Numéro 36 La nature de toute technè est 2012 de s’appliquer à la genèse d’une œuvre, Matière et couleur

d’en rechercher la technologie et la théorie parmi les choses réalisables, et d’en trouver le principe La science au service de l’histoire de l’art dans la personne qui la fait naître Terres cuites de la Renaissance et des civilisations et non dans l’œuvre elle-même.

Aristote. Éthique à Nicomaque (Livre VI, chapitre IV, 4) Centre de recherche et de restauration des musées de France

Prix : 25 A ISSN 1254-7867 ISBN 978-2-7118-5949-8 LT 00 5949 Terres cuites de la Renaissance

Numéro 36, 2012 Matière et couleur

ccouv_n_36.inddouv_n_36.indd 1 112/11/122/11/12 16:1116:11 Centre de recherche et de restauration des musées de France

Numéros épuisés Le Centre de recherche et de restauration des musées de Numéro 17, 2003 France met en œuvre la politique du Service des musées Science et conservation de France en matière de recherche, de conservation préventive et de restauration des collections placées TECHNÈ a pour objet de rendre compte Numéro 1, 1994 Numéro 18, 2003 Le métal La science au service de l’histoire de l’art sous son autorité. Il rassemble et diffuse notamment une de l’application des sciences exactes Poussin et la peinture française et des civilisations à l’étude du patrimoine cul tu rel : au XVIIe siècle documentation sur les matériaux, les techniques et les Numéro 19, 2004 méthodes de conservation et de restauration, et contri- examens et analyses sont conduits en Science et conservation vue de sa conservation et de sa res- Numéro 2, 1995 Conseil scientifi que Directrice de la publication bue au contrôle technique de l’État dans ce domaine, tauration, mais aussi dans une plus Autoportrait d’un laboratoire Ségolène Bergeon-Langle Marie Lavandier en application de la loi sur les musées de France, avec le Numéro 23, 2006 large perspective d’enrichissement Maurice Bernard soutien de la Mission recherche et technologie du minis- Numéro 3, 1996 Science et conservation Rédacteur en chef de l’histoire. Sur ces travaux, cher- Musée du quai Branly Michel Blay tère de la Culture (MRT). Arts préhistoriques Brigitte Bourgeois cheurs, conservateurs, restaurateurs, Annie Caubet Situé sous les jardins des Tuileries, le département historiens, philosophes, artistes posent Numéro 4, 1996 Numéro 27-28, 2008 Jean-Pierre Changeux Secrétariat de rédaction de la Recherche effectue sur les œuvres d’art et les objets des regards différents : allier sciences La couleur et ses pigments La restauration des œuvres d’art. Antoine Compagnon et coordination éditoriale culturels les examens et analyses préalables à leur acquisi- exactes et sciences humaines, dans une Éléments d’une histoire oubliée, e e Jean-Pierre Cuzin Marie Burdin tion, à leur conservation et à leur restauration. démarche véritablement interdiscipli- Numéro 5, 1997 XVIII -XIX siècles Henri Loyrette Pascaline Paul Les travaux de restauration suivis par le département naire, est indispen sable à la constitu- Vers une science de l’héritage tion d’un savoir humaniste. culturel : quelques exemples Henry de Lumley Conservation-Restauration, à la demande des respon- Coordination rédactionnelle de laboratoires étrangers Jean-Pierre Mohen sables scientifi ques des collections des musées de France, Marc Bormand Michel Pastoureau sont effectués dans les ateliers de la Petite Écurie du Roy TECHNÈ s’adresse en priorité à la com- Numéro 6, 1997 Anne Bouquillon Jean-Claude Pecker à Versailles et dans les ateliers du pavillon de Flore à munauté des scientifi ques, conserva- Verres - Émaux - Glaçures Vincent Pomarède Édition Paris, en étroite relation avec le Laboratoire. Certaines teurs, restaurateurs, archéologues, Numéro 7, 1998 Gérard Régnier Rmn-Grand Palais interventions se déroulent sur place, dans les musées, archéomètres, en France et à l’étran- ger, mais aussi à tous ceux qui se pas- Art et chimie au Louvre ainsi que dans vingt et un ateliers spécialisés, implantés Fabrication sionnent pour l’art et/ou la science et Comité de rédaction en régions et relevant des collectivités territoriales. Les Numéro 8, 1998 pour leur rapprochement, ainsi qu’à Isabelle Loric Matériaux et techniques Anne Bouquillon recherches et les actions de conservation préventive se un public élargi : la fréquentation Rmn-Grand Palais de l’art au XXe siècle Brigitte Bourgeois développent sur l’ensemble du réseau national. croissante des musées et des exposi- Jean-Louis Boutaine Conception graphique et réalisation Le C2RMF développe également des techniques, des tions engage ce public à savoir « ce qui Numéro 9-10, 1999 Claude Coupry HDL Design-Gilles Huot études et des recherches, en collaboration avec ses parte- se cache derrière » les œuvres et les Couleur et perception Sophie Guillot de Suduiraut naires au niveau national et international ; leurs résultats objets. Diffuser les travaux de labora- Lecture et correction Jean Habert contribuent à faire avancer l’histoire de l’art, l’histoire toire et de restauration par la publica- Numéro 11, 2000 Edire Marie Lavandier des techniques et l’histoire des sociétés. tion ou l’exposition peut contribuer Cultures du monde à satisfaire cette légitime curiosité de Élisabeth Martin Traductions La concertation et le dialogue instaurés au sein du la genèse des objets, de leur circula- Numéro 12, 2000 Roland May Jeanne Bouniort Centre entre professionnels issus de diverses disciplines tion, de l’origine des matériaux qui les L’art et l’électricité Michel Menu Pamela Hargreaves comme avec ceux des autres domaines de la recherche, composent, de leur vieillissement dans Numéro 13-14, 2001 Bruno Mottin Renaud Temperini contribuent à une meilleure connaissance du patrimoine leurs différents contextes. Maria-Anne Privat-Savigny culturel et en assurent une préservation à long terme. Découvrir - Transmettre Béatrice Sarrazin Numéro 15, 2002 Nathalie Volle © Centre de recherche Dans ce but, TECHNÈ traite d’études La vision des œuvres William Withney et de restauration des musées signifi catives, de recherches approfon- de France dies, de points de vue liés à l’histoire de Numéro 16, 2002 www.c2rmf.fr l’art et des civilisations, des méthodes Les objets d’art : scientifi ques mises en œuvre, de l’op- de l’analyse à la conservation timisation des techniques. Chaque Rédaction Abonnements année, la publication comprend deux Centre de recherche COM & COM numéros portant sur un thème qu’une et de restauration des musées 20, avenue Édouard-Herriot exposition ou un événement rend de France Bâtiment Copernic d’actualité. Palais du Louvre • Porte des Lions 92350 Le Plessis-Robinson Des nouvelles brèves s’y ajoutent 14, quai François-Mitterrand Tél é p ho ne 01 4 0 9 4 2 2 2 2 selon les cas, sur les programmes de 75001 Paris (France) Tél é c o p i e 01 4 0 9 4 2 2 3 2 recherche ou les colloques. Les articles peuvent être communiqués par les chercheurs, les restaurateurs ou les ISSN 1254-7867 Contact Achevé d’imprimer sur les presses conservateurs français ou étrangers. ISBN : 978-2-7118-5949-8 Brigitte Bourgeois de l’imprimerie Chirat. 42540 Saint-Just-la-Pendue LT 00 5949 [email protected] Dépôt légal : novembre 2012

