The Mocking of Christ

The following methods of examination were employed:

Stereomicroscopy, Infrared reflectography (Osiris, 900-1700nm), UV- light examination, X-radiography (Seifert ERESCO 150KV/0,5mA / Examion CR 3X-pro), XRF-analysis (Niton XLt)

The wooden panel consists of a single plank (36 x 28.2 x 1.1 cm, probably lime wood). The grain runs vertically. A large knot has been retained in the wood and was covered on the reverse with fibrous material (later removed). On the right, left and bottom edges there is a rebate c. 1 cm in width on the reverse. The reverse has been carefully smoothed and exhibits a black coating, which is probably original. The upper edge of the panel was trimmed at a later dated.

There is an application of white ground on the recto of the panel. A barbe is present along the left, right and bottom edges. An incised line runs parallel to the left edge of the panel.

Infrared reflectography reveals some thin dark lines executed with stylus to roughly fix the contours and shows sparse elaboration of detail. Slight deviations are visible for example in the head of the henchman on the left; here the nose is considerably higher up than in the final painted version.

XRF-analysis was employed to detect the elements present in the paint layers and by comparison with their optical characteristics the following pigments were identified: lead white, lead-tin-yellow, iron oxide, vermilion, copper green and azurite.

The verification of the presence of calcium suggests the use of calcium carbonate (chalk) in the ground or/ and as a fill material or substrate.

In addition there were numerous measuring points where zinc was detected. Here zinc white was probably employed for retouching.

The flesh tones were modulated employing pink flesh paint and brown shadow tones. While some faces and hands appear skillfully executed others, like the hands of the ruffian at the left, seem rather roughly painted. In numerous faces the confidently/masterfully drawn details of eyelashes and eyebrows have survived. In other areas the detailed drawing appears to have been less distinct or been lost as the result of later intervention. The paint for many of the robes, e. g. Christ’s (azurite, lead white) and the tormenter at the front left edge of the image, has been applied employing both a dabbing technique and brushed strokes. Each shape was executed with a clearly designated outline and little alternating overlapping. No considerable compositional changes are visible.

The artist's insignia displaying a serpent with elevated wings is located at the bottom edge of the image. XRF-analysis detected lead-tin-yellow. The paint has not run into the cracquelée, meaning it was most probably applied to the image when it was created.

[Heydenreich, examination report, 30.08.2015]

DESCRIPTION

Tool/Material:

- design in dark chalk

Type/Ductus:

- freehand underdrawing

- thin, narrow line

Function:

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

Deviations:

- forms were corrected during the painting process; small changes (e. g. the head of the rogue at the top left where the nose was shifted further down, the hand of the rogue at the lower right, etc.)

INTERPRETATION

Attribution:

- Workshop Lucas Cranach the Elder

[Sandner, Smith-Contini, Heydenreich, cda 2018]

Condition

The panel is in a visibly damaged state. The top edge of the panel was cropped at a later stage by c. 5-6 cm. The round window and the flames of the torches retained on the versions in Prague and Cologne (Lempertz) were probably removed during this intervention. The original height of the panel probably corresponded with that of both the panels in Prague and Cologne (c. 41-42 cm.)

The support exhibits extensive inactive woodworm damage. The x-radiograph shows numerous worm channels running throughout the entire panel. In the area of Christ's head, including the hand with the recorder, there is a large and coarsely retouched loss in the paint layer, which may be related to the instability of the wooden support.

In addition the painted surface is abraded in many places, noticeably in the heads, particularly that of Christ as well as the hands and the knee of the ruffian at the front edge. The green tones in particular appear to have discoloured (brown) with age. The yellowed varnish, abrasion, discoloured retouches as well as the partial thinning of the varnish contribute to the overall patchy and disfigured appearance of the painting. In addition to the serpent insignia there is also a monogram 'LC'. However examination under the stereomicroscope and in UV light showed clearly that this monogram is without doubt a later addition.

[Heydenreich, examination report, 30.08.2015]