DOI issue:
Nr. 4
DOI article:Wodzińska, Maria; Botticelli, Sandro [Ill.]: Technical analysis of a painting ascribed to Botticelli
DOI Page / Citation link: https://doi.org/10.11588/diglit.18864#0121
4. Botticelli, Virgin and Child..., detail in the course of clcaning; darkened rctouchings
and uncovered losses are yisible
tone and condensation. In some parts, the chiaroscuro was accomplished by mcans of finc
lines and with gold powder. Gold was also used for the painting of fringes, ornaments of the
cloaks and objects. A specific effect was achieved as a result of the almost graphic bringing
out of the form, produced with a continuous brush line in a dcfinite colour.
According to the manner in which paint was laid and to the type of the pigment used, the
resulting surfaces rangę from smooth and shiny to velvety mat or rough and porous, thanks
to which light is reflected and refracted in various ways, enhancing the effect.
Obviously, to a considerable degree, the manner in which paint was laid was determined
by the physical ąualities of pigments and the technical possibilities inherent in their combi-
nation with one another and the binder; by their accumulation and juxtaposition and the
production of films of varying intensity of colour, thickness and transparency. The artist was
very well aware of such qualities and used them consciously to arrive at the intended effect:
a wealth of vibrating tones of colours and light.
Structure of the colour layers (on the ground) in yarious parts of the eomposition:
I. Flesh tints:
1. the covering layer of the grey and green underpaint, ranging beneath the hair as
well as beneath the garmcnts of Mary, the Child and St. John (verdaccio);
2. the glazed, warm-green layer modclling the chiaroscuro;
3. the flesh colour proper, laid in strokes of varying most usually smali density and
in various tones, according to the character of each figurę. The generał cool tone
107
and uncovered losses are yisible
tone and condensation. In some parts, the chiaroscuro was accomplished by mcans of finc
lines and with gold powder. Gold was also used for the painting of fringes, ornaments of the
cloaks and objects. A specific effect was achieved as a result of the almost graphic bringing
out of the form, produced with a continuous brush line in a dcfinite colour.
According to the manner in which paint was laid and to the type of the pigment used, the
resulting surfaces rangę from smooth and shiny to velvety mat or rough and porous, thanks
to which light is reflected and refracted in various ways, enhancing the effect.
Obviously, to a considerable degree, the manner in which paint was laid was determined
by the physical ąualities of pigments and the technical possibilities inherent in their combi-
nation with one another and the binder; by their accumulation and juxtaposition and the
production of films of varying intensity of colour, thickness and transparency. The artist was
very well aware of such qualities and used them consciously to arrive at the intended effect:
a wealth of vibrating tones of colours and light.
Structure of the colour layers (on the ground) in yarious parts of the eomposition:
I. Flesh tints:
1. the covering layer of the grey and green underpaint, ranging beneath the hair as
well as beneath the garmcnts of Mary, the Child and St. John (verdaccio);
2. the glazed, warm-green layer modclling the chiaroscuro;
3. the flesh colour proper, laid in strokes of varying most usually smali density and
in various tones, according to the character of each figurę. The generał cool tone
107