The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso)

The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso)

Title

The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso)

[cda 2011]

Painting on limewood (Tilia sp.)

Medium

Painting on limewood (Tilia sp.)

[Heydenreich, cda 2011]

Recto:

'In the middle, a St Christopher. On the left Sts Maurice, with armor and banner; Pantaleon, with both hands nailed to this head; Blasius, with a burning candle; George with the dragon; Achatius with the switch of thorns; and Eustace with the stag. On the right are Barbara; Catherine; Vitus

Recto:

'In the middle, a St Christopher. On the left Sts Maurice, with armor and banner; Pantaleon, with both hands nailed to this head; Blasius, with a burning candle; George with the dragon; Achatius with the switch of thorns; and Eustace with the stag. On the right are Barbara; Catherine; Vitus with the rooster; Erasmus with the entrails wound around a spit; Cyprian with the chained dragon; Giles with the she-dog; and the beheaded Dionysius, holding his head in both hands.'

Verso:

'On the reverse is a partially damage Man of Sorrows between two angels.'

[Friedländer, Rosenberg 1978, 69, No. 16]

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

Verso: attribution with '?' [Exhib. Cat. Chemnitz 2005, 363] [Sandner 1998 B, 103] [Friedländer, Rosenberg 1978, 69, No. 16]

Production dates
about 1505 - 1508
about 1505

Production dates

about 1505 - 1508

[Heydenreich, cda, 2011]
[Ritschel 1995, 53]

about 1505

[Sandner 1998 B, 103][Grimm 1998, 70]
[Schade, Exhib. Cat. Dresden 1971, 100]

about 1505-1507

[Heydenreich 2007 A, 60] [Exhib. Cat. Chemnitz 2005, 363]

about 1506

[Harksen, Magirius 1993, 12f.]

about 1506-1508

[Swarzenski 1907, 61]

about 1507

[Friedländer, Rosenberg 1978, 69, No. 16]
[Harksen, Magirius 1962, 26]
[Exhib. Cat. Weimar, Wittenberg 1953, 20]
[Exhib. Cat. Berlin 1937, 16]
[Friedländer, Rosenberg 1932, 30, No. 15]
[Friedländer 1899, 244]
[Woermann, Exhib. Cat. Dresden 1899, 31]

1505

[Michaelson 1902, 24]
[Flechsig 1900 A, 82]
[Woltmann, Woermann 1882, 419]

1505-1506

[Vogel 1832, 82]

1506

with a questionmark [Gronau 1972, Bd. 2, 82-106]
[Mielsch 1924]
[Glaser 1921, 47]

1507

[Barbe 1939, 11]
[Mielsch 1936, 20]
[Tucholski 1930, 8]
[Mielsch 1923, 20]

1509

[Harksen 1958, 38][Schuchardt 1998 B, 13]

Dimensions
Dimensions of support: 84.3 x 117.8 x 0.8 - 0.9 cm (original)

Dimensions

  • Dimensions of support: 84.3 x 117.8 x 0.8 - 0.9 cm (original)

  • Dimensions including frame: 96.2 x 129.8 x 5.2 cm

  • [Heydenreich, cda 2011]

Signature / Dating

None

Inscriptions and Labels
  • there are various dates, initials and inscriptions on the reverse of the panel from 16th century to more recent …

Inscriptions and Labels

Stamps, Seals, Labels:

    • there are various dates, initials and inscriptions on the reverse of the panel from 16th century to more recent times
  • [Heydenreich, CDA 2011]

Owner
Ev. Kirchgemeinde St. Marien, Torgau
Repository
Ev. Kirchgemeinde St. Marien, Torgau
Location
Torgau
CDA ID
DE_StMT
FR (1978) Nr.
FR016
Persistent Link
https://lucascranach.org/en/DE_StMT/

Provenance

'This panel is probably the predella of the vast 'Altarpiece of St Anne and the Fourteen Helpers in Need' in the entrance to the choir of the Marienkirche in Torgau. The altar was donated by Friedrich III the Wise and his brother Johann the Steadfast in memory of the latter's first wife Sophie of Mecklenburg (died July 12, 1503), and was dedicated on July 19, 1505.'

[Friedländer, Rosenberg 1978, 69, No. 16]

