Support
A fine plain weave canvas in one piece serves as a support. The stretcher is not original.
Here, as with the female pendant (AT_KHM_GG3141_FR-none), the original format of the painting was trimmed marginally: the canvas was folded over on all four sides. The paint continues over the tacking edge, generally in the monochrome, light paint of the architectural background, and partially with the paint from the foreground. There are black-painted lines analogous with the pendant along the tacking margin, which is in part only fragmentarily preserved. It may be assumed that the tacking margin was originally integrated into the painted surface and that the canvas was stretched flat on a strainer. Simple battens were attached to the edge to create a frame. The black-painted lines may be seen within the context of the very common contemporary stretching and framing system. [see Heydenreich 2007 B, 251-252].
The extent to which the format has been altered can be approximately reconstructed on the basis of the evidence at the edge of the painting and the slight trace of cusping. The right side was folded over most, the paint from the foreground (marble floor) continues over the tacking margin and has been trimmed flush with the stretcher, a black-painted boarder is only present in the upper section.
On the left edge there is a c. 2 cm wide line, which corresponds with the right edge of the female pendant, the alteration is presumably marginal here. The tacking margins along the top and bottom edges are quite fragmented, although it may be assumed that more was folded over at the top than at the bottom.
Ground and Imprimatura
- white ground; analysis was not carried out
Underdrawing
In contrast with the female pendant (AT_KHM_GG3141_FR_none) considerably less underdrawing is visible here. In the face lines can only be discerned in the area of the eyebrows and on the ear. However on the left in the background there is - mirror-inverted to the pendant - a vanishing line, which runs at the same angle. In the foreground (tiles) construction lines can be observed, that run parallel to the painted version, but have generally been displaced slightly. The underdrawing appears to be with a dry drawing material.
In addition to the underdrawing numerous pentimenti are revealed by the infrared reflectogram in the area of the sitter: the contours of the collar and the overcoat on the left side were originally slightly further to the left. The lower contour of his robe was also corrected - the overcoat and the trousers originally ended somewhat further down, his right thigh was slightly wider. This pentiment is also visible to the naked eye.
Paint Layers and Gilding
The manner of painting is the same as that of the female pendant (AT_KHM_GG3141_FR-none).
The paint application was generally opaque and in places with very bold brushstrokes, particularly in the rapidly executed sections of the architecture in the background. The figure on the other hand is worked up with great attention to detail, above all in the elaborate embroidery and the appliquéd decorative elements on his clothes; highlights exhibit a slight impasto paint application. The coloured shadows on the marble tiles in the foreground were achieved with thin glazes. Light areas like the flesh paint received an initial local application of paint. The generously applied underpainting of the face is clearly visible in the x-radiograph. The sequence of paint application is as follows: presumably the flesh paint was laid in first, followed by the black sections of the draperies (with the exception of the hat) and the marble floor in the foreground. Then the architectural background was painted, first the green, followed by the lighter sections and the cool, blue-grey of the perspective through the arch. The paint application of the fore- and background overlaps the figure; here a pentiment is also visible: the right contour of the collar and overcoat were originally further to the left. A minor correction was also made to the lower contour of his clothes - his overcoat and trousers were originally somewhat longer, his right thigh was slightly wider. This area, that had already been painted, was covered by the background paint as is shown by the bold brushstrokes clearly visible in the infrared (see fig. AT_KHM_GG3252_FR-none_2012-03-26_IRR).
White areas like the neck-ruff or the jewellery and decorative elements of his clothing were executed last. The same goes for the headdress, which was left in reserve; the hat was then painted slightly beyond the reserve.
Framing
- not original
[Translation, Smith, cda 2013]
