The sculpture’s wood substrate was carved and hollowed by a gouge, indicated by the curved tool marks visible on the interior. X-radiography was used to visualize the construction—the figure was carved in four sections that were joined with long, hand-forged metal pins.

X-ray fluorescence spectroscopy determined that the painted surface layers are composed of a white ground, mineral pigments, and gilding located along the garment’s hem and collar.

Viewing the surface under ultraviolet illumination activates materials such as binders in the paint, coatings, areas of restoration, and some pigments. In the fluorescence process, ultraviolet (UV) energy is temporarily absorbed by a material and then reemitted as lower-energy radiation in the visible light region. The UV image shows the bright white fluorescence of rabbit skin glue that was used to consolidate the paint, orange fluorescence in areas of abraded exposed wood, pink-red fluorescence that is characteristic of a mercury-based red pigment, and dark yellow where the white ground is exposed.

Of the three cavities located on the sculpture’s reverse, the one in the head has never been opened. The scan of the head in profile depicts a hollow cavity that extends from the head down through the neck. At the top of this cavity are dense, lumpy, tubular forms that appear to be mud wasp nests!