The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso)

- limewood (Tilia Sp.)

- 13 vertical boards, glued butt joints

- widths seen from the reverse, from the top left to the top right: 11/9.4/11/8.1/9.7/13.7/4.5/10.4/6/8.4/9.6/8.8/7.2 cm;

from the bottom left to the bottom right: 10.3/8.6/12.1/7.5/11.2/12.8/3.9/10.4/5.4/8.5/8.9/9.6/7.8 cm

- the edge of the panel is straight; the dimensions are the original (not cropped)

- a piece of wood measuring c. 2 x 2 cm has been inserted into a damage in the panel in the area of St Erasmus' head

- the joints do not appear to have been covered with an application of canvas or fibre

- there are at least seven dowels on the reverse parallel to the top edge; all of the dowels have been cut down to the level of the panel surface and are partially covered by the ground and paint layers; their function is unknown

- there is a thin white ground application on both sides of the panel

- the barbe along the edge of the ground has been preserved on both sides; c. 1 cm from the edge of the panel

- incised lines run parallel to the barbe, the gilding extends beyond it in places, indicating that the panel was not fitted in a frame during the painting process

- lead white imprimitura

'In 1507 a Michel Tischer made the panels for an altarpiece of St Anne to be painted by Cranach (app. II, 18). This particular task can possibly be linked with the preserved predella The Fourteen Helpers in Need (c.1505/07) at Torgau.3 As with almost all panels produced between 1505 and 1510, this predella follows a characteristic production method (see p. 60, fi gs 34, 35), suggesting that Michel Tischer prepared the majority of panels used by the court painter during these years. If this is the same person as the Meister Michel Tischer who, among other things, produced doors, windows, shutters and panelling at Schloss Hartenfels between 1514 and 1517 (app. II, 63),4 then we have here some explanation as to why he always glued the planks of the early panels with the grain oriented parallel to the shorter dimension of the panel. For centuries this practice has remained in continuous use for the production of shutters, door panels and wainscoting.'

[Heydenreich 2007 A, 275]

'Only a few years later, an extensive modelling of the volumes with greyish washes preceded the ‘working up’ of the Fourteen Helpers in Need (1505/07, fig. p. 8, figs 90, 91). Compared to others, this picture is characterised by a particularly fast application of paint. The underdrawing obviously served to shorten the painting process. The white imprimatura on top of the drawing smoothes out washes, some strokes of hatching, and the outlines, resulting in a grisaille -like undermodelling.'

[Heydenreich 2007 A, 107-108]

'On the Fourteen Helpers in Need , Cranach underpainted the cloak of St Christopher with red iron oxide , red lead and vermilion (fig. 84), and the folds are defined with red iron oxide, vermilion and black paint. Shadows are deepened in black and illuminated edges are indicated with vermilion. Finally, luminosity was heightened by a red glaze applied over

large passages (D, fig. 134). In contrast the robes of St Panthaleon, the infant Christ and the angel on the verso are given shape with lead white mixed with red lake pigments (B, figs 95, 187). The underlying paint is an opaque pink, layered over with semi-transparent shades and, fi nally, translucent red glazes . A higher content of white emphasises the folds and rich red glazes accentuate the shadows. Here the specific red lake pigment used for fi nal glazing differs from that used in the underpainting (see p. 139). St Erasmus' mitre and St Dionysius' robe are again worked up in a different technique (figs 34, 95).

Here the painter achieved the velvety effect simply with red glazes over black washes of the underdrawing (A). On the reverse of the same panel, the inner lining of the robe of the angel on the left, painted with red iron oxide and lead tin yellow in yellow-red tone, demonstrates Cranach's extensive repertoire (P).'

