Abstract
The small, unsigned panel The Lamentation of Christ in the Rijksmuseum’s collection is attributed to Colijn de Coter and dated around 1510-15. There is another, almost identical version in a private collection. Visual analysis and analytical techniques including UV fluorescence, infrared reflectography, X-ray fluorescence (XRF), X-radiography, dendrochronology and paint sample analysis, were used to examine and compare the materials and techniques in both paintings in order to investigate the relationship between the two. Because only a small oeuvre is attributed to De Coter and there has as yet been very little scientific analysis of his paintings, this comparative investigation provides more information about the artist’s workshop practices. This research has revealed that the materials and techniques used in the two versions differ hardly at all and, moreover, correspond to standard practice in early sixteenth-century painting in the Low Countries. The thicker outlines in the underdrawings in both cases indicate that the compositions were traced or copied from the same model. The underdrawings of the two Lamentations also correspond to those in other paintings attributed to the artist. This makes it likely that both versions came from De Coter’s workshop.
Highlights
The materials and techniques used in both versions differ hardly at all and are in line with what was standard prac tice in early sixteenth-century painting in the Low Countries
The panels are virtually the same size and, apart from the figure of Mary Magdalene, the com positions coincide in detail
The thicker outlines found on the infrared reflectograms of both versions may indicate that the com positions or parts of them were traced or copied from an existing model
Summary
The edges of the one in the Rijksmuseum were thinned down on the reverse to fit in the groove of the frame, a stand a rd method of securing paintings in their original frames in the sixteenth century.[24] A similar lip was found in the altar piece Donors with St John the Baptist and St Barbara, which is attributed to De Coter’s workshop.[25] If there originally was a lip in the panel of the private version too, it was removed during the earlier restoration referred to above. The underdrawing in the Rijks museum’s version seems to have been built up in different phases, a tried and trusted method used by others in this period.[31] The artist began by indicating a few outlines with fine straight lines, as around the heads of Nicodemus and St John, in Christ’s face and body and in the Virgin’s white wimple.
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