Exhibitions

Dresden 1899
Berlin 1937
Weimar 1972
Kronach 1994, No. 199

Literature

Reference on page Catalogue Number Figure / Plate
Sandner 2021 72
AuthorIngo Sandner
TitleDie Werkstattpraxis Lucas Cranach des Älteren
Publicationin Dagmar Täube, ed., Lucas Cranach der Ältere und Hans Kemmer. Meistermaler zwischen Renaissance und Reformation [Lübeck, St. Annen-Museum]
Place of PublicationMunich
Year of Publication2021
Pages71-81
Cat. Coburg 2018 78, fn. 4 under no. 12
AuthorKlaus Weschenfelder
TitleCranach in Coburg. Gemälde von Lucas Cranach d.Ä., Lucas Cranach d.J., der Werkstatt und des Umkreises in den Kunstsammlungen der Veste Coburg
Place of PublicationRegensburg
Year of Publication2018
Exhib. Cat. Mühlhausen et al. 2014/2015 101-103 2.2.3
EditorHartmut Kühne, Enno Bünz, Thomas T. Müller
TitleAlltag und Frömmigkeit am Vorabend der Reformation in Mitteldeutschland [Mühlhäuser Museen, Stadtgeschichtliches Museum Leipzig, Kulturhistorisches Museum Magdeburg]
Place of PublicationPetersberg
Year of Publication2013
Heydenreich 2007 A 8, 9, 32, 57, 60, 61, 94, 100, 102, 107, 108, 111, 112, 116, 118-120, 149, 150, 163, 184-187, 193, 199, 208, 210, 215, 220, 222,
AuthorGunnar Heydenreich
TitleLucas Cranach the Elder
Place of PublicationAmsterdam
Year of Publication2007
Link https://lucascranach.org/application/files/6116/2097/3099/Heydenreich_2007_Lucas_Cranach_the_Elder.pdf
Heydenreich 2007 B 37-38, 44 12, 13
AuthorGunnar Heydenreich
Title"... dass Du mit wunderbarer Schnelligkeit malest". Virtuosität und Effizienz in der künstlerischen Praxis Lucas Cranachs d. Ä.
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. FrankfurtA
Place of PublicationOstfildern
Year of Publication2007
Pages29-47
Cat. Frankfurt 2005 214, 218, 219
AuthorStephan Kemperdick, Bodo Brinkmann
EditorStädelsches Kunstinstitut
TitleDeutsche Gemälde im Städel 1500 - 1550
Place of PublicationMainz
Year of Publication2005
Exhib. Cat. Chemnitz 2005 362, 363, 391 under No. 26 Fig. 165
EditorHarald Marx, Karin Kolb, Ingrid Mössinger
TitleCranach Anlässlich der Ausstellung Cranach vom 13. November 2005 bis 12. März 2006 in den Kunstsammlungen Chemnitz. Eine Ausstellung in Kooperation mit der Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden
Place of PublicationCologne
Year of Publication2005
Schölzel 2005 183
AuthorChristoph Schölzel
TitleZeichnungen unter der Farbschicht. Zu den Unterzeichnungen von Cranachs Gemälden in der Gemäldegalerie Alte Meister und in der Rüstkammer Dresden
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, eds., Cranach. Gemälde aus Dresden, Exhib. Cat. Chemnitz
Place of PublicationCologne
Year of Publication2005
Pages182-197
Exhib. Cat. Eisenach 1998 103-105, 107 No. 12 Figs. 12.1, 12.2, 12.3
EditorWartburg-Stiftung, Eisenach, Fachhochschule , Ingo Sandner
TitleUnsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen. Ausstellungskatalog und Tagungsband Katalogteil 1; 2: Werkstatt und Schüler Cranachs; 3: Süddeutsche Meister; 4: Albrecht Dürer und sein Kreis; 5: Rheinische Meister
Place of PublicationRegensburg
Year of Publication1998
Pages229-240
Grimm 1998 69, 70 Fig. 9.3
AuthorClaus Grimm
TitleDie Anteile von Meister und Werkstatt. Zum Fall Lucas Cranach d.Ä.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages67-82
Heydenreich 1998 A 186, 195 Fig. 21.17
AuthorGunnar Heydenreich
TitleHerstellung, Grundierung und Rahmung der Holzbildträger in den Werkstätten Lucas Cranachs d.Ä.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages181-200
Sandner 1998 B 87, 89
AuthorIngo Sandner
TitleCranach als Zeichner auf dem Malgrund
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages83-95
Schuchardt 1998 B 13
AuthorGünter Schuchardt
Title"Ich hätt euch viel zu schreiben, hab aber viel zu schaffen." Lucas Cranach d. Ä. und seine Wittenberger Werkstatt.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages11-18
Ritschel 1996 7-26
AuthorIris Ritschel
TitleDer Frankfurter "Annenaltar" von Lucas Cranach dem Älteren aus dem Jahre 1509: ein Werk aus der Marienkirche zu Torgau?
SeriesKleine Schriften des Torgauer Geschichtsvereins
Volume6
Place of PublicationTorgau
Year of Publication1996
Pages7-26
Neelmeijer et al. 1995 326-329
AuthorChristian Neelmeijer, W. Wagner, Hans-Peter Schramm
TitleDiagnose von Kunstwerken am Teilchenbeschleuniger: Fortschritte am "Luft-Protonenstrahl"
JournalRestauro
Issue101/5
Year of Publication1995
Pages326-329
Ritschel 1995 38-62
AuthorIris Ritschel
TitleDas Gemälde "Die Vierzehn Nothelfer" und "Christus als Schmerzensmann" in der Marienkirche zu Torgau
JournalDenkmalpflege in Sachsen: Mitteilungen des Landesamtes für Denkmalpflege Sachsen
Year of Publication1995
Pages38-62
Exhib. Cat. Kronach 1994 369, 371 199 Fig. 199
EditorClaus Grimm, Johannes Erichsen, Evamaria Brockhoff
TitleLucas Cranach. Ein Maler-Unternehmer aus Franken [Festung Rosenberg, Kronach 17.05 - 21.08.1994; Museum der Bildenden Künste, Leipzig 07.09 - 06.11.1994]
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationAugsburg, Coburg
Year of Publication1994
Sandner, Ritschel 1994 190, 191 Fig. A131
AuthorIngo Sandner, Iris Ritschel
TitleArbeitsweise und Maltechnik Lucas Cranachs und seiner Werkstatt
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhoff, eds., Lucas Cranach. Ein Maler-Unternehmer aus Franken, Exhib. Cat. Kronach 1994