ccouv_n_36.inddouv_n_36.indd 2 112/11/122/11/12 16:1116:11 En couverture Au centre Donatello, La Vierge et l’Enfant (détail), Coupe stratigraphique provenant Paris, musée du Louvre, département du Retable de la chapelle de la Barre des Sculptures © 2012 Musée du Louvre, de Pierre Biardeau (Angers) Dist. RMN-GP / Thierry Ollivier © C2RMF / Nathalie Balcar et Sandrine Pagès-Camagna

Terres cuites de la Renaissance : matière et couleur

Journées d’études L’éclat du sombre ? Terres cuites façon bronze de la tenues à l’Auditorium du musée du Louvre et Renaissance italienne 26 à l’Auditorium du C2RMF les 26 et 27 octobre 2011, The sheen of the dark? Italian Renaissance sous la direction d’Anne Bouquillon et de Marc Bormand imitation bronze terracottas Philippe Sénéchal

Éditorial 3 Bozzetti und Pseudo- Bozzetti aus Terrakotta in der Editorial Berliner Skulpturensammlung 34 Marie Lavandier Bozzetti et pseudo- bozzetti en terre cuite dans la collection des Sculptures des Musées de Berlin Préface 5 Terracotta bozzetti and pseudo- bozzetti in the Foreword Sculpture Collection, Museums of Berlin Henri Loyrette Volker Krahn

Introduction 6 Introduction II · D ONAT EL LO Marc Bormand, Anne Bouquillon

Autour de quelques exemples de reliefs de Donatello sur le thème de la Vierge et l'Enfant 43

I · « S CULPTER E T PEINDR E » : Focus on examples of Donatello’s reliefs on L E S MÉTAMORPHOSES DE L A T E R R E the theme of the Madonna and Child Marc Bormand

Scultura dipinta o pittura a rilievo? Rifl essioni sulla The Kress Madonna : Revelations of an Extraordinary policromia nel Quattrocento fi orentino 9 Sculpture 47 Sculpture peinte ou peinture en relief ? La Madone Kress . Les révélations Réfl exions sur la polychromie au Quattrocento d’une sculpture extraordinaire fl orentin Simona Cristanetti Painted sculpture or relief painting? Thoughts on polychromy in the Florentine Quattrocento La Vierge adorant l'Enfant de Donatello, dite Madone Giancarlo Gentilini Piot . Étude et restauration 54 Donatello’s Madonna and Child , known as the “Colorite de boni colori et ornate secundo il Piot Madonna . Study and restoration naturale”. La terracotta policroma: simulare, imitare Jennifer Vatelot la natura 18 « Colorées en bonnes couleurs et ornées d'après nature ». La terre cuite polychromée : simuler et imiter la nature “Painted in the right colours and adorned from life.” Polychrome terracotta: simulating and imitating nature Maria Grazia Vaccari

TECHNE_36_S1_41.indd 1 16/11/12 12:01 Terres cuites de la Renaissance : matière et couleur TECH N È n° 36, 2012

III · M ATÉR I AUX E T ÉTUDES D E C A S IV · L A DIFFUSION D E L’ A R T D ’ I TA L I E E N E U R O P E Terres célèbres, terres révélées et terres énigmatiques : terres et ateliers dans l’Italie The conservation of Giovanni da Maiano’s terracotta de la Renaissance 63 roundels at Hampton Court Palace (2005-2012): Famous clays, clays brought to light and A summary report 103 enigmatic clays: clays and workshops in La restauration des médaillons en terre cuite Renaissance Italy de Giovanni da Maiano conservés à Hampton Anne Bouquillon, Marc Bormand, Christel Doublet Court (2005-2012). Compte rendu sommaire Kathryn Hallett, Kent Rawlinson, Zoe Roberts La polychromie des sculptures italiennes de la Renaissance. À l’origine des couleurs, état Des Italiens en France : sculptures en terre cuite d’avancement des analyses menées au C2RMF 72 du Val de Loire 110 The polychromy of Italian Renaissance Italians in France: terracotta sculptures from sculptures. Investigating colour: progress report the Val de Loire on analyses carried out at C2RMF Geneviève Bresc-Bautier Anne-Solenn Le Hô Polychromie des terres cuites françaises L’empreinte de la mort. Étudier et restaurer du Maine 118 un masque funéraire 78 Polychromy of French terracottas from the The imprint of death. Studying and restoring Maine region a funerary mask Yannick Vandenberghe, Sandrine Pagès-Camagna, Agnès Cascio, Nathalie Pingaud Nathalie Balcar

Le analisi scientifi che rivelano un’opera d’arte Bibliographie générale 126 sconosciuta: il Compianto di Michele da Firenze. Risultati e confronti con altri gruppi in terracotta restaurati all’OPD 85 Les analyses scientifi ques révèlent une œuvre d’art inconnue : la Lamentation de Michele da Firenze. Résultats et comparaison avec d’autres groupes en terre cuite restaurés à l’OPD Scientifi c analyses reveal an unknown artwork: the Compianto by Michele da Firenze. Outcomes and comparison with other terracotta groups restored at the OPD Monica Galeotti

