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

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

Height on the left: 78.7 cm, on the right: 78.5 cm. Width upper: 68 cm, lower: 67.8 cm. Measured at the upper edge, the widths of the planks from left to right: 22.5 cm, 22.5 cm, 23 cm. The vertical members are 1.5 cm thick and 3 cm wide. The transverse members are 0.7 cm thick and 3 cm wide. In connection with the restoration of the two Heemskerck altar wings of the National Gallery of London, also dating from around 1540 (inv. no. 6508 a, b; Grosshans 1980, cat. 17), a similar, thin ground layer is reported by: J. Dunkerton, A. Burnstock, and A. Smith, "Two Wings of an Altarpiece by Martin van Heemskerck", National Gallery Technical Bulletin 12 (1988) 16-35, 26. Similar constructional lines incised on the ground were found during the examinations carried out on Heemskerck's altar wings in the Frans Hals Museum, Haarlem (the wings for the Drapers' Altarpiece, inv. no. os 1-136. Oil, oak, each 261.5 x 122.5 cm. Grosshans 1980, cat. 55). E. Henrichs, "Haarlem studio practice", in Painting in Haarlem 1500-1580. The collection of the Frans Hals Museum, Haarlem 2006, 65-96, 83. On the ample use of azurite see Dunkerton, Burnstock, and Smith 1988, 28. The ultraviolet photo was taken with a digital camera, with a Leica Vario Summicron lens and F: 2.0/28-90 + MC coated UVfilter. The examination was made with an Inframetrics Infracarn platinum silicide chip image sensor. The examination was made with aMintron CCD chip camera, using a combination of B&W Schneider 930 IR filter and Sun interference filter. Archives of the Museum of Fine Arts, Budapest, no. 171/1916. The photo by Julius Bard mentioned by Térey 1924, 69, cannot be traced. The enumeration of the figures illustrating the contemporary publications under note 4. The pyramidal composition as the characteristic of the painting is mentioned by Zsuzsa Urbach: Tokyo 1994, 221. The Ento?nbment, Torino, Grosshans 1980, cat. 43: eleven figures; The Entombment, formerly in New York, Grosshans 1980, cat. 52: eight figures; The Entombment, Brussels, Grosshans 1980, cat. 90: nine figures; The Lamentation, Delft, Grosshans 1980, cat. 99: thirteen figures; The Lamentation, Cologne, Grosshans 1980, cat. AB 21: eight figures. This latter painting was excluded from the oeuvre by Grosshans with no explanation. For an opposing stance, see J. C. Harrison, "The Detroit Christ on Calvary and the Cologne Lamentation of Christ: Two Early Haarlem Paintings by Maerten van Heemskerck", Renaissance en reformatie en de Kunst in de noordelijke Nederlanden. Nederlands kunsthistorisch jaarboek 37(1986), 175-94. Tokyo 1994, 211.