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationAugsburg, Coburg
Year of Publication1994
Pages186-193
Thümmel 1994 167
AuthorHans Georg Thümmel
TitleLucas Cranachs Prager Altar
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhoff, eds., Lucas Cranach. Ein Maler-Unternehmer aus Franken, Exhib. Cat. Kronach 1994
Place of PublicationAugsburg, Coburg
Year of Publication1994
Pages166-173
Harksen, Magirius 1993 12f.
AuthorMarie Luise Harksen, Heinrich Magirius
TitleMarienkirche Torgau
Place of PublicationRegensburg, Munich
Year of Publication1993
Riemann 1980 115-118, 151-152
AuthorKonrad Riemann
TitleMaltechnische Untersuchungen an Gemälden von Lucas Cranach d.Ä.
Volume3
JournalBildende Kunst
Year of Publication1980
Pages115-118, 151-152
Exhib. Cat. Basel 1974/1976 255, 450
AuthorDieter Koepplin, Tilman Falk
TitleLukas Cranach. Gemälde, Zeichnungen und Druckgraphik
Volume1, 2
Place of PublicationBasel, Stuttgart
Year of Publication1974
Link http://nbn-resolving.de/urn:nbn:de:bsz:16-diglit-104522
Schade 1974 Figs. 36, 37, 38, 39, 40
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Exhib. Cat. Weimar 1972 B 169 No. 2 Fig. 35
EditorSchlossmuseum Weimar
TitleLucas Cranach 1472-1553. Ein großer Maler in bewegter Zeit
Place of PublicationWeimar
Year of Publication1972
Gronau 1972 24-27 (Bd. 1)
AuthorHans-Joachim Gronau
TitleBeobachtungen an Gemälden Lucas Cranachs d.Ä. aus dem ersten Wittenberger Jahrzehnt unter Berücksichtigung von Infrarot-, Röntgen- und mikroskopischen Untersuchungen
Volume1, 2
Place of PublicationBerlin
Year of Publication1972
Riemann 1972 A
AuthorKonrad Riemann
TitleEin Beitrag zur Maltechnik Lucas Cranachs des Älteren
Place of PublicationWeimar
Year of Publication1972
Exhib. Cat. Dresden 1971 102
EditorStaatliche Kunstsammlungen Dresden
TitleDeutsche Kunst der Dürerzeit
Place of PublicationDresden
Year of Publication1971
Harksen, Magirius 1962 26
AuthorMarie Luise Harksen, Heinrich Magirius
TitleDie Marienkirche zu Torgau
Place of PublicationBerlin
Year of Publication1962
Harksen 1958
AuthorMarie Luise Harksen
TitleDie Hallenkirchen in Torgau [Dissertation]
Place of PublicationHalle
Year of Publication1958
Barbe 1939 5-11
AuthorCarl Barbe
TitleDie Kirchen in Torgau
Place of PublicationBerlin
Year of Publication1939
Exhib. Cat. Berlin 1937 15, 16 011 Pl. 18
EditorStaatliche Museen, Berlin
TitleLucas Cranach d. Ä. und Lucas Cranach d. J. Gemälde, Zeichnungen, Graphik
Place of PublicationBerlin
Year of Publication1937
Mielsch 1936 20
AuthorRudolf Mielsch
TitleTorgau
Place of PublicationDresden
Year of Publication1936
Friedländer, Rosenberg 1932 15
AuthorMax J. Friedländer, Jakob Rosenberg
TitleDie Gemälde von Lucas Cranach
Place of PublicationBerlin
Year of Publication1932
Link http://digi.ub.uni-heidelberg.de/diglit/friedlaender1932
Tucholski 1930 8
AuthorFriedrich Tucholski
TitleKleiner Führer durch die Marienkirche zu Torgau
Place of PublicationTorgau
Year of Publication1930
Mielsch 1924
AuthorRudolf Mielsch
TitleDie Vierzehn Notehelfer des Lucas Cranach
JournalDie Heimat. Beilage zur Torgauer Zeitung
Issue1924, Nr. 8
Year of Publication1924
Glaser 1923 47
AuthorCurt Glaser
TitleLukas Cranach
Place of PublicationLeipzig
Year of Publication1923
Link http://digi.ub.uni-heidelberg.de/diglit/glaser1923
Mielsch 1923 20-23
AuthorRudolf Mielsch
TitleDer Torgauer Altar des Lucas Cranach
JournalTorgauer Kreiskalender
Issue8 (1923)
Year of Publication1923
Swarzenski 1907 49-65
AuthorGeorg Swarzenski
TitleCranachs Altarbild von 1509 im Städelschen Kunstinstitut zu Frankfurt/M
JournalMünchner Jahrbuch der bildenden Kunst
Issue2
Year of Publication1907
Pages49-65
Michaelson 1902 24
AuthorHedwig Michaelson
TitleLukas Cranach der Ältere. Untersuchung über die stilistische Entwicklung seiner Kunst
Place of PublicationLeipzig
Year of Publication1902
Flechsig 1900 A 82
AuthorEduard Flechsig
TitleCranachstudien
Volume1
Place of PublicationLeipzig
Year of Publication1900
Link page/n5/mode/2up
Flechsig 1900 B 10 No. 5
AuthorEduard Flechsig
TitleTafelbilder Lucas Cranachs d. Ä. und seiner Werkstatt
Volume1, 2
Place of PublicationLeipzig
Year of Publication1900
Link http://digi.ub.uni-heidelberg.de/diglit/flechsig1900tafeln
Exhib. Cat. Dresden 1899 66 No. 98
EditorKarl Woermann
TitleDeutsche Kunstausstellung Dresden 1899. Abteilung Cranach-Ausstellung. Wissenschaftliches Verzeichnis der ausgestellten Werke
Place of PublicationDresden
Year of Publication1899
Link http://resolver.staatsbibliothek-berlin.de/SBB00002A2400000000
Friedländer 1899 244
AuthorMax J. Friedländer
TitleDie Cranach-Ausstellung in Dresden
JournalRepertorium für Kunstwissenschaft
Issue22
Year of Publication1899
Pages236-249
Woltmann, Woermann 1882 419
AuthorAlfred Woltmann, Karl Woermann
TitleDie Malerei der Renaissance, Geschichte der Malerei
Volume2
Place of Publication[n. a.]
Year of Publication1882
Bürger, Grulich 1855
AuthorJohann Christian Bürger, Friedrich Joseph Gruhlich
TitleFriedrich Joseph Grulichs Denkwürdigkeiten der altsächsischen kurfürstlichen Residenz Torgau aus der Zeit und zur Geschichte der Reformation...
Place of PublicationTorgau
Year of Publication1855
Vogel 1832 81-84
AuthorC. G. Vogel
TitleEinige in den Kirchen zu Torgau befindliche Gemälde von Lucas Cranach
JournalMitteilung der Deutschen Gesellschaft in Leipzig
Issue1832
Year of Publication1832

