Christ Taking Leave from the Virgin

The underdrawing appears to have been executed with quill and the short, comma-like lines describing the faces seem rather hesitant. The draperies on the other hand are freer in execution. Particularly characteristic are Christ’s sleeves and robe: long wiry and bendy lines indicate the folds and were adhered to during the painting process. Also characteristic for this area are straight or slightly curved lines that end with a hook. [..] These features are typical of the practice employed in Cranach’s workshop at the beginning of the 1520s.

[Emmendörffer 1997, 173]

The x-radiograph shows that lead white was employed in the flesh paint of Christ, the Virgin and Mary Magdalene to create volume. Generally, however grey tones predominate in the x-radiograph, like for example in the draperies. This suggests that the artist used admixtures containing lead white, using lead white highlights for emphasis. This rational method is typical of the technique employed by Cranach and his workshop, particularly in the second and third decades.

[Emmendörffer 1997, 172, 173]

- an underdrawing is visible in the infrared reflectograph; dark, fluid medium and a brush (?)

[unpublished examination report, I. Sandner]

As revealed by the x-radiograph the figure of Christ is intact except for a few very minor losses. There is more extensive paint loss in the group of women, while the Virgin has suffered least. […] Large losses are visible at the front side of the gate, which has in part been reconstructed as has the landscape in the background.

[Emmendörffer 1997, 173]