Conservation Studies of the Polyptych of Lusina
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The late-Gothic retable referred to as the Polyptych of Lusina has been fascinating scholars for years. The aesthetic qualities of feast-day view section reliefs and rendering mastery of the central Holy Family panel had been duly noted by Polish and German experts, who identified Veit Stoss influences in compositions, and the rendering of facial and attire details. Yet they paid little attention to painted scenes of the Passion or images of saints adorning the Sunday and everyday view sections, Polish art historians comments with regard to scenes of the Passion rather perfunctory, seeing the influence of to Marcin Czarny (also Martin Schwartz). German scholars did not raise the topic. Reasons for the phenomenon may be sought in a shortage of analogous contemporaneous artworks from the Małopolska region, and the poor condition of preserved paintings, due to improper preservation choices and multiple conservation efforts. At this stage of works it thus seems justified to describe the condition of sculpted and painted parts of preserved retable wings, verify their artistic quality, and engage in more profound works concerning their provenance. The characteristic of the technique and technology used in the creation of Polyptych of Lusina wings was developed on basis of photographs in visible light (VIS, dispersed and angular), short-wave infrared photographs (SWIR), radiography, and elementary distribution analyses based on macro X-ray fluorescence (MA-XRF), scanning electron microscopy with X-ray microanalysis (SEM-EDS), and dispersive Raman spectroscopy. The extent of damage and retable creation methods were tentatively established. The “Researching Polish Wartime Losses” programme grant has made it possible to organise inquiries and technological consultations at Bavarian museal institutions, and compare outcomes of Polyptych wings-related studies with studies of artworks from the south of Germany. Consultations with Germanisches Nationalmuseum and Bayerisches Nationalmuseum experts alongside a scrutiny of sculptures, paintings, and entire retables dated to the same period and preserved in Nurenberg, Bamberg and Munich allowed an identification of differences in how they had been created in comparison with the Polyptych of Lusina.
Sculptures
Three bas-relief sections of the Marian Cycle depicting “The Annunciation”, “The Birth of Christ” and “The Dormition of Mary” are similar in terms of their technical condition. They have been affixed to panels set in engraved and gilded frames. Technological layers of the polychromy, gilding and silvering are all stable, and consolidated with the sublayer. Wing frames have also been preserved in solid condition. Multiple layers of surface contamination allow a view of abrasions, scuffing and defects, as well as restorations and pentimento, all of which make any assessment of actual artistic quality somewhat difficult. In the engraved and gilded framing and woodcarving embellishments, abrasions are considerably lesser and localised, attritions minor. Marginal sections (edges) had suffered greatest damage, multiple breakages, nicks and repainting measures blatant. Individual sections feature changes due to poor retable storage and usage choices, as well as modifications resulting from past conservation works.
Bas-reliefs of the feast-day view Marian Cycle
“The Annunciation”
Technical condition of the preserved work
While the section’s general technical condition is sound, the surface features multiple impurities, attritions (fingers of Archangel Gabriel’s left hand, edges of Mary’s robe, lower left section edge), abrasions, scuffing and retouch effects. Typical for historical buildings, extreme microclimate conditions were in all probability the reason for deformities to the section, vertical fissures in the timber, and one wider splintering (behind the kneeler). Minor abrasions and attritions to polychromy, gilding and silvering may have been caused by inconsiderate sculpture handling. The azure lining of Mary’s robe shows multiple retouching in cobalt-based pigment (cobalt glass, possibly), likely part of pre-19th-century conservation works. A considerable part of all retouching was applied to timber directly, any restoration of mortar layers omitted. This may suggest somewhat rapid or unprofessional work restoration.
Method of execution
The section’s elementary composition analysis suggests that gold- and silverleaf had been used in all ornamentation. While gilded surfaces are clearly observable in visible light, identifying oxidised (dark) silverleaf covering Mary and Archangel Gabriel’s robes is a daunting task without a magnifying glass. Colour polychromy was developed with the use of pigments containing copper (azurite or other natural blue copper mineral), lead (such as lead white or other lead pigments, potentially massicot), and mercury (cinnabar, probably), with minor ferrous pigment additives. Whites (facial complexions apart) were rendered in white secured from glue-and-lime mortar. It is curious that mordant mortar applied as a sublayer for the gilding in Mary’s hair includes a mix of lead-tin yellow Type I, red lead, goethite, cinnabar and chalk. Detail analyses may suggest provenance other than South German (of the work or its author).