[Heydenreich 2007 A, 185]

'Because of the high calcium content in the black background paint of the Fourteen Helpers in Need , Neelmeijer, Wagner and Schramm concluded that ivory black had been used.260 However, EDX examination of cross-sections showed that, although the black paint contains traces of white calcium salt, there is no phosphorus to indicate the presence of bone black or ivory black. There are various reasons why calcium carbonate would be present as a component of paint containing soot: it could be a residue from combustion, vestiges of calcium from the preparation process,261 or a mixture with an organic lake pigment containing chalk as an extender or substrate.262 It is also conceivable that chalk was added to the soot black , which is of small particle size, in order to improve its handling properties and/or to reduce the amount of binding medium. The addition of chalk would also improve the drying properties (see p. 133).'

[Heydenreich 2007 A, 163]

'On various works such as the Crucifixion (1503), the panel with the Fourteen Helpers in Need (c.1505/07) and the Altarpiece of the Holy Kinship (1509), hands are used to finely disperse glazes.'

[Heydenreich 2007 A, 193]

'On the panel with the Fourteen Helpers in Need (c.1505/07), the washes with a black drawing medium that model shadows create a close link between the underdrawing and the painting process (figs 90, 91). Black ink, the white imprimatura and thin, slightly translucent fl esh tones were used to create grey half shadows. No similar modelling has been observed on any other of the works examined. On this panel the light modelling was achieved either by a stippling application of paint or with softly flowing strokes of the brush without necessarily being related to the anatomical form. The paint was subtly worked up into bright pink fl esh tints or shaded to pale tones, in the latter case using azurite . On the X-radiographs it becomes particularly evident that the smooth shapes of womens' faces were highlighted by stippling the paint with a blunt bristle brush. The intended effect was achieved with a few brown and pink glazes either spread on or hatched. Last, reflections of light, very deep shadow folds and contour lines were emphasised with a pointed brush.

[Heydenreich 2007 A, 199-200]

'As already pointed out, the first layer of the fl esh was carried out in a very early stage; but the final graduation of tonal values was one of the last measures in the entire painting process (fig. 174).102 To illustrate this point, the panel with the Fourteen Helpers in Need (c.1505/07) has pink-coloured highlights that have been applied on previously painted drapery in the areas of the necks of St Cyprian and St Giles (fig. 177), while flesh tints on St Giles at the end have again been trimmed by the borderline of the paint modeling the black robe.'

[Heydenreich 2007 A, 210]

Gilding

'The gold on several panels such as the Portrait of the Wife of a Viennese Scholar (1503), the Fourteen Helpers in Need (c.1505/07) and the Holy Trinity (c.1515) was beaten to a thickness of approximately 500 nanometres (that is 0.0005

millimetres).'

[Heydenreich 2007 A, 116]

'On the Fourteen Helpers in Need (1505/07), the adhesive is a drying oil containing lead white, lead-tin yellow, chalk, ochre, copper green and vermilion .'

[Heydenreich 2007 A, 119-20]

'The practices varied in the case of matt gilding . On the panel depicting the Fourteen Helpers in Need (c.1505/07,ifig. 34), the areas that were to be mordant gilded were outlined with a stylus before the white imprimatura was applied. Several details of drapery are also marked under the gold (fig. 94). However, when applying red-brown glazes on the gilding to model the shadows, Cranach largely ignored the incisions. It was not even necessary to mark the outline for this gilding technique, since the mordant could be applied exactly to the designated areas and thus adhesion could be restricted to these surfaces.

Thus, the spandrels on the verso of the panel with the Fourteen Helpers in Need are no longer delineated with incisions.'

[Heydenreich 2007 A, 112]

'On the Fourteen Helpers in Need (c.1505/07), he gave spatial effect to the metal leaf by extensive red-brown glazing (figs 34, 187).'