Research History / Discussion

Most recent extensive description of the history, dating and attribution: see: [Ritschel 1995, 38-62]

Printed description of the Helpers in Need and the Anna altarpiece in the Marienkirche, Torgau 1671:

'This Altar/ shows the 14 Helpers in Need/ as well as St Anna and other portraits of saints very beautifully and artistically painted/ still stands/ however employed for another and better purpose/ and every Sunday and feast day donations were made on it during the Mass…'

[Hofmann, Paul: 'Christliches und Torgauisches Jubilate oder Predigt in der Churfürstl. Sächs. Schloß-Capelle zu Torgau', Torgau 1671] quoted from [Ritschel 1996, 13]

Treasury invoice (Gotteskastenrechnung) 1697/1698 (Demolition of the altarpiece belonging to the tomb of Sophie):

'... helped pull down the old front altarpiece, bring the stone into the churchyard, created the paintings in the sacresty vaults...'

[Rechnung … des Gemeinen Gotteskastens zu Torgau … Trinitatis 1697 – Trinitatis 1698, 71, Stadtarchiv Torgau, Nr. 2851] quoted from [Ritschel 1996, 13]

  • The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso), about 1505 - 1508

Images

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Technical studies

2011Technical Examination

Support

- limewood (Tilia Sp.)

- 13 vertical boards, glued butt joints

- widths seen from the reverse, from the top left to the top right: 11/9.4/11/8.1/9.7/13.7/4.5/10.4/6/8.4/9.6/8.8/7.2 cm;

from the bottom left to the bottom right: 10.3/8.6/12.1/7.5/11.2/12.8/3.9/10.4/5.4/8.5/8.9/9.6/7.8 cm

- the edge of the panel is straight; the dimensions are the original (not cropped)

- a piece of wood measuring c. 2 x 2 cm has been inserted into a damage in the panel in the area of St Erasmus' head

- the joints do not appear to have been covered with an application of canvas or fibre

- there are at least seven dowels on the reverse parallel to the top edge; all of the dowels have been cut down to the level of the panel surface and are partially covered by the ground and paint layers; their function is unknown

Ground and Imprimatura

- there is a thin white ground application on both sides of the panel

- the barbe along the edge of the ground has been preserved on both sides; c. 1 cm from the edge of the panel

- incised lines run parallel to the barbe, the gilding extends beyond it in places, indicating that the panel was not fitted in a frame during the painting process

- lead white imprimitura

  • written by Gunnar Heydenreich

2007Technical examination / Scientific analysis

Support

'In 1507 a Michel Tischer made the panels for an altarpiece of St Anne to be painted by Cranach (app. II, 18). This particular task can possibly be linked with the preserved predella The Fourteen Helpers in Need (c.1505/07) at Torgau.3 As with almost all panels produced between 1505 and 1510, this predella follows a characteristic production method (see p. 60, fi gs 34, 35), suggesting that Michel Tischer prepared the majority of panels used by the court painter during these years. If this is the same person as the Meister Michel Tischer who, among other things, produced doors, windows, shutters and panelling at Schloss Hartenfels between 1514 and 1517 (app. II, 63),4 then we have here some explanation as to why he always glued the planks of the early panels with the grain oriented parallel to the shorter dimension of the panel. For centuries this practice has remained in continuous use for the production of shutters, door panels and wainscoting.'

[Heydenreich 2007 A, 275]

Ground and Imprimatura

'Only a few years later, an extensive modelling of the volumes with greyish washes preceded the ‘working up’ of the Fourteen Helpers in Need (1505/07, fig. p. 8, figs 90, 91). Compared to others, this picture is characterised by a particularly fast application of paint. The underdrawing obviously served to shorten the painting process. The white imprimatura on top of the drawing smoothes out washes, some strokes of hatching, and the outlines, resulting in a grisaille -like undermodelling.'

[Heydenreich 2007 A, 107-108]

Paint Layers and Gilding

'On the Fourteen Helpers in Need , Cranach underpainted the cloak of St Christopher with red iron oxide , red lead and vermilion (fig. 84), and the folds are defined with red iron oxide, vermilion and black paint. Shadows are deepened in black and illuminated edges are indicated with vermilion. Finally, luminosity was heightened by a red glaze applied over

large passages (D, fig. 134). In contrast the robes of St Panthaleon, the infant Christ and the angel on the verso are given shape with lead white mixed with red lake pigments (B, figs 95, 187). The underlying paint is an opaque pink, layered over with semi-transparent shades and, fi nally, translucent red glazes . A higher content of white emphasises the folds and rich red glazes accentuate the shadows. Here the specific red lake pigment used for fi nal glazing differs from that used in the underpainting (see p. 139). St Erasmus' mitre and St Dionysius' robe are again worked up in a different technique (figs 34, 95).

Here the painter achieved the velvety effect simply with red glazes over black washes of the underdrawing (A). On the reverse of the same panel, the inner lining of the robe of the angel on the left, painted with red iron oxide and lead tin yellow in yellow-red tone, demonstrates Cranach's extensive repertoire (P).'

[Heydenreich 2007 A, 185]

'Because of the high calcium content in the black background paint of the Fourteen Helpers in Need , Neelmeijer, Wagner and Schramm concluded that ivory black had been used.260 However, EDX examination of cross-sections showed that, although the black paint contains traces of white calcium salt, there is no phosphorus to indicate the presence of bone black or ivory black. There are various reasons why calcium carbonate would be present as a component of paint containing soot: it could be a residue from combustion, vestiges of calcium from the preparation process,261 or a mixture with an organic lake pigment containing chalk as an extender or substrate.262 It is also conceivable that chalk was added to the soot black , which is of small particle size, in order to improve its handling properties and/or to reduce the amount of binding medium. The addition of chalk would also improve the drying properties (see p. 133).'

[Heydenreich 2007 A, 163]

'On various works such as the Crucifixion (1503), the panel with the Fourteen Helpers in Need (c.1505/07) and the Altarpiece of the Holy Kinship (1509), hands are used to finely disperse glazes.'

[Heydenreich 2007 A, 193]

'On the panel with the Fourteen Helpers in Need (c.1505/07), the washes with a black drawing medium that model shadows create a close link between the underdrawing and the painting process (figs 90, 91). Black ink, the white imprimatura and thin, slightly translucent fl esh tones were used to create grey half shadows. No similar modelling has been observed on any other of the works examined. On this panel the light modelling was achieved either by a stippling application of paint or with softly flowing strokes of the brush without necessarily being related to the anatomical form. The paint was subtly worked up into bright pink fl esh tints or shaded to pale tones, in the latter case using azurite . On the X-radiographs it becomes particularly evident that the smooth shapes of womens' faces were highlighted by stippling the paint with a blunt bristle brush. The intended effect was achieved with a few brown and pink glazes either spread on or hatched. Last, reflections of light, very deep shadow folds and contour lines were emphasised with a pointed brush.