“The Birth of Jesus”
Technical condition of the preserved work
Damage observable in the bas-relief is basically no different to that described for the aforementioned “Annunciation” section, facial complexion excepted. In this area, “The Birth of Christ”, shows a considerably greater attrition volume across all technological layers of polychromy. Other polychromy surfaces feature clearly observable impurities, abrasions, scratches and retouching. A detailed observation of the sculpture surface shows that their timber structure has been affected by destructive wood-eating insect pests. Consequently, the attrition in the right hand of one of the shepherds may suggest more than unprofessional or hasty assembly/disassembly or improper securing for transportation: it may suggest that the limewood itself was in poor condition.
Method of execution
The section’s elementary composition analysis suggests that apart from gilding and silvering applied to details similar to those in “The Annunciation”, lead and mercury pigments had been used in facial complexion colouring, the latter in much greater volume. Moreover, complexions feature a different method of treatment applied to mortar surface, considerably more textural in this section than Mary or Archangel Gabriel’s “porcelain-like” faces and hands in “The Annunciation”. One other thing: the author of the polychromy applied copper- and iron-based pigments locally in a slightly different manner than before, which may be indicative of the painted embellishments having been created by two artists.
“The Dormition of Mary”
Technical condition of the preserved work
This section is one of the three whose condition shows greatest degradation. Notable features primarily included multiple and expansive surface impurities, painted layer, gilding and silvering attritions reaching timber or mortar layers, retouch works (visible in complexion in particular), structural damage caused by destructive wood-eating insect pests, vertical panel splintering, and missing heads of the apostles (two (?) of the ten). Extensive complexion attritions may have been caused by considerable temperature and moisture fluctuations, or delamination – in case of layers in poor technological condition. In addition, Mary’s silvered sleeve shows secondary gilding, the conservator (renovator) having over-interpreted the ornamentation measure.
Method of execution
Damage observable in the section described herein suggests that the work is attributable to the author responsible for applying polychromy to “The Birth of Jesus”, the mortar surface similar in terms of roughness and range of attrition. The section’s elementary composition analysis suggests that goldleaf and silverleaf had been used, complexions painted mainly with lead pigments, with a minor mercury additive. Proportions of aforementioned pigments are analogous to “The Annunciation” section. Other pigments include lead-based matter.
Paintings
Polyptych wings feature double-sided ornamentation. In the pair of inner wings, Marian Cycle reliefs have been affixed to one side of each of the wooden panels, the other one serving as a support for Passion Cycle paintings. In the pair of outer wings, a single panel was used as a shared support for Passion Cycle paintings of the Sunday view, and everyday view renderings of saints. Conducive to the structure as described, morphological timber alterations and joinery defects developed in sublayer preparation have manifested on both sides of the wings. Vertical splintering is visible in most sections near board couplings. X-ray imaging of paintings has confirmed that aforementioned deformities were caused by the use of poor-quality wood, and excessively tight panel framing. Tensions arising in the structure have been forceful enough to resist supplementary bracing with canvas strips applied to defective surfaces (“Crucifixion” / “Madonna and Child with Saint Anne” section).
Sunday view Passion Cycle paintings
Of the two painting cycles covering inner and outer wings, Passion Cycle paintings embellishing the inner wings are in considerably better technical condition. They have been rendered on reverses of the feast-day view Marian Cycle bas-reliefs, and other sides of everyday view patron renderings (outer wings). The Passion Cycle comprises eight images decorated with gilded and silvered surfaces, all in similarly sound technical condition. Deformities and fissures visible in painting surfaces are sufficiently minor not to impede aesthetic perception. While the extent of damage to painted layers may vary in individual works (assorted attritions, surfaces washed and repainted), the represented forms continue to be visible in all paintings. Differences in the luminescence of surfaces visible in ultraviolet reflected (UVR) photographs point to at least two historical conservations having been performed, as duly confirmed in archival materials.
