Overpaints: Six Intervention Phases

The analysis distinguishes six intervention phases, proposed here as a working hypothesis. Their exact sequence and modes of execution cannot be established with certainty, except for phase 6, linked to the restoration of the 1960s. For a detailed study of the overpaints, see the full study (PDF).

Areas without visible overpaint on Christ Carrying the Cross

In blue: areas without visible overpaint

Excluding the black layer covering the Figure

Christ Carrying the Cross before removal of the old black overpaint

Image of The Painting, early 1960s

Before removal of the black layer covering the Figure

Summary: Six Main Phases

This chronology is a proposal based on imaging and expert assessments; by nature, it remains interpretative.

Phase 1

Localized interventions reflecting an aesthetic and devotional intent, for example the addition of the halo, reinforcing the religious character of the image, as well as the addition of the lower motif on the tunic of the figure on the right. Christ’s hair and beard, as well as the hair of the Figure, were also overpainted. These overpainted areas often cover cracks that had already formed, indicating that the interventions are old.

Enlargement

Phase 2

Major restoration of the paint layer

The Seracini report describes an extensive phase of overpainting, datable to “several centuries ago” on the basis of the ageing of the retouched areas. It concerns, in particular, the crown of thorns, the blood drops, the red robe, the cross and elements of the Figure.

Enlargement

Phase 3

Lead-white veil (Smudging)

After the preceding phase, and according to the Seracini report, a light paint veil based on lead white was spread manually, often with the finger, leaving fingerprints and reducing the visibility of the crack network.

Enlargement

Phase 4

Fillings with gesso and retouching linked to losses

Woodworm galleries and losses of material were filled with gesso and then retouched in paint.

Enlargement

Phase 5

Concealment of the Figure and covering of the background

At an unknown date, the Figure and the background were covered by a black layer. This layer passes over earlier overpaints, phases 1–3, and may cover filled areas, phase 4, confirming that it is later.

Enlargement

Phase 6

Partial removal of the black layer, 1960s

The restoration of the 1960s removed part of the black layer, without removing it everywhere, notably in the upper left corner. Alcohol-based varnish removal and the stripping operations damaged the paint layer; overpaints contemporary with this campaign are also reported, for example at the top of the hair.

Enlargement

What this changes for the study

The analysis of the paint layer points to an extensive restoration, probably carried out in the 16th century. If the smudging phase is excluded, the areas showing no identifiable overpaint correspond essentially to the flesh tones: Christ’s face, back and arm, as well as the face of the Figure.

Successive interventions may have altered values, contours, background and details of the composition, to the point that original paint and later additions are sometimes difficult to distinguish with the naked eye. Any discussion of attribution must therefore combine examination of the visible surface with imaging, stratigraphy and the study of restored areas.