Crucifix by Jan van Steffeswert

The comprehensive restoration of the 500-year-old painted crucifix by Maastricht sculptor Jan van Steffeswert (1460–1530) was successfully completed in 2022.

Unravelling a hidden narrative

Commissioned by the Bonnefanten Museum, SRAL initially investigated the potential presence of the original paint beneath the multiple layers of non original paint. Led by Arnold Truyen, the restoration team undertook the meticulous task of uncovering and restoring the original polychromy. The process, which spanned over five years, involved carefully removing each layer of paint and, in some cases, up to eighteen successive overpaints on the sculpture. The result is striking: a dramatic, nearly fully painted crucifix of exceptional quality with the original polychromy from around 1500.

The restoration has revealed a close collaboration between the sculptor and the painter in the Middle Ages. The realistic, vibrant painting and dramatic details accentuate the fine carving of the sculpture, showcasing Van Steffeswert's remarkable craftsmanship. Carved from walnut wood, the crucifix remains in excellent condition, with much of the original paint layer from around 1510 still intact. This extraordinary work by one of the most prominent sculptors of his era is now proudly displayed once again at the Bonnefanten.

Context

The original church for which the corpus was created remains unknown. Until 1983, it was displayed in the Nieuwenhofkapel in Maastricht. Following this period, the Kannunik Salden Foundation transferred it on long-term loan to the Episcopal Museum Diocese of Roermond. When the sculpture later entered the Bonnefanten Museum's collection as a long-term loan, the numerous layers of overpainting were immediately noticeable, obscuring the intricate details of the carvings beneath. The realistic paint layer from the early 20th century was deemed insufficient in quality for inclusion among the Bonnefanten's collection of historical art.

In 1996, SRAL began investigating the underlying layers of paint, aiming to determine the completeness and quality of the original polychromy and the feasibility of its exposure. This investigation involved a thorough paint layer survey, which revealed the number and types of paint applications the sculpture had undergone over the past 500 years.

Repainting statues and altars in churches, in alignment with the art styles and tastes of different periods, was common practice. In this case, the crucifix had been repainted in various styles over time, including realistic, white and gold finishes, and imitations of stone or wood. In contrast, today’s practice often shows medieval sculptures in their unpainted state. In the 19th and 20th centuries, many medieval polychrome sculptures were stripped down to bare wood due to misconceptions about their original appearance. However, research from the latter half of the 20th century revealed that most wooden sculptures were originally adorned with vibrant paint, reflecting the close collaboration between carvers and painters. Thus, an unpainted medieval sculpture tells only part of its story. Following its restoration, this triumphal cross now reveals its complete, richly painted history.

Research

In 1996, SRAL initiated an investigation into the paint layers through a stratigraphic analysis. This process involved creating small windows in the paint layers to methodically remove each layer down to the original paint. The investigation, conducted at over 20 locations on the crucifix involved taking small paint samples. These samples were examined through cross-sections, revealing the various layers of overpaint and providing insights into the state of the oldest layer and the colors of subsequent overpaints. 

The analysis offered a comprehensive view of the sculpture's history over the centuries. While most overpaint phases displayed realistic skin tones, there were periods when the crucifix was painted to resemble stone or a brown, wood-like finish. The figure was repainted in a multi-colored scheme at least five times and in a monochrome scheme at least three times. The most recent layer, from the early 20th century, was a polychrome, realistic version.

Restoration

It is highly unusual for an original polychromy to remain largely intact, and even more so for sculptures by Jan van Steffeswert to have preserved their original painting. Consequently, it was decided to proceed with the extensive and costly restoration, which involved removing all subsequent layers of non original paint. This meticulous process was performed under a microscope, with overpaintings carefully scraped away using a sharp scalpel. 

On average, the removal of each two-by-two centimeter section took approximately seven hours, depending on the fragility of the original layer. In particularly complex areas, such as the blood drops in the wound on the side, and details on the face, arms, and right leg, the process could extend up to 20 hours.

Original polychromy

The original polychromy consists of a delicate layer of pale pink, with variations ranging from a light to a more intense purplish pink. The left side of the figure exhibits a slightly more purplish hue compared to the right, and shading techniques appear to have been employed. Blood on the skin was originally rendered with a transparent, deep red lacquer, showing a more extensive and realistic depiction of blood compared to the last paint layer, which features only a few quick strokes. 

The original gilding on the loincloth includes a decorative motif created with dots using the pastiglia technique. On the inside of the loincloth, a deep blue pigment, made from azurite, is set against a dark black ground. The original crown of thorns was painted a vibrant green, with most of this color applied directly onto the wood. The hairs of the figure are also black in the original layer.

Restoring these original colors has significantly enhanced the sculpture's aesthetic value. The authentic appearance and intricate carvings are now visible, revealing the sculpture's aged quality. The original paint layers present a dramatically different iconography, depicting Christ as a tormented figure in grey-pink and completely covered in blood, emphasizing his suffering and the profound meaning of his sacrifice for humanity. Such an original portrayal by the renowned carver Jan van Steffeswert is truly unique.

Bonnefanten and Jan van Steffeswert

The Bonnefanten boasts an exceptional collection of medieval wood sculpture from the Maasland region, featuring the largest ensemble of works by Jan van Steffeswert, who predominantly worked in Maastricht during his lifetime. In 2020, the museum enhanced its collection with the addition of the boxwood sculpture Rijk aangeklede dame (1510), further enriching its array of regional masterpieces. The museum now holds thirteen unique sculptures by Van Steffeswert, including four that are signed.

Unlike his contemporaries, Van Steffeswert distinguished himself not merely as a craftsman but as an artist, often signing his sculptures or marking them with his master’s insignia. After years in storage and restoration, the Crucifix—one of his most remarkable and high-quality pieces—is now once again on display.

This long-term restoration project was co-sponsored by the Province of Limburg.