“Jesus Praying in Gethsemane”
Technical condition of the preserved work
Vertical splintering and putty-filled retouched restorations are clearly observable in the painting. An ultraviolet reflected (UVR) photograph has revealed them as mostly small-sized retouch sets, except a single vast vertical reconstruction located in the area spanning the full-body image of Christ, feet to face. X-ray imaging has confirmed the painting’s aforementioned physical condition, timber defects justifying excess support tension resulting in attritions as described. Changes to luminescence visible in ultraviolet reflected (UVR) photography further prove that minor attritions along the putty line were colour-unified during a successive conservation effort. They are visible as secondary lines highlighting the shape of sleeping apostles’ tresses. The aforesaid photograph also reveals the use of wax as a mortar detachment adhesive. Gilded areas show traces of abrasions reaching the red bolus layer, greater attritions filled with goldleaf in mixtion technique.
Method of execution
In a move typical for the author, the painting has been rendered in hugely diverse manner. Highlighting the free composition sketch, thin and somewhat transparent painted layers have been contrasted with high fleshy impastos applied across the white surface. The section’s elementary composition analysis suggests the use of goldleaf in backdrop, nimbi and chalice ornamentation, wherein the painter made the form more precise by applying graphic and linear shadowing (hatching). Apart from a greasy adhesive – as proven by the rather specific craquelure pattern – pigmentation substances included copper, mercury, lead and iron, small-size surfaces rendered in mercury and lead-and-tin pigments.
“The Flagellation”
Technical condition of the preserved work
As identifiable in X-ray imaging, the section’s deformed, vertically splintered support was locally reinforced with nails. It features two other (shorter) longitudinal fissures in the section’s lower left corner. X-ray imaging has also revealed traces of destructive wood-eating insects feeding, ultraviolet reflected (UVR) photography pointing to attritions and retouch works, mostly along board splintering, as well as colour unification in areas scuffed and/or abrased. Wax adhesive was applied to the work – mostly along the frame edge, to the frame itself, and in fissured surfaces. Destroyed in numerous areas, gilded fragments were restored with secondary goldleaf.
Method of execution
Atypical for contemporaneous paintings from the Małopolska region, and echoing the ““Jesus Praying in Gethsemane” section, the dynamic and open painted composition has been rendered in enormously varied ways. The expressive representation is accompanied by contrasts in white and black supplemented with greys, reds, natural complexion hues, and yellow highlights. The section’s elementary composition analysis allows a conclusion that the artist’s palette included copper-, mercury-, lead-, iron-, and lead-and-tin-based pigments. Furthermore, studies of dispersive Raman spectroscopy-generated cross-sections have proven that a mix of coal black and cinnabar was used in the underpainting, a mix of cinnabar, lead-and-tin yellow type I, and azurite with ferrous pigment additive employed in principal painted yellow hue layers.
“The Arrest of Christ
Technical condition of the preserved work
A board forming part of the structure for the sculpted “Birth of Jesus” scene has been used as the section’s support. While deformed, it is not as splintered as boards described earlier. While the painting has been washed to a greater extent than works referred to before, damage is minor, not impeding artwork reception. Abrasions are mainly observable in crests of the slightly elevated mortar flaking (longitudinal, and along the line of splintering), visible near the Lantern of Malchus in particular, paint detached from the polished silver surface. In selected areas, underpainting (whites, greens) has been revealed as a result of degradation in the colour white. Ultraviolet reflected (UVR) photography points to numerous (fine, applied to small surfaces only) painted layer retouches. They are mainly observable in faces, the hand of the soldier leading Christ, and lower section of the painting (substrate and characters’ feet).
Method of execution
The painting has been rendered in an analogy to remaining sections. The distribution analysis suggests that goldleaf was used in backdrop and nimbi ornamentation, silverleaf employed in the backdrop for the lamp, armour, and militaria, the painter highlighting the original form with black and white graphic lines. Gold and silver apart, the artist’s palette included copper-, mercury-, lead- and iron-based pigments, lead-and-tin pigments in yellow and isolated green surfaces.
