The materials and techniques of The Lamentation of Christ (ca. 1460, Mauritshuis), attributed to Rogier van der Weyden and studio: Combining MA‐XRF, reflectance imaging spectroscopy and paint cross‐section analysis

Abstract This article highlights a technical examination of The Lamentation of Christ (ca. 1460, Mauritshuis) attributed to Rogier van der Weyden and studio, performed during its recent conservation treatment. The goal of the research was to identify and map pigments used for the final paint and underpaint of the figures using information from non‐invasive chemical mapping and analysis of cross sections, to support the existing attribution of the painting. The results from a MA‐XRF scanner and two hyperspectral reflectance imaging cameras (400–1000 nm; 967–1680 nm) along with those from the analysis of recent paint cross sections and those collected in the 1980s allowed for a comprehensive understanding of the pigments used and their distribution. In general, the results show that the artist achieved a wide variety of colored draperies (robes) of the figures using a limited palette. High‐quality ultramarine and coarse azurite were identified in the different blue draperies, while azurite was also found combined with red lake and lead white to produce the lilac and purple‐toned fabrics. The green robe contains another copper pigment, verdigris, combined with lead‐tin yellow. The various red draperies show subtle differences in hue, obtained by varying the layer stratigraphy and proportions of lead white, vermilion, and red lake. The chemical maps also provided new insights into the original appearance and modeling of some of the draperies, including the unusual brown dress that was found to contain (partly faded) red lake. Comparison with previous technical studies shows that the materials and elaborate build‐ups used to paint The Lamentation are consistent with other paintings by Rogier van der Weyden and his workshop.