'The Martyrdom of Saint Erasmus' was restored in 2019. Today, the restoration of such a precious work is almost unthinkable without thorough preparatory research. Scientists have employed a wide range of techniques for this purpose. These include a relatively new imaging method: macro-X-ray fluorescence scanning, abbreviated as MA XRF Scanning.

Macro XRF examines an object by firing powerful X-rays at it. That object - like everything else in the universe - is composed of chemical elements: iron, mercury, potassium, titanium, or other old acquaintances from the periodic table. In reaction to these X-rays, these elements subsequently start to emit X-rays themselves. The wavelength of the emitted X-rays is specific to each element. As such, by capturing and measuring this radiation, we can identify which elements are present within the object and where they are located.

Macro XRF generates a distribution map of each element. This map represents the distribution of the specific element across the painting in black and white. The darker a particular point, the lower the concentration of the element, and the lighter the point, the higher the concentration. On the screen on the table you can see some of these distribution maps yourself.

With Macro XRF we can date paintings and obtain invaluable insights into the artist's techniques and materials. It can also assist in uncovering hidden layers or detecting alterations. For instance, it can reveal if an artist painted over an existing image or modified their composition.

With Macro XRF we can also identify non-original paint layers. Elements such as titanium, zinc, barium, and chromium were not present in pigments during Bouts' era. When we find these elements, they can indicate overpaintings by a 19th or 20th-century restorer.