3.5.2. Polychromy Modifications

The cross-section analyses allowed us to identify the modification to the original polychromy. The loincloth was covered with gypsum (CaSO4·2H2O), identified by the two bands at 3528 cm−<sup>1</sup> and 3398 cm−<sup>1</sup> from the νO-H, and the band at 1095 cm−<sup>1</sup> from the νS=O [50] identified in the μ-FTIR spectra (Figure 6f). Furthermore, the μ-Raman analysis suggested that a small amount of anhydrite is also present (Figure 7c). Additionally, the bands at 1651 cm−<sup>1</sup> and 1544 cm−<sup>1</sup> indicate the use of animal glue as a binder (inset of Figure 6f).

Regarding the flesh-tones, we identified two over paintings; the first composed of a double layer made of Pb-based pigments, mainly lead white, as suggested by the μ-Raman and SEM-EDX results (Table 2 and Figure S4). In these two layers, the SEM-EDX detected Cl, which can be associated with the presence of laurionite (PbCl2OH−) as a contaminant from the Pb ore deposits [58] or by the use of the Dutch method—developed mainly after the 16th century in the Netherlands—for the synthesis of lead white as suggested by Noun and colleagues [55,59].

We supposed that the second over painting of flesh-tones was performed using lithopone (ZnS, BaSO4, and traces of ZnO), as suggested by the presence of Zn, Ba, and S. To obtain the required hue, other pigments containing Fe and Cr were added. The presence of lithopone in this layer allowed us to date this modification to after 1874 [60].

#### **4. Discussion**

Before our study, some scholars, particularly Orozco [44], who was also involved in the construction of the current *Nuestra Señora de la Soledad* church, suggested that the sculpture was probably a substitution of the original because its characteristics, mainly the polychromy and the hair, were atypical for the 16th-century maize stem images.

The multianalytical analysis allowed us to understand the complex structure of the sculpture and confirm that it is the original (Figure 8). The artist considered the function of the sculpture during the Holy Friday and the need for reinforcement in the areas subjected to higher mechanical stress, such as the hands, feet, knees, arms, and the neck. In particular, the wooden elements used to reinforce the neck and the modification of the hair, and the upper part of the head may suggest that, originally, the head could move for the representation of Christ and that, probably, a wig and metallic crown were applied, as was usual for these kind of sculptures during the liturgical representations. However, a more detailed investigation is required to confirm this hypothesis.

In addition to understanding the sculptural technology, based on the formal and technical examination, we were able to associate the sculpture to the Cortés workshop, particularly to the production in the 1580s decade, and identify the changes it has suffered over time. Indeed, the hollowed structure obtained using a two-half mold is similar to the structure of other previously studied sculptures attributed the Cortés workshop and can be associated to artists with a stronger influence of the Eu-

ropean traditions (*papelón* or *cartapesta*) concentrated in the capital of the New Spain viceroyalty [2,10,12].

**Figure 8.** General scheme of the *Señor del Santo Entierro* sculpture.

The polychromy modifications can be associated with changes in preference and taste, particularly the flesh-tones. As the cross-section samples show, the profuse blooding represented in the original polychromy, which is a characteristic of the Christ images of the 16th and 17th centuries, was covered and substituted with more decorous polychromy for the tastes of the 19th century. Indeed, the Guadalajara cathedral, where the sculpture was placed for several years, suffered a complete renovation during the 19th century to adapt it to the neoclassical taste [61].

Finally, the presence in Guadalajara city of a sculpture made close to Mexico City despite the vicinity of the Michoacán region, suggests a particular link between the confraternity and the capital of New Spain. The acquisition of a statue produced in a specific region can be linked to a particular interest on certain workshops. Further studies are required to understand the trade routes of this typology of sculptures.
