WNIEBOWSTĄPIENIE PAŃSKIE TOMASZA DOLABELLI (?), XVI–XVII W., Z BAZYLIKI ŚWIĘTEGO KRZYŻA W WARSZAWIE – PROBLEMATYKA TECHNICZNO-TECHNOLOGICZNA I KONSERWACJA OBRAZU
THE ASCENSION OF THE LORD, TOMMASO DOLABELLA (?), THE SIXTEENTH-SEVENTEENTH CENTURY, FROM THE CHURCH OF THE HOLY CROSS IN WARSAW: TECHNICAL AND TECHNOLOGICAL PROBLEMS AND CONSERVATION OF THE PAINTING

Summary/Abstract: The authors aimed to present the research results and the leading conservation problems facedduring the conservation of the Ascension of the Lord painting from the Holy Cross Basilicain Warsaw, attributed to Tommaso Dolabella (c. 1570–1650).Microscopic analyses, instrumental studies using a scanning microscope (SEM-EDS analysis)and binder analysis by gas chromatography coupled with mass spectrometry (GC-MS) werecarried out. In addition to careful observation using optical tools (magnifying glass, stereoscopicmicroscope) of all image elements, conservation studies included reflectography infrared,ultraviolet excitation luminescence analysis and X-ray imaging. The integrated findings influencedthe confirmation of the painting’s provenance and conservation decisions. Ultimately, itwas determined that the painting exhibits features from the late 16th- and early 17th-centuryVenetian painting.The painting was created on a linen canvas with a twill weave, similar to a sailcloth. Using anoily binder, it was initially covered with a light brown ground made from chalk, mine, and copperpigments. The binder in the paint layers consists of linseed oil and proteins of animal origin.The pigments used in the painting include lead white, ultramarine, a green copper compound,orpiment, lead-tin yellow, organic red, and minium.

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