“The Crowning with Thorns”
Technical condition of the preserved work
While the support board is deformed and cracked, painted layer attritions observable in the work’s surface are minor though many. In glazed areas (consider Christ and his torturer’s hair, and the dark lining of Christ’s robe), paint has taken on a “crocodile skin” or “baked” effect, due to the incompetent use of greasy oil adhesives by numerous painters of the era, and application of multiple glazing layers basing on organic pigments. As in case of “The Arrest of Christ” section, thin and degraded painted layers reveal the underpainting (the torturer’s green trouser leg). Also echoing “The Arrest of Christ” section, small-size painted additions have been applied throughout the surface of the painting, replenishing lost parts of the composition.
Method of execution
Developed in triangular composition, the dynamic form includes reds, greens, whites and blacks harmonised against a golden background. Painted swiftly and well, faces speak of the painter’s considerable skill and temperament. Expression is also apparent in thick layers of paint the artist used to depict white sleeves of the torturers’ attire, and impastos highlighting three-dimensional space, and the characters’ gestures and facial expressions. This section’s author brought the technique out by applying a set of copper-, iron-, mercury-, lead- and lead-and-tin pigments for greens and light browns.
“Christ before Caiaphas”
Technical condition of the preserved work
The “Christ before Caiaphas” section is highly damaged, with multiple painted layer abrasions, small-size crumbling, longitudinal vertical delamination, and degraded and discoloured pigments. The painted layer in Christ’s face and Caiaphas’ face and hands are particularly eye-catching: having been washed during earlier conservation works, they reveal light-hued mortar. The “baked” effect is present in a dark layer of paint in Christ’s hair and the robe of the person standing next to him. Resulting from goldleaf application, paint attritions (consider the soldier’s jaw) are visible in the image as well. Damage to the silver colouring in the armour collar has been chiefly caused by abrasions reaching the red bolus and cream-yellowish mortar. The technical condition of gilded and painted surfaces is extraordinarily sound. Painted on goldleaf and shadowed in black lines and golden-and-yellow orpiment-based paint, Caiaphas’ robe is relatively free of attrition. Damage to the side of Caiaphas’ throne and isolated flaws to his robe (a sequence of circular delamination defects and attritions reaching into the mortar) create an impression of potential candle burns.
Method of execution
The section at hand is one of the most interesting ones in terms of rendition, developed with a slightly different pigment set. Marked differences involve the method of applying highlights to gilded surfaces. Facial complexions and robes have also been painted in a slightly dissimilar manner, devoid of great contrast or expression. Facial features are gentler and more calm, lighting less pronounced. The section’s elementary composition analysis suggests that gold and silver apart, the artist’s palette included copper-, iron-, mercury-, lead- and arsenic-based pigments. A hint at lead-and-tin has been detected in the corner of the painting only, in a face resembling the other works. This suggests that the Cycle was created by two authors.
“Christ Falling Beneath the Cross”
Technical condition of the preserved work
This section is the only one which did not undergo conservation works during recent renovation(s). The technical condition of the preserved work includes multiple impurities, scuffing, abrasions, splintering, unrestored attritions, and “baked” effect surfaces. X-ray imaging has further confirmed that despite the blank reverse side intended to hold a bas-relief, this was exactly where the painting had been reinforced by the adhesion of canvas strips directly onto a board with considerable morphological timber lesions. In this section, many gold and silver surfaces have suffered attrition, delamination and abrasions.
Method of execution
While the painting seems to be attributable to the first painter, changes to layer thickness and highlighting measures may suggest that a third painter had been involved. The section’s elementary composition analysis proves that gold and silver were used in ornamentation, painted layers rendered in copper-, iron-, lead- and mercury-based pigments, with a lead-and-tin pigment addition, the latter used in a single case of a torturer’s headwear.
“Jesus befor Pontius Pilate”
Technical condition of the preserved work
In the “Jesus before Pontius Pilate” scene painted on a board featuring timber defects identical to other sections and reinforced with nails and canvas along the vertical splintering, the author(s) used a full array of painting measures and materials known from previous paintings. Furthermore, multiple impurities, attritions, abrasions reaching the mortar and red bolus beneath the gold and silver layers, as well as repainting and pigment discolouration may all have caused the work to lose much of its original colour palette. Greatest change is visible to Pontius Pilate’s gilded robe.