Lavori in corso al Museo d’Arte Antica di Milano. Le terrecotte rinascimentali: studi, scoperte e restauri 92 Travaux en cours au Museo d’Arte Antica de Milan. Les terres cuites de la Renaissance : études, découvertes et restaurations Work in progress at the Museo d’Arte Antica, Milan. Renaissance terracottas: studies, fi ndings and restoration Laura Basso, Alessandro Barbieri, Paola Bosio, Marilena Anzani, Alfi ero Rabbolini

TECHNE_36_S1_41.indd 2 07/11/12 11:33 TECH N È n° 36, 2012 The Kress Madonna : Revelations of an Extraordinary Sculpture

Simona Cristanetti The Kress Madonna : Revelations of an Extraordinary Sculpture

La Madone Kress . Les révélations d’une sculpture extraordinaire

Abstract. The National Gallery of Art’s early Renaissance Kress Résumé. La Madone Kress de la première Renaissance conservée 47 Madonna was the subject of a multi-year study carried out at the à la National Gallery of Art de Washington a fait l’objet de National Gallery encompassing the treatment and in-depth plusieurs années d’études au sein du musée comprenant un technical study of the terracotta sculpture. The project combined examen scientifi que approfondi de la sculpture en terre cuite. scientifi c, art historical and conservation aspects to address La démarche transversale, alliant les aspects techniques, questions of manufacture, history and function. The investigation scientifi ques et historiques, a permis d’aborder les questions liées provided signifi cant insight into the artist’s working process, and à la fabrication, l’histoire et la fonction de la Madone Kress . revealed several important features hitherto unknown about this Les recherches ont fourni des informations importantes sur les work’s manufacture. méthodes de travail de l’artiste et révélé plusieurs particularités, Keywords. National Gallery of Art, Kress Madonna , ignorées jusqu’ici, concernant l’exécution de l’œuvre. conservation, technical study, Renaissance, terracotta. Mots-clés. National Gallery of Art, Madone Kress , restauration, examen scientifi que, Renaissance, terre cuite.

Introduction

The National Gallery of Art’s Madonna and Child (1943.4.93), in the creation of this work. The identity of the artist has known as the Kress Madonna (fi g. 1), is regarded as one of the long been discussed and contested. Over the years, several fi nest examples of terracotta sculpture from the Renais- prominent Renaissance artists have been suggested, includ- sance. This work is also one of the most enigmatic of the ing Lorenzo Ghiberti, Donatello, Michelozzo, Jacopo della many sculptures of this genre created during the period. Quercia and Luca della Robbia. It was hoped that identifi ca- The hand modeling, the extensive gilding and punchwork, tion of the materials used in the manufacture of the sculp- and the polychromy’s fi ne details attest to the high caliber of ture would contribute new information toward, and offer the Kress Madonna ’s workmanship, while questions about its another approach to the question of attribution 2. author, the presence of the rather unusual wooden backing, as well as the irregularity in the inscription 1 contribute to the intrigue surrounding this sculpture. Analysis

The Kress Madonna was the subject of a multi-year study A variety of imaging tools and analytical techniques was carried out at the National Gallery in Washington, DC. The employed, including ultra violet illumination, infrared project encompassed the conservation treatment and an refl ectography 3, x-radiography, polarized light microscopy 4 in-depth technical investigation comprising both scientifi c (PLM), scanning electron microscopy 5 (SEM), gas chroma- and art historical aspects to address questions of manufac- tography / mass spectroscopy 6 (GC-MS), thermolumines- ture, history and function. cence dating, x-ray fl uorescence (XRF), x-ray diffraction 7 (XRD) and Fourier transform infrared spectroscopy 8 The primary goal of the technical study was to achieve a (FT-IR). Each technique provided valuable information greater understanding of the sculpture by examining the which has contributed to a more thorough knowledge of this materials, the methods and the techniques used by the artist work. Donatello

Simona Cristanetti, Project Conservator, University of Chicago ([email protected]). II ·

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Fig. 1. (Front) Madonna and Child , NGA 1943.4.93, sometimes called the Kress Madonna . After treatment. © Courtesy of the National Gallery of Art, Washington, DC.

