<p><span>Juan de Juanes (1510 [?]–1579) is regarded as one of the most important painters of the Spanish Renaissance and a key figure in its pictorial renewal. He trained under his father, Juan Vicente Macip (c. 1475–1545), collaborating with him on works such as the altarpiece of the Cathedral of Segorbe (c. 1531). He created enduring iconic types, including the </span><span>Last Supper</span><span> and his celebrated </span><span>Ecce Homo</span><span>, versions of which are preserved in the Museum of Fine Arts of Valencia and the Museo del Prado. Although his father is known to scholarship, his artistic production has not yet been fully acknowledged in accordance with its true merit.</span></p> <p><span>Here I present the </span><span>Ecce Homo</span><span> by Juan Vicente Macip, executed on twill using the </span><span>tempera grassa</span><span> technique and now lost as a consequence of the Spanish Civil War in 1936, formerly in the parish church of El Carmen in Valencia. This painting bears the signature of a drier composed of white vitriol (zinc sulfate heptahydrate, ZnSO₄·7H₂O), whose use became necessary with the evolution from dry tempera to the more oleaginous techniques of </span><span>tempera grassa</span><span> and, subsequently, to oil painting, already well advanced by the sixteenth century.</span></p> <p><span>The </span><span>Ecce Homo</span><span> displays the characteristic model that his son would later replicate in his various versions. Its pictorial quality likewise confirms the father’s artistic genius. Spectrometric analyses of the pigments (X-ray fluorescence and Raman spectroscopy) attest to materials and driers similar to those identified in the altarpiece of the Cathedral of Segorbe, the culminating masterpiece of the Macip family.</span></p> <div> </div>