Polychromy Revealed is a research project looking at medieval sculptures from The Fitzwilliam Museum collection. We used a range of technical and scientific methods to find out more about them. This resource focuses on two sculptures that represent kneeling angels.

At the beginning of the project we spent time looking in detail at the two sculptures, to help us to plan our project and to guide our research questions.

Click on the thumbnail in the top right of the screen to download a high-resolution image and take a long, careful look at it and the photographs above.

Now look below at these photos of the sculptures from different angles and at the 3D scans we made as part of this project.

TAKE 5-10 MINUTES AND WRITE DOWN WHAT YOU CAN SEE

Have a look at the scans and photos and compare the information they provide

Which type of image did you find most interesting and why?

How might these additional images help with your research?

You might find it useful to compare them with other similar objects to try and find out more

The microscopy photos show that there is some colour still on the surface of the angels. Some of these colours have changed over time, much has been lost and some areas have been repainted. The angels would have originally been brightly coloured. There are other scientific methods we can use to identify the original pigments.

Fibre Optic Reflectance Spectroscopy

This method is used to calibrate satellite images. It can also be used to identify minerals, plants and other materials used to make paint. It measures light reflected and absorbed by a surface. The result of the analysis is shown as a spectrum with features such as absorption bands, which are typical of the materials present in the object.

The three absoroption bands indicated by arrows in the spectrum above shows us that the Virgin's cloak on the shield of the second angel was painted using azurite. Azurite is a blue mineral made of copper, which was widely used by medieval artists. The paint would have originally appeared bright blue but over time it has darkened and accumulated surface dirt.

We can also look at documentary evidence from the period to learn about how artists worked. The treatise of the painter Cennino Cennini Il Libro dell' Arte, describes painting techniques used in Italy in the 14th Century. The treatise, which reads like a recipe book, covers all aspects of painting technology from the preparatory stages, including the manufacture of the pigments, through to the final paint and varnish layers.

Have another look at the 3D scans above. Do you notice anything missing?

You might notice that there are two narrow vertical slots on the back of each angel. These show that the angels originally had wings. These may have been made from wood, metal, fabric or a mixture of materials. This is what we found when we investigated further.

Tiny fibres found inside the slots may suggest that the wings had a wooden frame with fabric stretched over the top. We also found tiny wooden pegs, which may have been used to hold the wings in position. By looking closely, you can still see the remains of the fixings and traces of a red adhesive.

In order to imagine what these sculptures might originally have looked like, it is useful to compare them to examples of similar objects and paintings from medieval Europe.

Here is a list to get you started:

1. Workshop of Giovanni della Robbia, Kneeling Angel holding a candlestick at The Fitzwilliam Museum

2. Pair of 15th century candleholders in the form of angels, sold at Sotheby's New York in 2012

3. Tilman Riemenschneider, a pair of alabaster sculptures representing an Annunciation at the Rijksmuseum. BK-16986-A The Annunciation and BK-16986-B The Annunication

4. Michelangelo Buonarroti, a marble angel holding a candlestick in the Basilica of San Domenico (Bologna, Italy)

5. A 15th Century wingless angel playing a dulcimer at The Met Museum

6. The Discovery and Identification of an Original Varnish on a Panel by Carlo Crivelli at The National Gallery

7. Carlo Crivelli, The Dead Christ Supported by Two Angels at The National Gallery

8. Carlo Crivelli, The Annunciation with Saint Emidius at The National Gallery

As part of our project, we launched an online challenge inviting people from around the world to imagine what the angels might have looked like and to re-invent them for the 21st century.

You can see what they created on our project website.

Why don't you have a go at designing your own pair of angels?