[Heydenreich 2007 A, 199-200]

'As already pointed out, the first layer of the fl esh was carried out in a very early stage; but the final graduation of tonal values was one of the last measures in the entire painting process (fig. 174).102 To illustrate this point, the panel with the Fourteen Helpers in Need (c.1505/07) has pink-coloured highlights that have been applied on previously painted drapery in the areas of the necks of St Cyprian and St Giles (fig. 177), while flesh tints on St Giles at the end have again been trimmed by the borderline of the paint modeling the black robe.'

[Heydenreich 2007 A, 210]

Gilding

'The gold on several panels such as the Portrait of the Wife of a Viennese Scholar (1503), the Fourteen Helpers in Need (c.1505/07) and the Holy Trinity (c.1515) was beaten to a thickness of approximately 500 nanometres (that is 0.0005

millimetres).'

[Heydenreich 2007 A, 116]

'On the Fourteen Helpers in Need (1505/07), the adhesive is a drying oil containing lead white, lead-tin yellow, chalk, ochre, copper green and vermilion .'

[Heydenreich 2007 A, 119-20]

'The practices varied in the case of matt gilding . On the panel depicting the Fourteen Helpers in Need (c.1505/07,ifig. 34), the areas that were to be mordant gilded were outlined with a stylus before the white imprimatura was applied. Several details of drapery are also marked under the gold (fig. 94). However, when applying red-brown glazes on the gilding to model the shadows, Cranach largely ignored the incisions. It was not even necessary to mark the outline for this gilding technique, since the mordant could be applied exactly to the designated areas and thus adhesion could be restricted to these surfaces.

Thus, the spandrels on the verso of the panel with the Fourteen Helpers in Need are no longer delineated with incisions.'

[Heydenreich 2007 A, 112]

'On the Fourteen Helpers in Need (c.1505/07), he gave spatial effect to the metal leaf by extensive red-brown glazing (figs 34, 187).'

[Heydenreich 2007 A, 120]

1995Technical Examination

Framing

- new frame - made and fitted during the conservation treatment of 1969-1971

[Ritschel 1995, 53]

1995Technical examination / Scientific analysis

  • Micro-sampling / cross-sections
  • Instrumental material analysis
  • analysis

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [50]

Object No.: FR 016

Coss-section No. EP 081

Brief description of paint: green robe of St Blase

Sample location: front, green robe of St Blase, edge of loss along the join

Sample No.: 143

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence, photograph: yes

Observations:

8. brown transparent layer - yellowish fluorescence - glaze, varnish

7. brown pigmented layer - no fluorescence - glaze?, retouching?

6. brown transparent layer - yellow fluorescence - glaze?, varnish?

5. green layer - little fluorescence - modelling, three green layers increasing in intensity towards the top

4. green layer - little fluorescence - modelling

3. green layer - green transparent lumps with unclear contours, whitish lumps - lead white, one red pigment particle, possibly yellow? little fluorescence, one inclusion slightly paler, undermodelling

2. white layer - white, slightly glassy, yellow fluorescence - imprimitura

1. black layer - very fine black pigment - no fluorescence - underdawing

0. white layer - yellow fluorescence - ground

Commentary: There are three layers of green modelling in green pigmented paint above the underdrawing and white imprimatura, over this there may be glazes or an old varnish

[see Heydenreich 2007 A, 149]

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

  • examined by Hans-Peter Schramm
  • written by Gunnar Heydenreich
  • examined by Christalle
  • examined by Gunnar Heydenreich
  • examined by Christian Neelmeijer
  • examined by Wolfgang Wagner

1995Scientific analysis

  • Instrumental material analysis

PIXE - Analysis

  • examined by Christian Neelmeijer
  • examined by Hans-Peter Schramm
  • examined by Wolfgang Wagner

1995Technical examination / Scientific analysis

  • Micro-sampling / cross-sections
  • Instrumental material analysis

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [38]

Object No.: FR 016

Cross-section No.: EP 001

Brief description of paint: flesh paint, Christ's arm

Sample location: Reverse, flesh paint of Christ, right arm, bottom edge of the large loss, centre

Sample No.: 001

Incident light microscopy: yes

Incident light microscopy, photograph: 2 slides

UV fluorescence:

UV fluorescence photograph:

Staining test for protein:

Staining test for protein, photograph:

Staining test for oil:

Staining test for oil, photograph:

SEM/EDX: yes

SEM/EDX photograph:

Observations:

2. brownish transparent layer [Ca!! O - Pb - C - Al - Mg -] not easy to differentiate, the thickness of the layer is unclear

1. the flesh paint is almost white [Pb!! Ca C - O- Al-] with glassy transparent and glassy yellowish inclusions; pigment particles [Si!! Ca! C! Pb O] there may be a red and blue pigment particle in the centre

0. the ground is missing

Commentary: The flesh paint appears homogenous and as a single layer it is very pale, containing only a small addition of coloured pigment (blue, red). A proportion of the glassy, partially more yellowish-brown inclusions contains more silicon, calcium and noticeably more carbon (indicating that they are particles of grit) than in other areas. These inclusions only contain small amounts of calcium, therefore it is unlikely that they can be identified with the brownish discoloured lake pigments, which are found elsewhere, as these contain greater quantities of chalk (substrate). Silicon is also the principal component of the brown glaze over the flesh paint on the Princes' Altar.

Examination carried out by: EDX Frau Chistalle, Forschungszentrum Rossendorf, Heydenreich

Probenliste Heydenreich [39]

Object No.: FR 016

Cross-section No.: EP 002

Brief description of paint: green robe of the angel, pale fold

Sample location: Reverse, robe of the angel on the right, at the bottom edge

Sample No.: 002

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence:

UV fluorescence photograph:

Staining test protein:

Staining test protein, photograph:

Staining test oil:

Staining test oil, photograph:

SEM/EDX:

SEM/EDX photograph:

Observations:

4. dark brown transparent layer; varnish?

3. green layer with green, yellow white and brownish glassy pigments (an application of at least three layers, which are relatively similar in appearance); green paint from the robe; thickness c. 0.047 mm

2. thin white layer with one black pigment particle; imprimitura; thickness c. 0.008 mm

1. very thin, partially visible black layer; underdrawing

0. white layer; ground, which is increasingly transparent with a yellowish discolouring towards the top

Commentary: There may be an isolating layer over the ground, then a black underdrawing and a very thin white imprimatura. The green paint consists of at least three layers of admixtures of green, yellow, white and brownish glassy pigments.