[Heydenreich 2007 A, 120]

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [38]

Object No.: FR 016

Cross-section No.: EP 001

Brief description of paint: flesh paint, Christ's arm

Sample location: Reverse, flesh paint of Christ, right arm, bottom edge of the large loss, centre

Sample No.: 001

Incident light microscopy: yes

Incident light microscopy, photograph: 2 slides

UV fluorescence:

UV fluorescence photograph:

Staining test for protein:

Staining test for protein, photograph:

Staining test for oil:

Staining test for oil, photograph:

SEM/EDX: yes

SEM/EDX photograph:

Observations:

2. brownish transparent layer [Ca!! O - Pb - C - Al - Mg -] not easy to differentiate, the thickness of the layer is unclear

1. the flesh paint is almost white [Pb!! Ca C - O- Al-] with glassy transparent and glassy yellowish inclusions; pigment particles [Si!! Ca! C! Pb O] there may be a red and blue pigment particle in the centre

0. the ground is missing

Commentary: The flesh paint appears homogenous and as a single layer it is very pale, containing only a small addition of coloured pigment (blue, red). A proportion of the glassy, partially more yellowish-brown inclusions contains more silicon, calcium and noticeably more carbon (indicating that they are particles of grit) than in other areas. These inclusions only contain small amounts of calcium, therefore it is unlikely that they can be identified with the brownish discoloured lake pigments, which are found elsewhere, as these contain greater quantities of chalk (substrate). Silicon is also the principal component of the brown glaze over the flesh paint on the Princes' Altar.

Examination carried out by: EDX Frau Chistalle, Forschungszentrum Rossendorf, Heydenreich

Probenliste Heydenreich [39]

Object No.: FR 016

Cross-section No.: EP 002

Brief description of paint: green robe of the angel, pale fold

Sample location: Reverse, robe of the angel on the right, at the bottom edge

Sample No.: 002

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence:

UV fluorescence photograph:

Staining test protein:

Staining test protein, photograph:

Staining test oil:

Staining test oil, photograph:

SEM/EDX:

SEM/EDX photograph:

Observations:

4. dark brown transparent layer; varnish?

3. green layer with green, yellow white and brownish glassy pigments (an application of at least three layers, which are relatively similar in appearance); green paint from the robe; thickness c. 0.047 mm

2. thin white layer with one black pigment particle; imprimitura; thickness c. 0.008 mm

1. very thin, partially visible black layer; underdrawing

0. white layer; ground, which is increasingly transparent with a yellowish discolouring towards the top

Commentary: There may be an isolating layer over the ground, then a black underdrawing and a very thin white imprimatura. The green paint consists of at least three layers of admixtures of green, yellow, white and brownish glassy pigments.

Probenliste Heydenreich [40]

Object No.: FR 016

Cross-section No.: EP 003

Brief description of paint: green robe of the angel, dark fold

Sample location: Reverse, angel on the right, green robe, dark fold, at the bottom edge of the panel

Sample No.: 003

Incident light microscopy: yes

Incident light microscopy, photograph: yes, Schramm

UV fluorescence: yes

UV fluorescence photograph: yes, no slide

Staining test protein:

Staining test protein, photograph:

Staining test oil:

Staining test oil, photograph:

SEM/EDX: green is suitable for further analysis

SEM/EDX photograph:

Observations:

7. above black-brownish layer (slight fluorescence) can not be readily differentiated, varnish

6. a further intense green layer

5. very thin dark green-grey intermediate layer with a lot more black pigment, less green; shadow

4. grainy dark green layer (one or two ?) with green, white, single reddish brown and black pigments, no fluorescence, single green-blue pigments

3. green-white layer with bluish green and white pigments; light green undermodelling

2. very thin white layer, partially white-green without a clear separation from layer 3, minimal fluorescene, presumably imprimatura

1. very thin black layer, not continuous; underdrawing

0. white layer with a less glassy surface; ground; fluorescence increasing towards the top

Commentary: The underdrawing is only partially visible as a layer, above this is the imprimatura. The undermodelling of the robe is executed in light green although this is a sample from the shadow of the fold. The green paint was applied in a number of layers (at least 5) dark green with a proportion of green, black and white pigment. On the surface there is a thin fluorescing isolating layer and a thicker coating layer.

