Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANDRÁS FÁY - MIKLÓS GÁLOS: The Restoration of Maarten van Heemskerck's Budapest Lamentation Panel

under it were both significantly discoloured. The patchy, yellowish-brown residues of the covering layer and the spotted splashes of varnish had already been highly disturbing. ULTRAVIOLET EXAMINATION The ultraviolet photograph showed that the painted surface was thickly and unevenly varnished (fig. 3).

13 The greenish tone of the colouring can be attributed to an oily component of the resinous varnish. The area around the cracks of the panel was covered with numerous retouches. Extensive retouches over the varnish were visible on the central, vertical axis of the picture field. The largest patch of retouching of this kind extended from the part of the background over the head of Joseph of Arimathaea to the right shoulder of Christ, touching the faces of Joseph, the Virgin and Christ as well as the areas around them. Another, extensive retouch covered the vertical part of Christ's loincloth. Minor repairs were also visible on the faces of Mary Magdalen and John. Further retouches covered some parts of the background; the biggest patch being visible to the left in the middle, at the edge of the panel. Repairs under the coat of varnish were visible on Christ's legs, on the lower part of Mary Magdalen's yellow cloak and on her black velvet dress. Vertical retouches covered Christ's chest and left arm, which were intended to cover the prominent grains of the oak. Numerous repairs were also visible in the foreground along the vertical joins. The extensive and thick overpaintings of the background created less of a contrast on the photo. INFRARED REFLECTOGRAPHY The infrared reflectogram assembly filtered at 1650 mm, taken by researchers from IRPA revealed no charcoal underdrawings (fig. 4).

14 The first moments of sketching and painting were executed with ample binding material but insubstantial paint. The heat-rays were most heavily absorbed by the pigments containing charcoal, such as Mary Magdalen's velvet dress, the shaded parts of Joseph of Arimathaea's red cloak and the inner surface of Mary Magdalen's cloak. Some pentimenti were also visible. From among the overpainted figures of the background, the female face in profile was initially sketched in different proportions by the artist. Some modifications were also visible on Mary Magdalen's face: in the first version the painter composed the mass of the head somewhat higher, to the left. He also altered the line of the lips, and widened the half face in shade to the right. He executed the toes of Christ's right foot very loosely, with alterations. Initially he had composed the Virgin's kerchief in a wider form. Of the modifications, the widening of xMary Magdalen's face and the original contour of the Virgin's kerchief are also visible to the naked eye.