Probenliste Heydenreich [40]

Object No.: FR 016

Cross-section No.: EP 003

Brief description of paint: green robe of the angel, dark fold

Sample location: Reverse, angel on the right, green robe, dark fold, at the bottom edge of the panel

Sample No.: 003

Incident light microscopy: yes

Incident light microscopy, photograph: yes, Schramm

UV fluorescence: yes

UV fluorescence photograph: yes, no slide

Staining test protein:

Staining test protein, photograph:

Staining test oil:

Staining test oil, photograph:

SEM/EDX: green is suitable for further analysis

SEM/EDX photograph:

Observations:

7. above black-brownish layer (slight fluorescence) can not be readily differentiated, varnish

6. a further intense green layer

5. very thin dark green-grey intermediate layer with a lot more black pigment, less green; shadow

4. grainy dark green layer (one or two ?) with green, white, single reddish brown and black pigments, no fluorescence, single green-blue pigments

3. green-white layer with bluish green and white pigments; light green undermodelling

2. very thin white layer, partially white-green without a clear separation from layer 3, minimal fluorescene, presumably imprimatura

1. very thin black layer, not continuous; underdrawing

0. white layer with a less glassy surface; ground; fluorescence increasing towards the top

Commentary: The underdrawing is only partially visible as a layer, above this is the imprimatura. The undermodelling of the robe is executed in light green although this is a sample from the shadow of the fold. The green paint was applied in a number of layers (at least 5) dark green with a proportion of green, black and white pigment. On the surface there is a thin fluorescing isolating layer and a thicker coating layer.

Probenliste Heydenreich [42]

Object No.: FR 016

Cross-section No.: EP 005

Brief description of paint: white handkerchief

Sample location: Reverse, angel on the left, white handkerchief, lighter side, bottom edge of the loss

Sample No.: 005

Incident light microscopy: yes (Schramm)

Incident light microscopy, photograph: yes (Schramm), slide

UV fluorescence: yes

UV fluorescence photograph: yes (Schramm)

Observations:

1. pale grey layer (white, black and blue pigments)

0. white ground

Commentary: no grey undermodelling, PIXE-analysis was carried out in this area [Pb!, Cu!, C!, Ca, K, Fe, Mn, Ti, Sr], Interpretation: 'lead white on (ivory)black [?] containing azurite" is doubtful

Probenliste Heydenreich [43]

Object No.: FR 016

Cross-section No.: EP 006

Brief description of paint: red robe of the angel

Sample location: Reverse, angel on the left, red robe, bottom edge of the large loss

Sample No.: 006

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence photograph: yes

Observations:

  • 3. Varnish

  • 2. light red layer, white and intensive red, lake-like pigments, the red particles appear red to orange-red in UV

  • 1. white mprimitura

  • 0. white ground

Commentary: The red lake should be analysed further

Probenliste Heydenreich [47]

Object No.: FR 016

Cross-section No.: EP 010

Brief description of paint: flesh paint of Christ with traces of red blood

Sample location: Reverse, flesh paint of Christ, from the stomach with traces of blood, bottom edge missing

Sample No.: 010

Incident light microscopy: yes

Incident light microscopy, photograph: yes (Schramm), no slide, partially coated

UV fluorescence: yes

UV fluorescence, photograph: yes (Schramm)

SEM/EDX: yes, Rossendorf, Fr. Chistalle, DSM 962 (Zeiss)

Observations:

3. indifferent varnish layer

2. red layer [Al, S, Ca, Pb] in the red particles [Al!, Pb!?, (S)] - traces of blood

1. white layer - lead white [Pb!, Al, Ca] with glassy inclusions, thes appear to contain lighter elements in SEM [Pb (S also possible)!!, Al!, K!,] - Flesh paint, the glassy inclusions only differ in a slightly higher concentration of Al and as such are not the same as in EP 001

0. white ground [Ca!, (Pb), at the bottom only Ca!] - could indicate a drying oil?

Commentary:

- the glassy inclusions in the flesh paint are not yet understood, further examination would be useful

- the componenents of the red lake are not yet clear: the particles appear darker than less heavy elements in SEM whereas as the surrounding material is lighter, in other words a heavier material, which may result from a medium containing lead (siccative?). In one particle there appears to be a higher sulphur content? - Interaction with lead? otherwise lead , aluminium and calcium are represented in the particles (substrate?). In comparison there appears to be considerably more aluminium in the sample from St Chrisopher's robe.

- PIXE-analysis also detected Sn, so lead tin yellow was presumably also employed?

Probenliste Heydenreich [48]

Object No.: FR 016

Cross-section No.: EP 011

Brief description of paint: flesh paint of Christ, thigh

Sample location: Reverse , flesh paint of Christ, proper right thigh, centre, bottom edge of painting

Sample No.: 011

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence photograph: no

Observations:

1. pale flesh paint, white and very fine red pigment (vermillion?), single black pigments

2. white ground

Commentary: single layer of pale flesh paint without further differentiation

Probenliste Heydenreich [54]

Object No.: FR 016

Cross-section No.: EP 083

Brief description of paint: red robe of angel

Sample location: reverse, red robe of angel, bottom edge of the loss, to the right of the cloth

Sample No.: 147

Incident light photograph: yes

SEM/EDX: yes (Rossendorf)

Observations:

4. red layer [Ca!, C, Mg, Pb] here a different red lake was employed to that of below, warm in tone

3. red layer [Al!, Pb!, Ca] red lake (orange fluorescence) with lead white - modelling

2. pink layer [Pb!, Al!, Ca, Si] lead white with red lake pigment - undemodelling

1. black underdrawing

0. white ground

Commentary:

- further examination of the two red lake pigments would be useful

Probenliste Heydenreich [55]

Object No.: FR 016

Cross-section No.: EP 084

Brief description of paint: black background

Sample location: reverse, black backgound between Christ and the angel on the left, next to the letter 'K'

