Discovery and Restoration of a Wall painting by Hans Fries
1. Discovery of Painted Fragments
The Franciscan church during the archaeological excavations 1985 -1990
Thousands of fragments, found in the ground during the archaeological excavations, were deposited in hundreds of crates; then identified and sorted according to provenance, colour and mortar as well as, finally, patiently assembled to reveal figures of a very high quality.
Place of discovery of fragments, marked in red
Reconstruction of the scene with Saint Eligius
Each identified fragment was indexed and drawn on a plastic film. These very precise drawings permitted the reconstitution of sceneries which scanning, for instance, would not have achieved
Sketch on a plastic film of fragments and decoration
On the back of the fragments, signs and colours indicating their place of discovery
2 People and God the Father in the Clouds
Two fragments of sceneries represented on either side of the column with the gilded capital
To the left, a person wearing a coat, with a rosary fixed at its belt, and assisting at a scene of divine intervention (God appears in the clouds).
To the right, another scene shows several richly clothed figures, some of whom bow in respect.
3. Workshop of Saint Eligius
A workshop of a goldsmith is represented between two columns. Seated at his workbench Saint Eligius holds a pair of scales used for weighing precious metals while his assistant, wearing a blue hat, places pieces of gold into a chest.
A cupboard, standing in front of the back-wall, contains finished objects.
To the left, the interior of another shop, with books and a note fixed to the wall.
3.1 Identification of Sceneries
The scene can be identified thanks to the presence of the scales and other goldsmith objects next to the saint sitting at this workbench. Comparisons with the work of Niklaus Manuel, quasi contemporary, or with that of Petrus Christus, reveal workshop details also visible on the wall painting in the Franciscan monastery.
4. Scene of Veneration and Crucifixion
Two people with halos are dressed like knights with spurs fixed to their boots.
The one in front is kneeling and praying whilst the second is carrying an object in his hands. He probably turns towards an altar decorated with a picture showing the scene of the crucifixion.
5. A Stable?
The sky appearing through the straw roof of a wooden structure suggests the presence of a stable. This might possibly be part of a lost scene of the nativity or the Adoration of the Magi. This supposition is reinforced by the presence of several horses in the picture (Procession of the Magi?).
6. Persons in Prayer
The fragment clusters reveal lay people praying and scenes of devotion as shown on this panel.
On other fragments – not presented here – appear a cardinal, a pope and a bishop amongst other meditating people.
7. Characteristic capitals
The round capitals which appeared as of the first reconstitutions, permitted to orient research towards the painter Hans Fries. Several of his works depict such very particular and singular architectural elements.
Shadows and lights are applied with extreme care by the artist thus proving his exceptional mastery.
8. Figure with Halo
Two figures face each other. The one on the left is in profile; one can recognise an eye and hair hiding a halo. Rocks form the background.
At the bottom, a fragment in grey and red colour could represents? the coat of a horse. Did it come with one of the Three Magi?
In effect, several horses are recognisable on the fragments.
To the right appears another figure that is hardly visible.
9. Harnessed Horse
Indeed, a richly harnessed horse appears on the panel. It moves towards the right, but its head looks backwards: a real puzzle!
Its outfit corresponds in every way to those represented in other works by Hans Fries, notably the martyrdom of Saint Barbara, but in this case it could also be a horse from a scene of Adoration of the Magi.
10. General Outlay of Decoration
Exact counting reveals the presence of at least 12 capitals (separating 11 scenes each of which was 1.05 m wide, i.e. reaching a total length of at least 11m). The only place where such a painting could have been placed on its support is the rood screen. The subjects of the scenes perhaps refer to the existence of brotherhoods and their holy patron.
Inventory of the capitals
Idealised reconstitution, showing the succession of scenes.
Many rood screens having disappeared since were decorated with wall paintings. The one in the Dominican church of Bern still today shows a wall painting created in 1495 and finished just before the work started in the Franciscan church. There is no doubt that the Bernese painting influenced the one in Fribourg.
