The aim the work is to distinguish the inidividual masters
and their assistants on the basis of the preparatory drawing.
The panel pictures in the Holy Rood Chapel were studied
by means of photographs in the infra-red band of 850 nm
and reflectography in the 1 micron band. Considerable
differences in the technique of drawing and in the quality
of execution were found; definitive conclusions can be
drawn after the assembly of all photographs of all panels
on the completion of restoration work. Reflectography
provided certain details of the initial drawing were not
recorded by infrared photography.
(A) The Technique of Drawing
1) An initial charcoal drawing can only be assumed on
the basic of contemporary sources.
2) Premilinary brush drawing in strongly diluted wateres
3) The actual drawing with a brush dipped in black
4) Engraved drawing of the outlines of the figures.
(B) The Artistic Type of the Drawing
I Long, energetic strokes; a fluent written line
of equal width outlines merely the main features of the
face and the folds of the draperies, exceptionally limiting
the edge of shadows; relatively few changes in comparison
with the preliminary drawing; striking certainty of execution.
II Sings of a search for form, uncertain lines, relatively
frequent alterations; the character of the stroke as ad
On Left Church Father. Basic type: long and certain
lines of equal width; the edge of the face shadow simply
On Right St James the Less. Long lines of striking certainty;
only slight differences from the definitive painting
On Left St Matthew. Change in face proportions: 2 phases
of drawing, the older of minor proportions. Close to the
basic type of line, but more stereotype in the folds.
On Right St Claire. Energetic and pliant line, but numerous
changes: the painting does not respect the folds drawn
III Fine drawing in diluted paint; relatively short
brush strokes with a broader line in the middle;
signs of shading by means of multiple strokes; small changes
compared with the painting.
IV Narrow lines with sharp ends, hatching on the form
to indicate shadows and semi shadows.
(C) Changes in the Process of Creation
Numerous pentiments of the position of the head and the
entire figure show changes in intention. Frequent enlargement
of the scale of the entire figure and the features of
The Question of Attribution:
The preparatory drawing was clearly not the work of one
master. Artistically exacting are the types given as I
and HI, partly also IV. The participation of assistants
is visible in type II.
In view of a possible division of labour, the author
of the drawing may not have been identical to the man
who did the painting. Further comparative material is
being assembled in the course of the ongoing restoration
work. The text contains only the basic thesis.
Radana Hamsíková, AHVT A 039 (T.G.)
On Left Fine drawing in diluted black paint; relatively
short brush strokes, broader in the middle and sharply
finished. A significant change in scale.
On Right Sainte with a spring. Long and narrow
lines with sharp ends, but perfunctory.
On Left St Jerome. The change in the position of the
head is remarkable: the original eye is placed more to
the left; eye-wrinkles were sketched in the preparatory
On Right Holy Knight. Preliminary drawing (a eye-wrinkles,
b folds) in light grey strokes is only freely followed
by the definitive drawing - some strokes are doubled.