Probenliste Heydenreich [42]

Object No.: FR 016

Cross-section No.: EP 005

Brief description of paint: white handkerchief

Sample location: Reverse, angel on the left, white handkerchief, lighter side, bottom edge of the loss

Sample No.: 005

Incident light microscopy: yes (Schramm)

Incident light microscopy, photograph: yes (Schramm), slide

UV fluorescence: yes

UV fluorescence photograph: yes (Schramm)

Observations:

1. pale grey layer (white, black and blue pigments)

0. white ground

Commentary: no grey undermodelling, PIXE-analysis was carried out in this area [Pb!, Cu!, C!, Ca, K, Fe, Mn, Ti, Sr], Interpretation: 'lead white on (ivory)black [?] containing azurite" is doubtful

Probenliste Heydenreich [43]

Object No.: FR 016

Cross-section No.: EP 006

Brief description of paint: red robe of the angel

Sample location: Reverse, angel on the left, red robe, bottom edge of the large loss

Sample No.: 006

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence photograph: yes

Observations:

• 3. Varnish

• 2. light red layer, white and intensive red, lake-like pigments, the red particles appear red to orange-red in UV

• 1. white mprimitura

• 0. white ground

Commentary: The red lake should be analysed further

Probenliste Heydenreich [47]

Object No.: FR 016

Cross-section No.: EP 010

Brief description of paint: flesh paint of Christ with traces of red blood

Sample location: Reverse, flesh paint of Christ, from the stomach with traces of blood, bottom edge missing

Sample No.: 010

Incident light microscopy: yes

Incident light microscopy, photograph: yes (Schramm), no slide, partially coated

UV fluorescence: yes

UV fluorescence, photograph: yes (Schramm)

SEM/EDX: yes, Rossendorf, Fr. Chistalle, DSM 962 (Zeiss)

Observations:

3. indifferent varnish layer

2. red layer [Al, S, Ca, Pb] in the red particles [Al!, Pb!?, (S)] - traces of blood

1. white layer - lead white [Pb!, Al, Ca] with glassy inclusions, thes appear to contain lighter elements in SEM [Pb (S also possible)!!, Al!, K!,] - Flesh paint, the glassy inclusions only differ in a slightly higher concentration of Al and as such are not the same as in EP 001

0. white ground [Ca!, (Pb), at the bottom only Ca!] - could indicate a drying oil?

Commentary:

- the glassy inclusions in the flesh paint are not yet understood, further examination would be useful

- the componenents of the red lake are not yet clear: the particles appear darker than less heavy elements in SEM whereas as the surrounding material is lighter, in other words a heavier material, which may result from a medium containing lead (siccative?). In one particle there appears to be a higher sulphur content? - Interaction with lead? otherwise lead , aluminium and calcium are represented in the particles (substrate?). In comparison there appears to be considerably more aluminium in the sample from St Chrisopher's robe.

- PIXE-analysis also detected Sn, so lead tin yellow was presumably also employed?

Probenliste Heydenreich [48]

Object No.: FR 016

Cross-section No.: EP 011

Brief description of paint: flesh paint of Christ, thigh

Sample location: Reverse , flesh paint of Christ, proper right thigh, centre, bottom edge of painting

Sample No.: 011

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence photograph: no

Observations:

1. pale flesh paint, white and very fine red pigment (vermillion?), single black pigments

2. white ground

Commentary: single layer of pale flesh paint without further differentiation

Probenliste Heydenreich [54]

Object No.: FR 016

Cross-section No.: EP 083

Brief description of paint: red robe of angel

Sample location: reverse, red robe of angel, bottom edge of the loss, to the right of the cloth

Sample No.: 147

Incident light photograph: yes

SEM/EDX: yes (Rossendorf)

Observations:

4. red layer [Ca!, C, Mg, Pb] here a different red lake was employed to that of below, warm in tone