Rood screen in the Dominican church of Bern, with decoration, painted in 1495
Hypothetical reconstitution of the rood screen decoration in the Franciscan church. Above the five chapels a series of painted arcades contained religious scenes. (drawing W.Trillen, SAEF)
11. Support of Picture
The examination of the rear of the fragments reveals a negative of a brick wall structure. Owing to the exact layout of all the elements on a plastic film, the painted pieces could be placed in function of the brick position, thus permitting an honest and correct reconstitution of the decoration.
The decoration spread over a brick wall.
Placed above the five chapels, it probably heightened the 14th century rood screen which separated the monk’s choir from the lay church. The picture was supposed to be well visible from the nave.
The 14th century rood screen was heightened at the beginning of the 16th century (marked in red) in view of receiving a new decoration (drawing W.Trillen, SAEF)
Reconstitution of the gothic church before the demolition and reconstruction of the nave in the 18th century (drawing W.Trillen, SAEF)
12. Technical Painting Aspects
The physical-chemical analyses of the pigments, mortars and the binding revealed an accomplished technique applied by the painter who put on several successive layers and carefully mixed the pigments. The fragments having remained 250 years in the ground, show a high degradation of the binding (only a few small traces of protein and linseed oil were analytically discovered), resulting in very fragile and powdery colours.
Fragment of red colour
In the blue colour, crystals of feldspath
enhance the brilliance
A cross section under optical microscope with reflecting light
The example of the red colour and its shades illustrates the complexity of the paints used. This technique of superposing, rarely used in wall painting, is characteristic of that used on wooden panels.
Purple (second column), for instance, consists of three distinct layers: first charcoal, then vermillion, and finally a mixture of charcoal, haematite and vermillion.
Schematic presentation of the superposition of layers for the red colour
Thanks to infrared reflectography the underlying drawings and the evolution of the conception of the scenes, from the first sketches up to the final results, could be put in evidence. While faces are sometimes modified, the whole composition is well mastered from the beginning.
The underlying drawing, found under the layers of colours, gives precise indications concerning the style of the painting, thus offering very good points of comparison with other works of art.
Photo in natural light
Same fragments under reflectography
13. Fixation of Fragments on Panel
The preservation and fixation on panels of the fragments coming from the old rood screen of the Franciscan church is the outcome of previous research carried out by the archaeologists and the art historian.
An important moment in this story has come: the work now attributed to Hans Fries and temporarily stored in the depot of the Archaeological Service of the Canton of Fribourg, finally finds a new function and gives us a split view of its original beauty.
Restitution on plastic film of the scene “Workshop of St. Eligius”
Discussion between an archaeologist and an art historian
The fragments were treated in order to preserve the paint so that, in future, they can be restored again, by applying the principles of conservation and reversibility, essential criteria in today’s world of preservation.
The original painting consists of a very fine and particularly delicate layer. The first task of the art restorer was to find an adequate way of fixing again the powdery colours and rendering them coherent, without modifying their particular original traits.
Consolidation of the powdery paints. Application, with a brush, of binding through a Japanese paper to protect the painting against rubbing during the intervention
The following step of “footing” aims at piecing the clusters of the puzzle together, according to indications and plans supplied by the archaeologists. In general, the painted fragments rarely have the same thickness and their rear face is frequently irregular.
The work of the restorer consists of adding a mortar foot to the original fragments to fix them side by side at the same level, approximately as they were presented on the church wall.
State of the fragments after footing and positioning on a bed of sand
Detail of a fragment bearing a face and placed on an aluminium support
These footings also constitute an intermediary layer of protection between the original fragment and the newly selected support, consisting of a panel and a frame of aluminium.
The fragments are stuck onto this rigid base but, beforehand, the general outline of the clusters is drawn in pencil onto this base so that each scene can be placed in its reserved space.
Preparation of the new support: after drawing the general outline of the fragments, the fixation of filling materials begins
Positioning of the original fragments on the filling material before cutting the sheets of expanded polystyrene
The polystyrene sheets are previously cut according to the form of the clusters so that they exactly surround the scenes without touching them. The filling of the panels between the fragments is carried out with a very light material that, if necessary, can be removed.
The fragments are then laid into the cut-outs and sporadically fixed with a flexible glue permitting slight adjustments of height and positioning in relation to the other fragments.
