The 'Triptych with the Descent from the Cross' is one of the largest works by Dieric Bouts.

The analysis of a painting of this nature starts with a regular visual inspection, with the naked eye or a magnifying glass. To do this, unlimited access to the artwork is, of course, required. In practice, only a select few individuals have this opportunity to intensively study the painting up close. Fortunately, macro photography provides a more accessible solution. Using a hundred-megapixel camera, we can capture highly detailed images of the artwork. These are stitched together to create an ultra-high-resolution mosaic image. This allows one to zoom in on the tiniest of details.

The combination of naked eye observation and macro photography has provided many new insights into the 'Triptych with the Descent from the Cross’. These insights will prove invaluable during the restoration process. That is the task that the Royal Institute for Cultural Heritage will undertake following this exhibition.

Especially the central panel is in poor condition. There are many lacunae - areas where the original paint has disappeared. Subsequent restorers have covered these areas with paint, but in some instances, they seem to have also overpainted the original paint layers. Also, the paint they used ages differently compared to Bouts' original paint. This is clearly visible, for example, in the stone arch on the central panel: the brown blots were once the same colour as the original paint layer.

These later added layers of paint will be removed, fully uncovering Bouts' original paint layer. The lacunae will be retouched, this time using reversible paint that can be easily removed in the future.

The side panels are in better condition than the central panel, yet they too require restoration - especially to remove the yellowed, non-original layers of varnish. The dirt it accumulated over the years, causes Bouts' colours to appear dull and brownish. The final step in the restoration process is the application of a new coat of varnish. This will protect the painting from dirt for the near future, and can easily be removed when needed. The new varnish will also restore the colours' shine. Compare this work, for instance, with the recently restored 'Martyrdom of Saint Erasmus' elsewhere in the room.