Sample No.: 148

Methods of analysis: partial vapour phase deposition

SEM/EDX: yes (Rossendorf)

SEM/EDX photograph: no

Observations:

4. varnish

3. black layer (only visble as a discrete layer, separate from layer 2 with the SEM) Spot [C!!, Ca!, S], suface [C!, Ca, Pb, Si, (Cu)]

2. black layer [C!!, Pb, Ca, Cu]

1. thin white layer -imprimatura

0. white ground

Commentary:

- Phosphorous was not detected, indicating that it is a bone black, the surface appeared vey homogenous in the SEM image, too homogenous for bone black, lumps of chalk were however not visble in the cross-section or the SEM image (see surface examination), where does the calcium come from? It may be a lamp black with the addition of lime or chalk and a lead siccative, a red lake on a Ca substrate is also possible? - the copper is probably from copper green rather than azurite

Probenliste Heydenreich [58]

Object No.: FR 016

Cross-section No.: EP 085

Brief descriptioin of paint: gilding with red glaze

Sample location: reverse, top left spandrel, top edge, gilding with red glazed stripe

Sample No.: 151

Methods of analysis: partial vapour phase deposition

Incident light microscopy photograph: yes Ob 16

SEM/EDX: yes (Rossendorf)

Observations:

4. transparent reddish brown, relatively dark layer [Ca!, Pb, Si, Ca, Cu, Al], calcium in the coating, also detected in PIXE-analysis - challk in oil as a coating, or was this a warm red glaze?, Ca does not appear as particles

3. Goldleaf [Au, (Ag), (Cu)], thickness 500nm (measured under a magnification of 10000x)

2. yellowish layer with single red pigments (PIXE: vemillion), white and black, EDX: [Pb!!, Ca, Sn, Cu, Fe] - mordant with lead tin yellow, or lead white and other pigments, eg. vermillion

1. thin white layer - lead white imprimatura

0. white ground

Commentary:

- if the coating contained a warm red lake pigment witha a Ca substrate, then the tonal harmonies within the painting have been considerably altered

Probenliste Heydenreich [59]

Object No.: FR 016

Cross-section No.: EP 086

Brief description of paint: yellow-orange lining of the robe

Sample location: reverse, angel on the left, orange lining, top edge of the loss

Sample No.: 152

Methods of analysis: partial vapour phase deposition

SEM/EDX: yes (Rossendorf)

Observations:

2. red layer [Pb!, Ca, Sn, Fe, (Al)] - red iron oxide and ed lead?, lead tin yellow

1. white layer [Ca]

Commentary:

- comparative measurements with PIXE-analysis detected Fe und Sn (red iron oxide and lead tin yellow)

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

  • examined by Hans-Peter Schramm
  • written by Gunnar Heydenreich
  • examined by Christalle
  • examined by Gunnar Heydenreich
  • examined by Christian Neelmeijer
  • examined by Wolfgang Wagner

1995Technical examination / Scientific analysis

  • Micro-sampling / cross-sections
  • Instrumental material analysis
  • analysis

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [60]

Object No.: FR 016

Cross-section No.: EP 087

Brief description of paint: green robe of Eustachius

Sample location: front, Eustachius, green robe, left edge of he painting, at the height of the stag's eye

Sample No.: 153

Methods of analysis: partial vapour phase deposition

SEM/EDX: yes (Rossendorf)

SEM/EDX photograph: yes

Observations:

6. dark brownish layer with red inclusions, relatively clear UV-fluorescence, indicating a natural resin, varnish? in SEM lighter [Si!!, Al!, Ca!, Pb, Cu, O, C, Fe] likr the brown glaze of the flesh paint, indicating that it may be an original glaze, possibly a correction carried out by Cranach?

5. glassy brown layer, without visible pigments, varnish? Very dark in SEM, stronger fluorescence thn in other layers,

[C!!, O!!, Ca!, Al, Pb, Cl?, Si], the layer may contain resin, either oiginal varnish or an organic green glaze on Ca, Al, little copper ions

4. bright green layer, no fluorescence, darker than layer 3 in SEM, dark: [Cu!!, Pb, C, O,

Ca, Al]; light: [Cu!!, C, O, Al], lead siccative like the green glaze on St Christopher's neck; green glaze based on copper green?

3. green layer, containing lake particles with an orange fluorescence and one without, otherwise the same as layer 2

2. green layer, thick, yellow green layer with coarsely ground pigments and white inclusions, belongs with layer 3, darker than layer 3 in SEM, green pigment particle [Cu!, Pb!, O, C] copper green, in part with a striking structure (verdigris?); glassy particles [Pb!!, Sn!, Cu!, Al] lead tin yellow; bluish white particle [Cu!!, Pb!!] lead white, yellow particle [Pb, Sn] lead tin yellow, brown particle [Ca!!, C!, S, O] red lake on Ca? - green undermodelling is an admixture of copper green, lead white, lead tin yellow and a reddish brown glaze

1. white imprimitura

0. white layer - ground

Commentary: green layer structure in numerous layers, further examination would be useful

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

  • examined by Hans-Peter Schramm
  • written by Gunnar Heydenreich
  • examined by Christalle
  • examined by Gunnar Heydenreich
  • examined by Christian Neelmeijer
  • examined by Wolfgang Wagner

1995Technical examination / Scientific analysis

  • Micro-sampling / cross-sections
  • Instrumental material analysis
  • analysis

Analysis of cross-sections; Incident light microscopy; UV fluorescence; Staining tests; SEM/EDX:

Probenliste Heydenreich [50]

Object No.: FR 016

Coss-section No. EP 081

Brief description of paint: green robe of St Blase

Sample location: front, green robe of St Blase, edge of loss along the join

Sample No.: 143

Incident light microscopy: yes

Incident light microscopy, photograph: yes

UV fluorescence: yes

UV fluorescence, photograph: yes

Observations:

8. brown transparent layer - yellowish fluorescence - glaze, varnish

7. brown pigmented layer - no fluorescence - glaze?, retouching?

6. brown transparent layer - yellow fluorescence - glaze?, varnish?

