 04.07.2001]

Interpretetation of results in Jägers report by Gunnar Heydenreich:

Most likely the paint sample was taken from some inpainting (retouching), because:

The ‘ground’ contains kaolin, which has not been used in the Cranach workshop and

The blue paint contains Prussian blue, which was not known in the 16th century.

Thus the analysis cannot supply any further information on the painting. Nor does it allow any conclusion as to whether the painting is a later copy or not.

[Heydenreich, unpublished report, 04.07.2001]

Cross-sections examined employing microchemical tests, IR-spectroscopy, SEM and EDX

Sample 5a:

Layer sequence of the sample (from the bottom up):

Yellow: light yellow transparent layer of binding medium, a glue isolating layer

White: pure white granular, crystalline layer, ground; a siliceous bulking material (kaolin) bound in a binding medium containing protein (glue)

Yellow: thin yellowish transparent layer of binding medium, size

Black: thin paint layer, in the cross-section by larger magnification two layers were identified. The lower greenish-blue layer consists of an admixture of lead white and prussian blue, the upper layer contains bone black. There is a thin layer of varnish separating the two layers

Yellow: compact three layered application of varnish with strong and varied fluorescence in UV light (cannot be defined further)

[Report, Elizabeth Jägers, Erhard Jägers, 25.04.2001]

Beech wood

[Klein Report, 11.05.2000]