Portrait of Cardinal Albrecht II. of Brandenburg

Pine wood, 0.3 -0.5 cm thick; marks from a block plane are visible on the untouched areas of the wood; they were removed where the panel was smoothed along the oak wood batten; the rebate is 0.5 cm in width.

2 planks alligned vertically in the direction of the grain; H. 52.3 cm (left plank) and 53.1 cm (right plank), W. 16.3 cm (l. plank, top) or 14.8 cm (l. plank, bottom) and 246 cm (r. plank, top) or 26.2 cm (r. plank bottom). [1]

[1][Cat. Mainz 1999, No. 3]

- white oil/chalk ground: 1-2 mm barbe, the ground does not extend to the edge of the panel (see particularly the top edge)

- uniform application, smooth surface suitable for painting

- exposure to extreme heat coupled with hot water used to extinguish a fire during the war has caused extensive blistering in the ground and paint layers. The blisters are firmly attached to the substrate.

- an imprimatura is not visible to the naked eye. The flesh paint and hands are underpainted in white; the linear underdrawing is visible. A uniform brownish tone (umbre/siena) is visible beneath the coat. This tone is also present at this level along the transition to the green background.

Underdrawing: bluish brown with accents using a silver metalpoint, hatching strokes and bleeding with a brush were employed to indicate transitions.

The paint application followed the underdrawing; there is no indication that the image was transferred from a pre-existing design.

Sampling and paint analysis were not carried out; no cross-sections were propared.

The paint application consists of thin layers of both opaque paint and glazes. Areas of flesh were initially blocked in with tempera applied in fine brushstrokes and then drawn together and modulated with an oil/resin glaze (?); shadows were then added on top with resin, highlights were also added in this manner; for the hat the paint was stippled and modulated with a brush to simulate a flat surface and create shadows.

The coat with the fur collar (?) is not well preserved, the folds lack shadows and the modulation appears considerably abraded. We can only assume that glazes and highlights were applied to this underpaint.. Rings on the fingers: calligraphic aplication over a glazed underlayer, yellow (safflor) to imitate gold highlights was added employing a water-based paint . The paint extends to the barbe, at the top some resinous green paint has squeezed through.

The dark green curtain in the background raised some questions as it is not typical for the period and subject. The question of later overpaint was also discussed as in other areas of the painting a uniform dark green background (see hands) was evident. An examination in UV-light showed an even and uniform fluorescence and an intact aged surface peppered with retouches. This intervention was necessary to reintegrate damage caused during the war.

The frame, inscribed and dated '1543', was lost in 1945. It is difficult to establish from the photograph whether or not it is a contemporary frame.

The new frame from the fifties/sixties accomodates the extreme warp in the panel with a daap rebate in which the panels is fixed with two wooden battens. Softwood with variously profiled mouldings (inner: gilded moulding, outer: wood patina).

[Landesmuseum Mainz, revised 2016]

One plank was broken in half (larger piece: 24.5 cm (r.)/ smaller piece 13.5 cm (l.)) during the war. A planed oak batten was inserted to a minimal extent in the original panel and glued across the break. The contact area of the panel was planed (see treatment report 1952). No tow was found, indicating that the panel was originally a single plank. Marks from a block plane are visible on the unaffected areas of the panel. These have been removed where the panel was planed around the oak batten. The size of the panel has not been altered. The panel exhibits a concave warp, which was glued and accommodated when it was fitted in the new frame.

Considerable deformation of the wooden support, split caused during the war (see above), the varnish has a white appearance caused by water used to extinguish a fire, the warp has caused blistering and paint loss. Extensive uniform craquellée; numerous retouchings in the shadow of the sitter's chin and in the right hand area of the curtain, as well as the dark doublet. Discoloured coatings on the green curtain in the background.

[Landesmuseum Mainz, revised 2016]

Consolidation, varnish removal, chalk fills, retouching. Reintegration employing pointillism using a resin/oil medium in two campaigns.

During treatment in 1962 the unclarified issue of the green curtain was addressed. The treatment was carried out to correct discoloured retouchs from 1952.

[Landesmuseum Mainz, revised 2016]

Consolidation, varnish removal, chalk fills, retouches. The plank, which was damage during the war, was glued together again.

[Landesmuseum Mainz, revised 2016]