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Thermoluminescence dating of a sample of the terracotta present over the earliest layers when viewed in cross-section. was performed in 2007 by Oxford Authentication Ltd., in Pigment identifi cation was carried out using PLM, XRF and Oxford (England). The analysis placed the last firing SEM; the binders were identifi ed using GC-MS. The blue on between 1400 and 1650 9, thus confi rming the proposed the interior of the Madonna’s cloak and veil is composed of period of manufacture of the sculpture. XRD and SEM were azurite with some particles of black, probably charcoal, in a gum tragacanth binder. The red on the underside of the Madonna’s right sleeve is vermilion, while that on the fi gures’ lips is a combination of vermilion and red lead. The fl esh tones are composed of red lead, lead white and a few parti- cles of carbon black, in an egg binder.

Indeed, based on the analytical information presented so far, the sculpture appears similar to many polychrome terra- cotta sculptures produced during the Renaissance 12 . But perhaps the most important information to emerge from 49 this investigation regards the presence of the wooden back- ing and its role in the construction of the sculpture. To date, no other sculpture created in the same manner has been identifi ed. The wood employed for the backing is poplar 13 , a wood which was readily available and was commonly used for panel paintings. The presence of gilding and polychromy on the edges of the wood, the same as that found on the terra- cotta relief, is evidence that the backing is original, and was not a later addition. Furthermore, we now know that the wooden backing was not added to remedy damage during fi ring, as had been suggested in the past, but that in fact it was conceived as an integral part of this sculpture.

Manufacturing Technique

Using the information collected during the study, it was possible to ascertain a probable construction method for the Fig. 1. (Reverse) Madonna and Child , NGA 1943.4.93, sometimes sculpture, which was not previously understood, and which called the Kress Madonna . After treatment. © Courtesy of the National Gallery of Art, Washington, DC. implies that the artist had a clear idea at the outset of the many steps involved. employed in the compositional analysis of the clay and ground. It was determined that the clay is composed mainly As was common practice, the sculpture was probably built of quartz and aluminum oxide; these materials were also up and fi nished on a wooden support, probably with several identifi ed as the primary components of the clay through pieces of paper between the clay and the board 14 . The paper electron-beam microprobe analysis, carried out in 1998 by acted as a separator, aiding in the removal of the sculpture David Lange at Harvard University as part of a separate from the board once the clay was leather-hard. Excess clay research project. SEM confi rmed the other analyses and showed the terracotta to be a heterogeneous mixture with particles ranging in size from approximately 1-20 µm.

The ground is composed of calcium sulfate anhydrite and dihydrate in a protein binder 10 . The sample of gilding seen in Figure 2, viewed in SEM, illustrates the use of gesso grosso and gesso sottile , a practice very much consistent with other works from this time, and one which is described in Cennino Cennini’s late 14th c. treatise, Il libro dell’arte 11 . Analysis of samples of gilding and polychromy not only provided information about their composition, but also revealed that no additional pigment or gilding layers were Fig. 2. Cross-section of gilding, seen in SEM. © Simona Cristanetti.

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Fig. 3. Construction method of the Kress Madonna . Schematic by Simona Cristanetti.

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was then removed from the reverse to minimize the possibil- ity of cracking or breakage during fi ring. Tool marks and fi ngerprints are visible on the interior of the work through an opening in the wooden backing 15 . The overall thickness of the clay wall is diffi cult to measure due to the presence of the backing, but in one area the thickness can be measured at approximately 10mm. There is no evidence for the use of a mold, and in fact the depth of modeling and the marks on the interior indicate the sculpture was in all likelihood hand-modeled. After fi ring, the terracotta and wooden backing were joined by means of several iron nails (fi g. 3c). The rounded edges of the nail holes, visible from the reverse (fi g. 4), indi- cate that the holes were made while the clay was still moist, when the piece was initially being formed. This critical detail establishes that the backing was part of the artist’s fundamental conception of the work, and not an after- thought to rectify a fi ring mishap 16 . Next, a linen strip was applied to cover the join between the wood and the terracotta (fi g. 3d). Its presence here recalls the technique used for the construction of large panel paint- ings. Textile is also present in the Kress Madonna where a fold Fig. 4. Nail hole, seen from the interior reverse of the sculpture. in the mantle at the Madonna’s right shoulder meets the © Simona Cristanetti. wooden panel. The fold is built up in cloth, extending it visu- ally and physically onto the edge of the panel (fi g. 5).

Glue size was applied (fi g. 3e) to seal the porous surface of the terracotta before the application of the ground (fi g. 3f). In at least two areas – on the veil at the top of the Madonna’s fore- head, and on the fold in the cloak in the lower proper right corner – the modeling of the clay was modifi ed through the

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polychromy and gilding, removal of unstable or uneven previous fi lls and inpainting areas of loss.