3. red layer [Al!, Pb!, Ca] red lake (orange fluorescence) with lead white - modelling

2. pink layer [Pb!, Al!, Ca, Si] lead white with red lake pigment - undemodelling

1. black underdrawing

0. white ground

Commentary:

- further examination of the two red lake pigments would be useful

Probenliste Heydenreich [55]

Object No.: FR 016

Cross-section No.: EP 084

Brief description of paint: black background

Sample location: reverse, black backgound between Christ and the angel on the left, next to the letter 'K'

Sample No.: 148

Methods of analysis: partial vapour phase deposition

SEM/EDX: yes (Rossendorf)

SEM/EDX photograph: no

Observations:

4. varnish

3. black layer (only visble as a discrete layer, separate from layer 2 with the SEM) Spot [C!!, Ca!, S], suface [C!, Ca, Pb, Si, (Cu)]

2. black layer [C!!, Pb, Ca, Cu]

1. thin white layer -imprimatura

0. white ground

Commentary:

- Phosphorous was not detected, indicating that it is a bone black, the surface appeared vey homogenous in the SEM image, too homogenous for bone black, lumps of chalk were however not visble in the cross-section or the SEM image (see surface examination), where does the calcium come from? It may be a lamp black with the addition of lime or chalk and a lead siccative, a red lake on a Ca substrate is also possible? - the copper is probably from copper green rather than azurite

Probenliste Heydenreich [58]

Object No.: FR 016

Cross-section No.: EP 085

Brief descriptioin of paint: gilding with red glaze

Sample location: reverse, top left spandrel, top edge, gilding with red glazed stripe

Sample No.: 151

Methods of analysis: partial vapour phase deposition

Incident light microscopy photograph: yes Ob 16

SEM/EDX: yes (Rossendorf)

Observations:

4. transparent reddish brown, relatively dark layer [Ca!, Pb, Si, Ca, Cu, Al], calcium in the coating, also detected in PIXE-analysis - challk in oil as a coating, or was this a warm red glaze?, Ca does not appear as particles

3. Goldleaf [Au, (Ag), (Cu)], thickness 500nm (measured under a magnification of 10000x)

2. yellowish layer with single red pigments (PIXE: vemillion), white and black, EDX: [Pb!!, Ca, Sn, Cu, Fe] - mordant with lead tin yellow, or lead white and other pigments, eg. vermillion

1. thin white layer - lead white imprimatura

0. white ground

Commentary:

- if the coating contained a warm red lake pigment witha a Ca substrate, then the tonal harmonies within the painting have been considerably altered

Probenliste Heydenreich [59]

Object No.: FR 016

Cross-section No.: EP 086

Brief description of paint: yellow-orange lining of the robe

Sample location: reverse, angel on the left, orange lining, top edge of the loss

Sample No.: 152

Methods of analysis: partial vapour phase deposition

SEM/EDX: yes (Rossendorf)

Observations:

2. red layer [Pb!, Ca, Sn, Fe, (Al)] - red iron oxide and ed lead?, lead tin yellow

1. white layer [Ca]

Commentary:

- comparative measurements with PIXE-analysis detected Fe und Sn (red iron oxide and lead tin yellow)

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [60]

Object No.: FR 016

Cross-section No.: EP 087

Brief description of paint: green robe of Eustachius

Sample location: front, Eustachius, green robe, left edge of he painting, at the height of the stag's eye

Sample No.: 153

Methods of analysis: partial vapour phase deposition

SEM/EDX: yes (Rossendorf)

SEM/EDX photograph: yes

Observations:

6. dark brownish layer with red inclusions, relatively clear UV-fluorescence, indicating a natural resin, varnish? in SEM lighter [Si!!, Al!, Ca!, Pb, Cu, O, C, Fe] likr the brown glaze of the flesh paint, indicating that it may be an original glaze, possibly a correction carried out by Cranach?

