Joachim I, Prince of Anhalt-Dessau

on parchment

The portrait miniature was executed on the roughened flesh side of a parchment sheet which was designed to illustrate a manuscript. Infrared reflectography (IRR) reveals an initial outline in a dry, black drawing material, particularly evident in the face and feet.

X-ray fluorescence analysis (XRF) detected the elements gold (Au), iron (Fe) and titanium (Ti) in the border (M1), which were interpreted as iron oxide, possibly a component of a bole layer beneath the gold leaf. Calcium (Ca) was also detected and may either originate from the gesso, in which case it is chalk, or be residual calcium that remain in the skin from the liming process used to make the parchment. Copper (Cu) is associated with the blue pigment and could indicate azurite. The element mercury (Hg) may indicate vermillion. Analysis of the blue background (M2) detected copper (Cu), calcium (Ca) and iron (Fe): copper indicates the presence of the blue pigment azurite, calcium can probably be associated with the liming process, and iron may be from the extensive retouching of the blue background with Prussian blue (see below). In the flesh paint (M3), calcium (Ca) is from the liming process, lead (Pb) indicates lead white, mercury (Hg) is vermillion and iron (Fe) could be iron oxide. In the slitted robe (M4), lead (Pb) was detected and interpreted as red lead, possibly with some lead white, calcium (Ca) – from the parchment – and iron (Fe) – probably iron oxide.

The extensive overpainting of the blue azurite background was presumably intended to compensate for severe abrasion, like that found on the other pages of the so-called family album (Stammbuch), most notably on the portrait of Justus Jonas (KdZ 1746). Since the overpainting is already mentioned in Bock’s (1921) catalogue of the German drawings in the Kupferstichkabinett, the intervention must have occurred well before then. In the UV false-colour image (UVFC-365nm) some areas along the contours appear bright green. These were presumably left unpainted to preserve details that extended over the background: the beard, the fur trim fringe (along the right-hand contour of the body), and the gold embroidery around both knees. The rest of the background was extensively overpainted using a stencil to protect the figure, but Cranach’s signature and the date in the bottom left corner were not spared. Infrared reflectography (IRR) reveals a faint winged serpent here with the numbers [1] 5 4 [2?] beneath.

[Georg Josef Dietz, including the results of the infrared examination and analysis by Gunnar Heydenreich and Sarah Critchley, as well as the results from a joint investigation with Mailena Mallach, Luise Maul and Dominika Ropers (née Wojciechowska), March 2026]

X-ray fluorescence (XRF) (Thermo Scientific - Niton XL3t GOLDD+)

The following elements were detected using XRF and in conjunction with their optical characteristics the following fillers, drawing media and colourants could be identified:

M1 Gold (border): Ca, Fe, Ti, Au, Cu, (Hg)

Ca: chalk/gypsum (?); Fe/Ti: iron oxide (?); Au: gold; Cu: copper-based blue pigment (azurite); Hg: vermillion

M2 Blue (background): Cu, Ca, Fe

Cu: copper-based blue pigment (azurite); Ca: chalk/gypsum (?); Fe: iron oxide (?)

M3 Flesh paint: Ca, Pb, Hg, Fe,

Ca: chalk/gypsum (?); Pb: lead white; Hg: vermillion; Fe: iron oxide (?)

M4 Red (robe): Pb, Ca, Fe,

Pb: red lead / lead white (?); Ca: chalk / gypsum (?); Fe: iron oxide (?)

[Gunnar Heydenreich, Sarah Critchley, unpublished analysis report, 25.07.2025]