Method of execution
Paint layers were applied as in case of other works. Echoing Caiaphas’ robe, luminosity was added to Pilate’s gilded robe with orpiment, despite the use of lead-and-tin (in all likelihood lead-and-tin yellow) pigments in other surfaces of the same painting. Such technique and technology would suggest provenance other than South Bavarian (Nurenberg, perhaps). Contemporaneous German artists used lead-and-tin yellow mixed with lead white for purposes of gold-based highlights. Stark whites in robe lining, and the illumination of the leg of the character holding the silver receptacle are astonishing as well. Conversely, damage to the paint coating brings out the perfect composition drawing by the primary painter. The sketch has been rendered extraordinarily effectively and well, highly diverse painted lines combining into individual forms with remarkable precision and expression. In all probability, a technically skilled draughtsman-and-painter was at work here, possibly emulating drawings by Hans Leonhard Schäufelein[1] or Lucas Cranach the Elder. The section’s elementary composition analysis suggests that gold and silver apart, the artist used orpiment as well as copper, iron (goethite), mercury (cinnabar/vermillion), lead, and lead-and-tin pigments. The section can be considered the most interesting one of the Cycle in terms of painting materials.
“The Crucifixion”
Technical condition of the preserved work
“The Crucifixion” section resembles other paintings in terms of technical condition. It features defects to the wooden support and its bracing (timber inserts, nails), attritions, abrasions, and relatively few retouches, golden surfaces excepted. Most distinctive features include the craquelure pattern of facial complexions, and the “baked” effect in glazing layers due to greasy adhesive drying unevenly – and the artist’s hasty work. “Baked” fragments are mainly observable in brown surfaces (hair and robes). Painting layer attritions have revealed red bolus beneath the gold and silver layer, and light-hued mortar.
Method of execution
“The Crucifixion” scene points to the author’s skill, and profound knowledge of technique. A comparison with scenes of Christ accompanied by torturers allows a conclusion that the painter differentiated his technique by matching it to the nature of characters rendered. Highlighting the ugliness of antagonists through colour and value contrasting, he showed his protagonists in gentle and subtle ways, while preserving the unique nature of his painting based on contrasts between glazing and impastos. Christ, Mary and John’s complexions, similarly to those of two nearby characters, one of whom pointing to Christ in a gesture of blessing, have been rendered in a manner both subtle and gentle, in lighting in particular. Substances visible in elementary distribution maps prove that artist used his regular palette, consistent in reaching for gold and silver as well as copper-, iron-, mercury-, and lead-based pigments, and lead-and-tin colourant additives, in this case rather sparsely.
Everyday view saint representation paintings
Everyday view images are the most damaged of all paintings – this was likely due to the fact that (on the one hand) aforementioned sections were open during mass for extended periods of time and thus exposed to light, and (on the other), when the Polyptych remained open, they were destroyed in contact with moist walls. As the outer altar-protecting section, they were also particularly vulnerable to mechanical damage. Their technical condition points to a number of common features. Wooden supports were made of several boards with a vertical grain pattern, then tightly framed. Panel surfaces were treated manually (with planes), selected (not all) joints braced with additional strips of canvas. Outer edges were faceted for a better frame fit. Insufficient space and tight framing ultimately resulted in board splintering and deformities. When illuminated at a side angle, multiple irregularities are observable on the surface of all paintings, due to mortar structure and application. A distinct craquelure pattern and multiple attritions to all technological layers are visible in painted layers. Abrasions reaching timber were filled with putty and retouched, traces of damage usually aligned with wood fibres. Ultraviolet reflected (UVR) photography shows a great volume of retouch works forming part of historical conservation measures. The diverse luminescence intensity of numerous layers points to at least two past conservation projects.
