Scientific Imagery: Six Modes of Reading

The scientific imagery of Christ Carrying the Cross brings together six complementary modes of reading. Each provides specific information on the structure of the panel, the paint layers, restorations or the material history of the work.

Anonymous Italian Renaissance Christ carrying the cross, overall view

Visible Image (D65)

– Apparent state of the work: composition, colours, modelling
– Reference document for describing the painting
– Basis for comparison with the other imaging methods

X-ray of the painting under study, Christ Carrying the Cross

X-ray Radiography

– Internal structure of the panel and paint layers
– Pigment densities and superimpositions
– Reveals elements invisible in visible light

UV image of Christ Carrying the Cross

Ultraviolet (UV)

– Detection of varnishes and retouching
– Identification of later interventions
– Mapping of restored areas

Infrared image of Christ Carrying the Cross

Infrared (IR 1700)

– Reveals the underlying drawing
– Reading of pentimenti and adjustments
– Distinguishes preparatory tracing from paint execution

LAM 1033 image (2021) showing repainting of Christ’s beard and hair and of the right-hand figure’s hair, which is not visible in the visible-light image.

LAM Image

– LAM 1033 image, 2021 (Lumiere Technology)
– LAM: Layer Amplification Method
– See note at the bottom of the page

Emissiography of Christ Carrying the Cross

Emissiography

– Mainly analyses the painted surface
– Reveals certain pigment differences
– Complements X-ray radiography

LAM Imaging (Layer Amplification Method)

LAM (Layer Amplification Method) is a multispectral image-processing method developed by Pascal Cotte and Lumiere Technology for the non-invasive study of works of art. It uses images acquired at different wavelengths to amplify subtle variations in the optical signal and reveal information that is difficult to perceive in conventional images.

It can thus help reveal or better distinguish underdrawings, pentimenti, compositional changes, overpaints, or other features of the paint layer. LAM images should not, however, be regarded as true stratigraphic cross-sections: they result from mathematical processing of the interactions between light and the different components of the paint layers.

Together, these six modes of imaging make it possible to distinguish the visible appearance of the work, its material structure, later interventions and certain underlying elements not perceptible to the naked eye.