5. green layer - little fluorescence - modelling, three green layers increasing in intensity towards the top

4. green layer - little fluorescence - modelling

3. green layer - green transparent lumps with unclear contours, whitish lumps - lead white, one red pigment particle, possibly yellow? little fluorescence, one inclusion slightly paler, undermodelling

2. white layer - white, slightly glassy, yellow fluorescence - imprimitura

1. black layer - very fine black pigment - no fluorescence - underdawing

0. white layer - yellow fluorescence - ground

Commentary: There are three layers of green modelling in green pigmented paint above the underdrawing and white imprimatura, over this there may be glazes or an old varnish

[see Heydenreich 2007 A, 149]

The following pigments were identified on the panel in Torgau:

- lead white

- lead tin yellow

- vermillion

- carbon black (lamp black?)

- red lake (Al, with orange fluorescence in UV)

- red lake (Ca, without orange fluorescence in UV)

- copper green

- green glaze on the basis of copper green

- red iron oxide

- red lead

- brown glaze

- azurite

- chalk

[Heydenreich 1995, unpublished examination report]

  • examined by Hans-Peter Schramm
  • written by Gunnar Heydenreich
  • examined by Christalle
  • examined by Gunnar Heydenreich
  • examined by Christian Neelmeijer
  • examined by Wolfgang Wagner

1994Technical examination / Scientific analysis

  • Infrared reflectography
  • irr
  • irr
  • irr
  • irr

Underdrawing

DESCRIPTION (recto)

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- freehand underdrawing

- thin to relatively broader lines

- washes and occasional hatching-strokes

Function:

- relatively binding for the final painted version; lines delineate contours and describe the essential details and the facial features; some representation of volume (washes and hatching-strokes)

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder and workshop?

DESCRIPTION (verso)

Tools/Materials:

- fluid, black medium and brushes of varying width

Type/Ductus:

- freehand underdrawing

- thin to relatively broader lines

- washes and occasional hatching-strokes

Function:

- relatively binding for the final painted version; lines delineate contours and describe the essential details; some representation of volume (washes and hatching-strokes)

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder and workshop?

[Smith, Sandner, Heydenreich, cda 2012]

Underdrawing

In comparison with the underdrawing on preceding works like for example 'Rest on the Flight into Egypt' (about 1504, Berlin Gemäldegalerie) or 'The Crucifixion' from 1503 (Munich, Pinakothek) the loose design that lacks detail on this panel marks a turning point. The underdrawing serves as such its original function as a guide for the painted version. This linear drawing is similar to that on the St Catharine Altarpiece in Dresden (1506, Galerie Alte Meister Dresden) and can be placed within the context of an identified transitional phase. However, one specific feature, which has not been observed on other underdrawings by Cranach is the use of washes to create areas of light. It also seems that the initial design was reworked. Detailed inspection shows that this was particularly the case at the centre of the image in the head of St Christopher and the neighbouring heads. [...]

[Sandner 1998, 103]

  • photographed by Ingo Sandner

1994Technical examination / Scientific analysis

  • X-radiography
  • x_radiograph
  • x_radiograph
  • x_radiograph
  • x_radiograph
  • photographed by Asmus Steuerlein
  • photographed by Ingo Sandner

Condition Reports

Date20.07.1994

Title: Torgau panel of the fourteen helpers in need

Dimensions: 84.3 x 117.8 x 0.9 cm

Location: Landesamt für Denkmalpflege Dresden

The very thin lime wood support has in the past been considerably weakened by wood worm, which gave rise to numerous consolidation attempts. During the most recent treatment wooden battens, that had been glued to the reverse in a previous treatment were replaced by strips of plexiglas, losses in the wood were partially filled with a wooden fill material, smoothed with a glue/chalk mixture and retouched. The frame offers the panel sufficient stability.

Despite this the panel is in danger of suffering new damage to the support and paint surface caused by dimensional changes as it responds to fluctuating temperature and relative humidity. This potential damage is already visible as a new loss in the robe of St Blase, on the left above his hand. For this reason the panel should not not be subjected to large fluctuations in temperature and relative humidity.

Damage:

Reverse, 'Man of Sorrows'

  • top and bottom c. 3-4 cm, centre c. 12 cm paint and ground layers scraped with a serrated plane

  • over the entire surface of the panel numerous letters and figures have been scratched into or written on the surface, there are more recent scratches in Christ's hair (top left to bottom right), in the flesh paint of Christ beneath the plexiglas, in the wings of the angel on the right (from the top left to the bottom right), there is a conspicuous loss in the top right gilded spandrel (c. 4 mm²)

  • plank 2 (from the left): extensive wood worm damage (old), losses in the wood and paint layers over the entire length of the panel, filled and retouched, stable

  • join 3/4: partially open, re-glued?, reinforced with plexiglas

  • join 4/5: top half partially open

  • plank 6 split: (reinforced with plexiglas) and recent paint loss in the centre, where remains of glue on the paint surface have caused flaking

  • join 7/8: bottom third is open (?), no new paint loss

  • plank 8: split in the lower half of the painting

  • plank 9: continuous split, reinforced with plexiglas, flaking and paint loss in the areas of green paint caused by a change in the dimensions of the support

Recto, 'The Helpers in Need'

  • plank 8 (from the right): new split, recent paint loss in the robe of St Blase, above his hand

  • recent hairline cracks in the area of the join between planks1/2 (from the right)

  • in the area of the split , head of St Christopher old losses not retouched

  • there are numerous very small paint losses in the green robe of St Eustace, partially recent

[Heydenreich, 20.07.1994, unpublished]

  • written by Gunnar Heydenreich

Conservation History

Date2011

Restoration 19th or early 20th century:

  • application of two horizontal cross-battens on the reverse - therefore paint layer partially removed

[Heydenreich, CDA 2011]

Date1969 - 1971

Restoration 1969-71 (Konrad Riemann, Institut für Denkmalpflege Halle):

  • cross battens replaced with acrylic plates, new frame [Ritschel 1995, 53]

[Heydenreich, CDA 2011]

  • conservation treatment by Konrad Riemann

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso)', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_StMT/ (Accessed {{dateAccessed}})
Entry with no author
'The Fourteen Helpers in Need (recto), Man of Sorrows between two angels (verso)', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_StMT/ (Accessed {{dateAccessed}})

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