Preparation for X-Radiography

Continued to apply fills and tone losses throughout upper section.

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Date: 2014-09-07

Preparing the Space

A team from GE Energy Management Inspection Services helped to prepare the space to ensure that all safety precautions were followed accordingly. The x-ray tube was positioned on tripod in front of the painting at a fixed distance for all 120 captures (Pictured Here: James McKinney III and Mark Shurtleff from GE Energy Management).

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Date: 2014-09-07

Preparing the Film

A special holder equipped with magnets was designed by Villanova's Instrument/Machinist expert Brad Thorstensen to hold the light-sensitive polyester film in place during each exposure. The film could be easily slid in and out of the holder while the magnets were used to suspend the film in a fixed position (Pictured Here: Project Leader Kristin deGhetaldi).

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Date: 2014-09-07

Positioning the Film

Over a period of 3 days, over 120 captures were taken of the painting. A number of volunteers were involved in the lengthy process which involved scaffolding, ladders, and other cumbersome equipment (Pictured Here: Project intern Keara Teeter and project volunteer Morgan Shankweiler).

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Date: 2014-09-07

Overall X-ray Composite

The team collected over 120 captures to produce this overall composite image of the x-radiograph. X-rays have a difficult time penetrating areas that were painted with lead white or other radio-opaque pigments (such as vermillion) in addition to sections that were built up with several layers of paint. These regions appear white in the X-ray image and help to reveal brushwork, changes, and even hidden figures.<br/><a href="http://www.artcons.udel.edu/about/kress/examination-techniques-and-scientific-terms/x-radiography" target="_blank">More on X-Radiography Here</a>

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Date: 2014-09-13

X-Radiography Examination

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Date: 2014-09-18

Woman with Tambourine

Minimal changes were detected in the two women shown in this detail, indicating that they were planned during the initial stages of the composition. The arms of the left woman were enlarged as well as her shoulder.

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Date: 2014-09-18

Goliath

Only slight changes were made to Goliath's head. This area is very thinly painted and was likely executed during the early stages of the composition.

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Date: 2014-09-18

Hidden Women

Two smaller female heads (in conversation) were part of the original composition. At some point there were covered with the blue paint of the sky and replaced with a single female head.

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Date: 2014-09-18

King Saul

Slight adjustments were made to King Saul's head as it was initially much larger. The original position of the crown can clearly be seen in the x-ray image.

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Date: 2014-09-18

Status

Continued with removal of varnish and overpaint throughout the upper section of the painting. The team continued to apply fills to areas of loss in the bottom section of the painting and to tone existing fills

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Date: 2014-04-01

January 2014

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Date: 2014-04-01

March 2014

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Date: 2014-04-03

March IMAGE

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Date: 2014-04-03

April 2014

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Date: 2014-04-05

April IMAGE

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Date: 2014-04-05

Continued with Cleaning/Fill Application: Upper Half

Continued with removal of varnish/overpaint throughout the top half of the painting and along the outermost edges (Pictured here: Ellen Nigro)

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Date: 2014-04-07

Left Edge

Significant paint loss was revealed throughout the helmet and feather plume of the standing soldier after removal of the thickly applied varnish and overpaint.

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Date: 2014-04-07

Before

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Date: 2014-04-07

Before IMAGE

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Date: 2014-04-07