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Project interns and volunteers performed photo-documentation of each painting and completed summarized condition reports for Villanova's archives.
timeline view   simple view
Date: 2014-08-23
Performed in-situ x-radiography on entire composition with the assistance of GE Energy Management Inspection Services. Continued to apply fills and tone losses throughout upper section.
timeline view   simple view
Date: 2014-09-01
Continued to apply fills and tone losses throughout upper section.
timeline view   simple view
Date: 2014-09-07
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).
timeline view   simple view
Date: 2014-09-07
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).
timeline view   simple view
Date: 2014-09-07
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).
timeline view   simple view
Date: 2014-09-07
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>
timeline view   simple view
Date: 2014-09-13
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.
timeline view   simple view
Date: 2014-09-18
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.
timeline view   simple view
Date: 2014-09-18
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.
timeline view   simple view
Date: 2014-09-18
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.
timeline view   simple view
Date: 2014-09-18
Multiple changes were made to the position of the soldier's feet and legs.
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Date: 2014-09-18
Although it is extremely faint in the x-ray image, the face and hand of a small child can be seen just below the elbow of the woman standing in the background. This child was part of the original composition.composition only to be abandoned at a later stage.
timeline view   simple view
Date: 2014-09-18
This figure was by far the most dramatic discovery that was made during the x-ray imaging session. Cross-sectional paint samples showed brilliant colors of pain beneath the black shield but only the x-ray revealed that these colors belonged to a figure of a kneeling man holding a fasces, an object that is often associated with the power of the Roman magistrate and does appear in a few of Cortona's works as well as other paintings from this period. The head and hands of the man are beautifully sculpted and further examination suggests that his robes were painted using yellow ochre and lapis lazuli. It is not clear why this fully painted figure holding a symbolic object was ultimately painted out of the composition.
timeline view   simple view
Date: 2014-09-18