Virgin with Child and infant St John

The wooden panel (54.8 x 35.8 x 0.4 cm) consists of three vertically aligned, butt joint planks. It appears to be a close-grained hardwood (limewood). Fiberous material (tow) is attached to the recto of the panel. The fibres are unevenly distributed across the panel and are arranged in horizontal strips on the upper half of the panel. The panel was later thinned to c. 4mm and a cradle was attached to the reverse. During this treatment the edges may have been trimmed slightly [...]. The proportions and size of the panel correspond with one of the standard formats ('C': H: c. 51 - 59 cm, W: c. 34 - 40 cm) that was used in the Cranach workshop. Hardwoods (lime and beech) were very frequently used in the Wittenberg workshop. A similar application of tow has survived on other panels by Lucas Cranach and his workshop.

The panel has a white ground, which appears to be chalk. It covers the front of the panel completely and no edge or barbe is apparent. The edges were reworked at a later stage, therefore it cannot be excluded that they were also trimmed slightly. The original frame has not survived.

Infrared reflectography revealed some underdrawing lines on the preparatory layer. The black brush drawing describes the essential contours and details within the forms and appears to have been executed with confidence.

The paintings by Lucas Cranach and his workshop frequently exhibit an economic underdrawing executed with a brush and a black medium. The underdrawing on the present painting - as revealed in the infrared reflectograph - corresponds with the compositional design of other works by Lucas Cranach and his workshop. However, the limited number of lines visible precludes a more specific attribution to the Master or a member of his workshop.

The entire background was originally gilded with gold coloured metal leaf on a red bolus. The boarders between the painted areas and the gilding are marked with fine incised lines. Remnants of the original gold appplication have survived along the boarders with the painted areas.

Employing XRF the following elements were detected and the pigments were then identified by comparing optical properties:

Insignia: (Pb, Sn) lead-tin-yellow, lead white, (Ca) calcium carbonate, Fe (iron oxide)

Blue robe: (Cu) probably azurite, Pb (lead white)

Green robe: (Cu) probably copper green, (Pb, Sn) lead white, lead-tin-yellow

Red robe: (Hg, S) vermilion, Pb (lead white or/and red lead), lake could not be detected

The faces were modulated with a pale admixture of lead white and vermilion pigments. The shadows were created employing semi-transparent brown glazes and highlights were added with a pale flesh tone. The details and contour lines fell victim to unprofessional restoration treatment and the greater part have not survived

An initial layer of differing brown tones was employed to lay in the hair. This was followed by fine brushstrokes of varying colours. Single hairs appear to have been executed with comparatively little precision and confidence.

Robes: The Virgin's blue dress was executed employing finely ground azurite and lead white over an initial grey layer. The paint was applied in both strokes and stippling. The modulation of the green lining was also applied in numerous layers using copper green and lead-tin-yellow. The red dress modulated with a red lake glaze applied over a nuanced initial layer consisting of admixtures of vermilion, led white and red lake. In comparison the edging on the white shirt reflects little interest in detail.

The x-radiograph makes it clear that the whole painting process was planned relatively precisely. A clear distinction was made between each individual form. No significant alterations are visible. The coats-of-arms in the left and right corners were accommodated from the start.

DESCRIPTION

Tools/Material:

- dark, fluid medium, brush

Type/Ductus:

- relatively economic and freehand underdrawing

- thin to somewhat broader lines

Function:

- relatively binding for the final painted version; the lines delineate the main contours, define forms therein and describe facial features; no representation of volume with hatching strokes

Deviations:

- minor corrections were made to forms during the painting process

INTERPRETATION

Attribution:

- workshop of Lucas Cranach the Elder

[Sandner, Smith-Contini, Heydenreich, cda 2017]

The painting is badly damaged and extensively overpainted. All the areas of flesh paint are very abraded and considerably retouched as well as partially overpainted. In some areas (for example the infant Christ's neck) even the craquelée has been imitated. The hair and robes have also in part been repainted. The original gilding (on red bole) of the background has only survived in a fragmentary state. Remnants of a second phase of gilding on a yellow ground suggest that a comprehesive retoration treatment was carried out at a very early stage. It is possible that the larger halo with incised lines and punch marks (visible in the x-radiograph) was executed during this intervention. This second gilding was later removed, the larger halo was completely filled in and the background was painted in a uniform brown colour. The gold application partially visible on the smaller halo is also from a later restoration. Isolated sections of the painting, like the Virgin's face, exhibit small paint losses (protrustions possibly caused by the saponification of lead?). There is an uneven application of varnish with a yellow fluorescence covering all the retouches.