Following three years of research and restoration, the Triptych of the Descent from the Cross (c. 1455-1460), made by Leuven painter Dieric Bouts, has regained its former splendour. Kept for over five centuries in the Capilla Real (Royal Chapel) of Grenada Cathedral, this major Flemish Primitive work enjoyed an exceptional stay in Belgium in order to undergo extensive conservation in a project led by the Royal Institute for Cultural heritage (IRPA). The Léon Courtin-Marcelle Bouché Fund supported this large-scale project, mainly financed by the Flemish Region.
Getting up close to Bouts
At the beginning of June 2026, the triptych returned home to the Royal Capel of Grenada Cathedral, where it will be on show to the general public until 30 September, 2026, as part of an exhibition organized in scientific collaboration with M Leuven and the IRPA. The three panels of the triptych will be the highlight of the exhibition and they will be accompanied by a description of the research project, as well as the restoration and conservation work conducted by the IRPA.
A Flemish Primitive masterpiece
The work comprises three painted panels: in the centre is the Descent from the Cross, to the left the Crucifixion and, to the right, the Resurrection. Attributed to Bouts in the 19th century, this attribution has never since been questioned, despite certain stylistic differences when compared to some of his other work. The person who commissioned the work remains a mystery, but it is known that Queen Isabelle I of Castile acquired it. Following her death in 1504, the work was given a prestigious position in her funerary chapel, the Royal Chapel in Grenada Cathedral.
In-depth scientific research
in 2023, the tryptic left for the first time the place where it had been conserved for over 500 years, in order to be studied and restored in Belgium by the IRPA. It was examined using the very latest scientific techniques, which enabled researchers to better understand its history, composition and state of conservation. The analyses revealed the extent of alterations made to the work over the centuries. The central panel in particular showed significant damage at the joints between the various planks of wood, as well as extensive old retouching. Thanks to scanning, using macro X-ray fluorescence (MA-XRF), restorers were able to identify restoration work conducted during the 19th century, notably through the presence of pigments containing zinc. These findings enabled the team to clearly distinguish the original layers of paint from more recent overpainting.
A project of meticulous restoration
The work involved removing, with the utmost precision, the yellowed varnish and overpainting that masked the painter’s original palette. Layer by layer, the restorers brought back to life the luminous nuances of the work. The landscapes regained their depth and fabrics their bright colours, whilst people’s faces and architectural details in the work revealed the great finesse of Bouts’s execution. Where the experts were faced with gaps in the work, they relied on a particularly faithful early copy of the triptych conserved in the Patriarca Museum of Valencia.
The Léon Courtin – Marcelle Bouché Fund
This remarkable project received support from the Léon Courtin – Marcelle Bouché Fund, managed by the King Baudouin Foundation, which actively contributes to safeguarding exceptional artistic heritage.