5. glassy brown layer, without visible pigments, varnish? Very dark in SEM, stronger fluorescence thn in other layers,

[C!!, O!!, Ca!, Al, Pb, Cl?, Si], the layer may contain resin, either oiginal varnish or an organic green glaze on Ca, Al, little copper ions

4. bright green layer, no fluorescence, darker than layer 3 in SEM, dark: [Cu!!, Pb, C, O,

Ca, Al]; light: [Cu!!, C, O, Al], lead siccative like the green glaze on St Christopher's neck; green glaze based on copper green?

3. green layer, containing lake particles with an orange fluorescence and one without, otherwise the same as layer 2

2. green layer, thick, yellow green layer with coarsely ground pigments and white inclusions, belongs with layer 3, darker than layer 3 in SEM, green pigment particle [Cu!, Pb!, O, C] copper green, in part with a striking structure (verdigris?); glassy particles [Pb!!, Sn!, Cu!, Al] lead tin yellow; bluish white particle [Cu!!, Pb!!] lead white, yellow particle [Pb, Sn] lead tin yellow, brown particle [Ca!!, C!, S, O] red lake on Ca? - green undermodelling is an admixture of copper green, lead white, lead tin yellow and a reddish brown glaze

1. white imprimitura

0. white layer - ground

Commentary: green layer structure in numerous layers, further examination would be useful

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [50]

Object No.: FR 016

Coss-section No. EP 081

Brief description of paint: green robe of St Blase

Sample location: front, green robe of St Blase, edge of loss along the join

Sample No.: 143

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence, photograph: yes

Observations:

8. brown transparent layer - yellowish fluorescence - glaze, varnish

7. brown pigmented layer - no fluorescence - glaze?, retouching?

6. brown transparent layer - yellow fluorescence - glaze?, varnish?

5. green layer - little fluorescence - modelling, three green layers increasing in intensity towards the top

4. green layer - little fluorescence - modelling

3. green layer - green transparent lumps with unclear contours, whitish lumps - lead white, one red pigment particle, possibly yellow? little fluorescence, one inclusion slightly paler, undermodelling

2. white layer - white, slightly glassy, yellow fluorescence - imprimitura

1. black layer - very fine black pigment - no fluorescence - underdawing

0. white layer - yellow fluorescence - ground

Commentary: There are three layers of green modelling in green pigmented paint above the underdrawing and white imprimatura, over this there may be glazes or an old varnish

[see Heydenreich 2007 A, 149]

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

- new frame - made and fitted during the conservation treatment of 1969-1971

[Ritschel 1995, 53]

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [50]

Object No.: FR 016

Coss-section No. EP 081

Brief description of paint: green robe of St Blase

Sample location: front, green robe of St Blase, edge of loss along the join

Sample No.: 143

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence, photograph: yes

Observations:

8. brown transparent layer - yellowish fluorescence - glaze, varnish

7. brown pigmented layer - no fluorescence - glaze?, retouching?

6. brown transparent layer - yellow fluorescence - glaze?, varnish?

5. green layer - little fluorescence - modelling, three green layers increasing in intensity towards the top

4. green layer - little fluorescence - modelling

3. green layer - green transparent lumps with unclear contours, whitish lumps - lead white, one red pigment particle, possibly yellow? little fluorescence, one inclusion slightly paler, undermodelling

2. white layer - white, slightly glassy, yellow fluorescence - imprimitura

1. black layer - very fine black pigment - no fluorescence - underdawing

0. white layer - yellow fluorescence - ground

Commentary: There are three layers of green modelling in green pigmented paint above the underdrawing and white imprimatura, over this there may be glazes or an old varnish

[see Heydenreich 2007 A, 149]

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

PIXE - Analysis

DESCRIPTION (recto)

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- freehand underdrawing

- thin to relatively broader lines

- washes and occasional hatching-strokes

Function:

- relatively binding for the final painted version; lines delineate contours and describe the essential details and the facial features; some representation of volume (washes and hatching-strokes)

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder and workshop?

