Abstract
The 17th century painting Madonna della Cesta by Rubens and its presumed textile reproduction created by Févère for the House of Medici were analysed in comparison. A number of non-invasive optical techniques were applied with the aim to identify similarities and differences between tapestry and painting, in order to shed light on a possible link between their respective authors. The use of a multi-analytical approach proved effective for the acquisition of iconographic, morphological, structural, and compositional information for a comprehensive characterization of the two artworks. While serving as relevant support for documentation and conservation purposes, data so obtained also provide evidence of the uncanny resemblance between the two artworks, and specifically suggest the use by Févère of the same large-scale preparatory drawing (carton) realized by Rubens for his oil painting.
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