Adjusting and fixing of fragments on the new support
The fragments and the polystyrene are linked by injecting a grout of lime, thus constituting a new mineral buffer zone between the new and old parts while respecting the famous principle of reversibility.
A finishing layer consisting of a sifted grey-black sand (basalt) is then fixed on a fine skin of glue by over-powdering the surface; surplus material on the surface is eliminated by “suction”.
Filling of the borders between the fragments and the support with the help of a chalk based grout
Sifting of the basalt sand before adding the final layer
Application of the final layer
Light drawing lines accompany the fragments to reveal the architectural structure and certain important outlines; this helps the visitor to understand the work of art better and it deepens overall comprehension of the subjects.
Fragments after placement on panel
Attempt to draw the main shapes and lines to facilitate understanding
14. Attribution to
Hans Fries
Several comparisons with works by Hans Fries confirm that the wall painting (ou painting?) on the rood screen of the Franciscan church can be attributed to him. His works preserved until today are mainly carried out on panels. The painting techniques applied there closely resemble those used on the fragments.
Franciscan Church
Bugnon altar-piece, Descent of Holy Ghost, detail, towards 1505, Fribourg, Art and History Museum
Franciscan Church
Saint Margaret, detail, towards 1507-1508, Fribourg, Art and History Museum
Profiles of men with similar traits, wearing hats of same shape and dressed in coats with fur collars.
Franciscan Church
Bugnon altar-piece, Works of Charity, detail
Similarities in the way of painting the mouth between the Bugnon altar-piece and the fragments in the Franciscan church.
Franciscan Church
Bugnon altar-piece, distribution of Alms, detail
Franciscan Church
Bugnon altar-piece, distribution of Alms, detail
Franciscan Church
Bugnon altar-piece, Descent of Holy Ghost, detail
Franciscan Church
Bugnon altar-piece, Works of Charity, detail
Comparable hands, hair and profiles
Almost identical hats (even details of pleat above forehead)
The shape of the coat as well as the presentation of the clouds using horizontal lines are practically identical.
Fragments from the Franciscan church
Bugnon altar-piece, Dispersion of the Apostles, detail, Fribourg, Musée d’art et d’histoire
15. Who is
Hans Fries?
Very little is known about this painter born between 1460 and 1465 and deceased after 1523. He is the son of baker Erhard Fries and belongs to an esteemed burgher family in Fribourg. He learnt his craft from the Bernese painter Heinrich Bichler.
First mention of his activity between 1484 and 1487 when he is member of the Basle guild « Zum Himmel »
Later on Fries becomes the official painter of the town of Fribourg. From 1503 to 1509, he is also member of the “Council of the Two Hundred”. During this period he painted the rood screen and the altar-piece of Saint Anthony in the Franciscan church.
Towards 1510 Fries leaves for Bern where he is mentioned for the last time in 1523.
Fries is one of the rare painters of his time to sign and sometimes date his works.
16. Works by
Hans Fries
Fries est l’un des rares peintres de cette époque à signer ses oeuvres et parfois à les dater
Fries est l’un des rares peintres de cette époque à signer ses oeuvres et parfois à les dater
The still existing works of Hans Fries are of a religious nature. No profane work is know.
The Fribourg Art and History Museum, neighbour of the Franciscan monastery, holds the largest collection.
The work of Hans Fries is characterised by an abundance of figures animating the scenes.
A rich choice of colours, a particular care given to architecture and numerous details can be found on all panels.
The altar-piece of St. Anthony, dated 1506, can be admired in the choir of the Franciscan church in Fribourg
Panel of Saint Barbara, dated 1503, Fribourg, Art and History Museum
Life Cycle of Holy Mary, 1512, Kunstmuseum Basel, Inv. 228
Mary with Child and Saint Joseph, towards 1505, Fribourg, Art and History Museum
In fact, the fragments of the Franciscan church show the greatest resemblance with these two wings of the Bugnon altar-piece.
Bugnon altar-piece, The Descent of the Holy Ghost, towards 1505, detail, Fribourg, Art and History Museum
Bugnon altar-piece, Distribution of Alms, towards 1505, detail, Fribourg, Art and History Museum