After vacuuming to remove loose surface dirt, testing with a variety of cleaning solutions was carried out on both gilded and painted areas to determine the best approach to removing the tenacious surface grime and darkened surface coating. The presence of the coating over an area of previous repair on the Madonna’s head indicated that it was not original.

After testing and after consultation with other conservators in the Objects Conservation Department, cleaning proceeded using Surfonic® JL-80X 17 in deionized water, as well as with saliva, since the latter seemed to be somewhat more effective overall. Cotton swabs dampened with the 51 solutions were rolled over the surface applying slight pres- sure. Cleaned areas were then cleared using deionized water on a swab.

As treatment continued, an additional solution consisting of equal parts deionized water, ethanol and acetone was tested. Because this solution was found to be as effective as the Surfonic® solution, with the additional advantage of not Fig. 5. Detail of the fold in the Madonna’s mantle, where textile was requiring clearing, treatment proceeded with the solvent used to continue the fold onto the edge of the wooden backing. solution. © Simona Cristanetti. Areas of lifting polychromy and gilding were consolidated addition of a gesso or plaster-like material. Though it is not clear using a dilute solution of Paraloid® B72 18 , fed by brush into at what point this modifi cation was done, it certainly would have the affected areas. Where planar distortion of lifted portions been after fi ring. There can be no doubt that this is an original impeded good contact with the terracotta, the consolidant change by the artist, as the layers above these additions are was bulked with glass microballoons and injected with a consistent with surrounding original material. syringe into the affected areas. The glass microballoons Areas to be gilded received a layer of red bole (fi g. 3g) served to create volume, ensuring adhesion between the two before the application of the gold leaf and the execution of parts. Cracks which affected the structural stability of the the punchwork (fi g. 3h). The polychromy was applied only sculpture were also consolidated with Paraloid® B72, both after the gilding (fi g. 3i). Evidence of this sequence was pres- alone and bulked. ent at the sides of the Madonna’s head, where small losses to Most of the fi lls from previous treatments appeared to the fl esh color revealed gilding below. be composed of plaster, spackling compound or a similar material; many were uneven and higher than the surround- The technical investigation also made possible the identifi - ing original areas. Furthermore, it was noted that portions cation of materials added at a later date. In addition to allow- of some fi lls covered extant original surface and it was there- ing a more accurate interpretation of the work, the fore decided to remove these. Removal of the old fills differentiation of newer materials from the original ones proceeded mechanically using a scalpel under magnifi ca- used in its manufacture served to inform many decisions tion. The wax fi lls in the gilding were retained, however, as during the conservation treatment. their removal would have threatened the stability of adjacent original areas. In consultation with conservators and sculpture cura- Treatment tors, the decision was reached to leave most areas of exposed terracotta visible, rather than fi lling these losses to the paint Previous treatment campaigns were evidenced by the pres- and ground layers, as such losses do not detract from a view- ence of fi lls and inpainting throughout, as well as of consoli- er’s overall appreciation of the work, and are indicative of dant within some cracks. The aim of the conservation the sculpture’s age and condition history. Areas where there treatment carried out during 2007-2010 was to improve the was loss to the polychromy and gilding but the ground was appearance of the sculpture through cleaning as well as extant were inpainted using fl uid acrylic colors over a barrier surface and structural repairs. This treatment consisted coat of Paraloid® B72. After testing different inpainting primarily of cleaning, consolidation of cracks and loose strategies, the technique of rigatino was chosen, as it allowed

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Fig. 6. Detail of Child’s head, on left, before loss compensation, on right, after loss compensation. © Simona Cristanetti.

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the most control in simulating the original surface. Using this technique, individual fi ne lines ranging from 2 -5 mm in length were painted in the area to be fi lled, taking care that the lines did not bleed into each other. One to three colors, either mixed or pure, were applied in multiple layers until they blended visually to create the desired tonal and textural effect (fi g. 6 and 8).

New Findings

An intriguing feature became apparent during the treat- ment of the sculpture, adding to the questions surrounding this work. After the heavy layer of dirt was carefully removed from the painted surface, a series of fi ne lines was revealed in certain areas of the fl esh tones. Initially appearing to be abrasion, when viewed with a binocular microscope it became clear that these lines in fact are painted on the surface.

