Multi-Analytical Study of Two Western European Canvas Paintings from The Series Stations of The Cross

Abstract

Two Western canvas paintings from the series “Stations of the cross”, which is part of a private collection in Athens, Greece, is going to be studied. Despite their importance as cult objects of Catholic Church and their long history, they have not received due attention, as there are no published studies of archaeometric interest on canvas paintings from the Stations of the Cross. This study aims to investigate the manufacturing technology of the two paintings, their preservation state and the later interventions and finally to determine, if possible, the relative date of production.

The research protocol emphasized on the use of mainly non-invasive and non-destructive, state-of-the-art analysis methods, such as digital photography, multispectral imaging, X-ray radiography, OM, SEM/EDS, μ-XRF, μ-Raman, LIF and Diffuse reflectance spectroscopy. The application of imaging techniques revealed, inter alia, extensive overpaintings, and hidden features of the underlying painting layers. The stratigraphic techniques recorded that the paintings have a thick, complex and multi-layered stratification. The original preparation layer, based on gesso and red bole, is typical of the 16th to 18th c., while the detected overpainting layers seem to have been applied after the second half of the 19th c. since the preparation layer of the overpainting was based on a mixture of lithopone, red or yellow ochre and silicon typical of the period. And finally, through the application of spectroscopic techniques, a great variety of pigments was identified. Of high interest was the results obtained from the identification of selected pigments, which leads to conflicting conclusions, as the presence of some pigments is not chronologically consistent with the presence of others.Thus, combining data from microscopy techniques and spectroscopic techniques, it appears that the initial phase of the painting can be dated to the end of the 18th century (red preparation + presence of azurite), with the overpainting being carried out after the second half of the 19th century ( zinc white + lithopone) and possibly early 20th century interventions (manganese blue + titanium white).

Regarding the preservation state of the painting, the physicochemical analysis confirmed its poor condition, which is due to the lining, patching interventions and the extensive overpaintings. Subsequent restoration interventions, such as grouting and filling, were also detected.

The physicochemical study of the two works brought to light a wealth of information about the techniques and materials used to manufacture them. Giving the impetus for the more intense study of this type of paintings. Also, by clarifying the preservation state of the two objects, the questions about their history were answered and their importance was demonstrated.