Votive Painting of Our Lady

PIXE analysis of the samples from the crown: there is gold, silver, copper and zinc in its composition. Marijana Fabečić, dr.sc. Stjepko Fazinić, Laboratorijsko izvješće br. 148/2017, 11.5.2017.

FT-IR analysis of the binder: oil, turpentine resin, protein binder. Margareta Klofutar, Laboratorijsko izvješće br. 109/2017, 7.4.2017.

List of examination methods:

RTG, IRT, UVF and UVR, XRF, FT- IR, PIXE, canvas analysis, cross-sections

The painting support is flax canvas, very finely and evenly woven.[1] It is composed of two pieces with the seam running down the middle of the painting. Threads of the weaving are from a single-thread yarn in plain weave; their thickness is 17 threads of weft drawn through 12 threads of warp per cm2. Perforations are present on the canvas, which were made to attach votive offerings, metal crowns and hearts.

[1]Microscopic analysis of textile fibers: the canvas is woven from flax threads. Margareta Klofutar, Laboratorijsko izvješće br. 292/2016, 5.9.2016.

The chalk and animal glue preparation was toned in red-brown and is medium thick, applied in several layers. Its composition includes chalk, red ochre and minium.

Microscopic and XRF analysis of samples taken from the painting revealed the presence of bole, minium and calcium carbonate in the preparation layer.

- an underdrawing is not evident

The painted layer was applied with a brush. In the area where the curtain is painted, much coarser brushstrokes were used, which may indicate a subsequent intervention on the existing painting.

Microscopic and XRF analysis of samples taken from the painting, precious stones, metal crowns and the heart revealed that the painter’s palette included the following pigments: iron oxides, cinnabar, minium, lead white, yellow ochre. The crowns consist of silver plated brass, while some surfaces were coated in a layer of gilt using the technique of fire-gilding.

The painting is set within a carved, gilded frame; the decorative frame is part of the altar.

UV image indicates a layer of varnish based on natural resins and there are clearly visible outlines of the crowns in the picture. Also discernible is the form suggestive of a niche.

X-ray image is consistent with the result of XRF analysis: lighter areas indicate a pigment with lead present in its composition and XRF proves the pigment of minium. The x-ray image shows no changes of the painting’s composition, which means that the painter faithfully traced the original’s form. Clearly discernible is the central seam where a thicker coat of preparation was applied, as well as the stretcher bars.

In the IR image a form can be discerned that suggests a niche, but no drawing was detected in the layer of preparation.

The surface of the painting is covered in a layer of yellowed varnish that has absorbed dust and dirt. The shine of the varnish varies, with the difference most apparent in the area where the curtain was painted. Here much coarser brushstrokes were used, which may indicate a subsequent intervention on the painting. The tone of varnish oxidation is clearly observed in areas where the crowns prevented UV rays from penetrating. In the central portion of the painting there are tiny perforations; the larger two (1 cm in diameter) are located near Mary¿s head and the head of Child Jesus ¿ in the areas where crowns were once attached. Judging from the damage it can be concluded that the position of the crowns was changed several times and that they were fastened at two points. Present are also deformations in the canvas support, in the form of creases in the area where the crowns were attached, as well as deformations caused by indentation of the stretcher laths. Damage to the painted layer due to different straining of the canvas and the painted layer is visible along the top and bottom edge, in the width of the stretcher lath. Large craquelures are evenly distributed across the entire surface of the painting and are visibly different in the area of the curtain. In the central portion there are visible craquelures caused by an impact. Minor mechanical injuries of the red-toned preparation can also be observed.

Along the top and left edge there are visible traces of blue paint applied to tighten the canvas on the stretcher more precisely, and from the damage along the canvas edges it can be concluded that the painting was mounted on the stretcher twice. The painting was found mounted on a loose wooden stretcher, onto which a linen cloth was attached from the back in order to support the crown and the heart from the rear; a surviving metal nut points to this conclusion. There are visible perforations for fastening the crowns. The painting support is a fine, evenly woven canvas made of two pieces with a seam that runs down the middle of the painting; it is attached to the stretcher with small industrial nails. On the matching metal crowns and the heart a thick layer of dust and dirt is visible as well as areas with a layer of metal oxidation. That the position of the crowns and the way they were mounted was changed on several occasions is indicated by the fact that the bolts on both sides of the crowns are cut, while in the painting there are visible perforations for those same bolts. On the left side, however, near both crowns, there are entire bolts but no perforations were made in the painting in order for the crowns to be fastened at these points.

Near the large crown a cross is missing, and mechanical damage is visible on the decorative stones in the crowns.

[Ivana Sambolic, Izvješce o provedenim konzervatorsko-restauratorskim radovima na slikama Marija Pomocnica i Sv. Josip iz crkve sv. Nikole Biskupa u Cakovcu, HRZ, 2017]

Comprehensive conservation work was carried out on the painting and the metal objects in 2016/2017: investigative work was followed by separating the painting from the unstable stretcher. The painting was cleaned and the missing parts reconstructed, including a lining with a new canvas. The painting was mounted on a new stretcher whose construction enables the crowns to be attached. The position of the crowns was chosen according to the existing holes and their matching with the location of the bolts on the crowns. Protection was then attached to th reverse of the painting. With the work completed, the painting was packed in bubble wrap. Mary Help of Christians was stored inside a casket, as it will not be reinstalled on the altar until the work on the latter is completed.

[Ivana Sambolic, Izvješce o provedenim konzervatorsko-restauratorskim radovima na slikama Marija Pomocnica i Sv. Josip iz crkve sv. Nikole Biskupa u Cakovcu, HRZ 2017.]