Saint Stanislaus image section
Technical condition of the preserved work
Ultraviolet reflected (UVR) photography has revealed a considerable volume of retouch works. Large stains and small-size restorations point to most recent conservation works on the painted layer, observable in the area of the saint’s left hand and robe lining, the bishop’s mitre and the space beyond. During the effort before last, a major surface of the destroyed painting was restored (repainted) – its left- and right-hand sides, and Saint Stanislaus’ face. The less damaged partition behind the effigy of the saint was repaired, a vertical band stretching nearly across the full height of the right-hand side of the painting reconstructed. These repairs were in all probability necessitated by damage caused by timber flaws. Similar restorations are observable in the patron saint’s robe around a knot in the wood. The artwork’s paint layer is darkly discoloured. Retouches on smooth-surface putties contrasting with the painting’s original sections have suffered discolouration as well, chrome pigment(s) having been applied to those areas.
Method of execution
Elementary distribution analyses and photographs taken in different electromagnetic radiation wavelengths have allowed a tentative description of the artwork technique, greatest change visible to the surface of the nimbus originally rendered in so-called double leaf, a less expensive substitute for gold. The robe owes its colour to the use of copper pigments; piping was rendered in earth pigments, their light-coloured hue achieved by using the white of the mortar. Illumination and ornamentation of the robe hem, pastoral staff and mitre were painted with a lead-and-tin-based pigment.
Saint Anne image section
Technical condition of the preserved work
Recorded in radiography, the wooden support structure’s analysis revealed a tangential layout of timber fibres, splintering and restoration of the support itself, repairs (with the use of nails), and traces of destructive wood-eating insect pest presence. Ultraviolet reflected (UVR) photography revealed an expansive area of damage to the layer of paint, restored practically across the entire surface of the work. Restoration mainly involved the central section of the painting along the fissure in the board, and the area near the effigy of the Child and Saint Anne’s robe. The aforementioned is particularly significant, given the non-typical rendition of “Madonna and Child with Saint Anne” without Mary. Selected details of her face and the white sash tied above the Saint’s abdomen were secondarily highlighted in dark contour lines. Secondary painting layers are discoloured (darker), in contrast to the few primary areas (Saint Anne’s veil and face).
Method of execution
Elementary distribution analyses have revealed the use of so-called double leaf in the nimbus, just like in the Saint Stanislaus section. One can thus assume that decorating the nimbus with a less expensive replacement for gold had been the author’s intention. While the paint palette includes copper- lead-, mercury-, and iron-based pigments, identifying the primary author of the painting will require further studies, given extensive damage to the work.
Saint Florian image section
Technical condition of the preserved work
Similarly to other everyday view paintings, in case of the Saint Florian image section X-ray imaging pointed at support board splintering, and attempts at repair with the use of nails. The image has been repainted to an extent similar in other artworks, especially in the hand, face, and selected components of the Saint’s attire (the spot-restored armour an exception). Just like in paintings described before, chrome pigments were used in retouching. A major restoration area is visible along a vertical fissure in the painting, in the upper left corner, and in the general area of Saint Florian holding a wooden pail, his other hand placed on a church spire. Aforementioned retouches replicate the original form with intent to make it more legible.
Method of execution
Just as in case of paintings in the right wing, elementary distribution analyses prove that gold (or double leaf) was applied in nimbus surface ornamentation. Painting materials used in creating the work include copper pigments (Saint Florian’s robe), as well as mercury-, arsenic-, lead-, iron-, and cobalt-based pigments.
Saint Catherine image section
Technical condition of the preserved work
X-ray imaging suggest that the support was prepared just like other section supports were. Featuring morphological defects and knots, the boards were cut tangentially and reinforced with nails. The structure shows isolated traces of destructive wood-eating insects feeding, the surface of the painting with multiple attritions to the painted layer located in several main areas: flooring (knot), the Saint’s face, the book she is holding, and the arcade. The patron saint’s facial features and waist, draping and wall rustication (bossage) were all secondarily contour-highlighted in black, in a parallel to crown details.
Method of execution
Saint Catherine’s nimbus was embellished with double-leaf gilding. Painting materials included iron-, lead-, mercury-, copper-, and cobalt-based pigments.
[1] https://www.hellenicaworld.com/Art/Paintings/en/Part21201.html
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