DESCRIPTION (verso)

Tools/Materials:

- fluid, black medium and brushes of varying width

Type/Ductus:

- freehand underdrawing

- thin to relatively broader lines

- washes and occasional hatching-strokes

Function:

- relatively binding for the final painted version; lines delineate contours and describe the essential details; some representation of volume (washes and hatching-strokes)

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder and workshop?

[Smith, Sandner, Heydenreich, cda 2012]

In comparison with the underdrawing on preceding works like for example 'Rest on the Flight into Egypt' (about 1504, Berlin Gemäldegalerie) or 'The Crucifixion' from 1503 (Munich, Pinakothek) the loose design that lacks detail on this panel marks a turning point. The underdrawing serves as such its original function as a guide for the painted version. This linear drawing is similar to that on the St Catharine Altarpiece in Dresden (1506, Galerie Alte Meister Dresden) and can be placed within the context of an identified transitional phase. However, one specific feature, which has not been observed on other underdrawings by Cranach is the use of washes to create areas of light. It also seems that the initial design was reworked. Detailed inspection shows that this was particularly the case at the centre of the image in the head of St Christopher and the neighbouring heads. [...]

[Sandner 1998, 103]

Title: Torgau panel of the fourteen helpers in need

Dimensions: 84.3 x 117.8 x 0.9 cm

Location: Landesamt für Denkmalpflege Dresden

The very thin lime wood support has in the past been considerably weakened by wood worm, which gave rise to numerous consolidation attempts. During the most recent treatment wooden battens, that had been glued to the reverse in a previous treatment were replaced by strips of plexiglas, losses in the wood were partially filled with a wooden fill material, smoothed with a glue/chalk mixture and retouched. The frame offers the panel sufficient stability.

Despite this the panel is in danger of suffering new damage to the support and paint surface caused by dimensional changes as it responds to fluctuating temperature and relative humidity. This potential damage is already visible as a new loss in the robe of St Blase, on the left above his hand. For this reason the panel should not not be subjected to large fluctuations in temperature and relative humidity.

Damage:

Reverse, 'Man of Sorrows'

• top and bottom c. 3-4 cm, centre c. 12 cm paint and ground layers scraped with a serrated plane

• over the entire surface of the panel numerous letters and figures have been scratched into or written on the surface, there are more recent scratches in Christ's hair (top left to bottom right), in the flesh paint of Christ beneath the plexiglas, in the wings of the angel on the right (from the top left to the bottom right), there is a conspicuous loss in the top right gilded spandrel (c. 4 mm²)

• plank 2 (from the left): extensive wood worm damage (old), losses in the wood and paint layers over the entire length of the panel, filled and retouched, stable

• join 3/4: partially open, re-glued?, reinforced with plexiglas

• join 4/5: top half partially open

• plank 6 split: (reinforced with plexiglas) and recent paint loss in the centre, where remains of glue on the paint surface have caused flaking

• join 7/8: bottom third is open (?), no new paint loss

• plank 8: split in the lower half of the painting

• plank 9: continuous split, reinforced with plexiglas, flaking and paint loss in the areas of green paint caused by a change in the dimensions of the support

Recto, 'The Helpers in Need'

• plank 8 (from the right): new split, recent paint loss in the robe of St Blase, above his hand

• recent hairline cracks in the area of the join between planks1/2 (from the right)

• in the area of the split , head of St Christopher old losses not retouched

• there are numerous very small paint losses in the green robe of St Eustace, partially recent

[Heydenreich, 20.07.1994, unpublished]

Restoration 19th or early 20th century:

• application of two horizontal cross-battens on the reverse - therefore paint layer partially removed

[Heydenreich, CDA 2011]

Restoration 1969-71 (Konrad Riemann, Institut für Denkmalpflege Halle):

• cross battens replaced with acrylic plates, new frame [Ritschel 1995, 53]

[Heydenreich, CDA 2011]