The lines are clearly evident on the interior of the Child’s left leg (fi g. 7), and upon close examination are visible also in other areas, such as the underside of the Madonna’s right hand and the Child’s back and shoulders. All of the lines are painted as single, dark, parallel strokes, and are only present in the flesh-toned portions. The placement of the lines suggests shading, and seems aimed at accentuating the Fig. 7. Fine lines painted on the surface of the sculpture, perhaps to enhance the three-dimensionality of the work. © Simona Cristanetti. three-dimensionality of the fi gures, similar to the way that hatch marks create depth in a two-dimensional representa- tion such as a print or painting. This feature might prove to be an important clue to identify the artist or workshop if other polychrome terracotta sculpture with similar marks and a fi rm attribution can be identifi ed.

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Fig. 8. From left to right, before, during, and after treatment. © Courtesy of the National Gallery of Art, Washington, DC.

Conclusion Acknowledgements

Through a combination of conservation treatment, visual This research was generously supported by an Andrew W. observation, art historical investigation and scientifi c analy- Mellon Fellowship. I wish to thank the Object Conservation sis, the project provided insight into the artist’s working Department, the Sculpture Department, and the Scientifi c process, and allowed for the discovery of several important Research Department at the National Gallery of Art for features heretofore unknown about the Kress Madonna ’s their advice and assistance throughout. I am grateful to manufacture. Yet other questions still remain, for example: Marc Bormand, Senior Curator, Department of Sculpture, “What was the reason for including the wooden backing? Musée du Louvre, and Anne Bouquillon, Research Engi- Where was the sculpture originally located?” and of course, neer, C2RMF, for the opportunity to participate in this “Who conceived and created such an extraordinary work?” conference. It is hoped that through the information presented here some of these questions may be answered in the not too distant future.

Notes Palmer, Conservation Scientist, Department Venticonti, 1986, pp. 87-90, and the Madonna of Scientifi c Research, NGA. di Fiesole , in Speranza and Moradei, 2008. 1. For information regarding the 5. With the assistance of Palmer. 13. Identifi cation was carried out using inscription, please refer to Cristanetti 2010, 6. Carried out by Christopher Maines, PLM by M. Palmer, NGA. pp. 224-225. Conservation Scientist, Department of 14. Rees-Jones, 1978, p. 99. 2. See Bode, 1928, pp. 61-70 and Scientifi c Research, NGA. 15. This opening is not original to the Seymour, 1949, p. 174 for Lorenzo Ghiberti; 7. Janet Douglass, Conservation sculpture; it was made in the 1970s to gain Gentilini, personal correspondence Scientist, Freer Gallery of Art (2008), and access to the reverse. This was not done by 24.05.2008 for Donatello; Krautheimer, Palmer, NGA (2010). any current member of the Objects 1936, pp. 5-8 for Jacopo della Quercia; 8. Suzanne Lomax, Organic Chemist, Conservation Lab. Planiscig, 1930, p. 82 for Nanni di Bartolo; NGA. 16. Cristanetti, 2010, pp. 222-223. del Bravo, 1970, pp. 74-75 and Natali, 1974, 9. Stoneham, Analysis Report, 17. Surfonic JL-80X is a fl uid, water- pp. 61-67 for Antonio Federighi. The more 22 June 2007. soluble, biodegradable, nonionic surfactant reserved attribution of “Florentine” has also 10. Protein was detected when samples manufactured by Huntsman Corporation, been proposed by Pope-Hennessy, 1955, were stained with Amido black III, then II, The Woodlands, TX. pp. 215-216 and Middeldorf, 1976, pp. 13-14. solutions. Solutions were prepared by 18. Paraloid® B-72 is a clear, colorless, 3. With the assistance of J. Klaar Palmer, NGA, based on recipes by Elizabeth thermoplastic acrylic resin composed of an Walker, Leisher Fellow, NGA, and P. Marten. ethyl methacrylate and methyl acrylate Ricciardi, Samuel H. Kress Fellow, Scientifi c 11. Cennini, 1971 [ c. 1390], copolymer manufactured by Rohm & Haas. Research Department, NGA. chapters 15-18. 4. With the guidance of Barbara Berrie, 12. See for example, the discussions Senior Conservation Scientist, and Michael on the Madonna della Mela , Giusti and

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