Bulletin du Musée National de Varsovie (20.1979)

results from the grey and green underpaint with only subtlc shades of silvery pink.
Shadows are in places made deeper by means of transparent grey, laid in very fine
strokes. The lights on the eyelids are stressed at times with pale pink, laid graphi-
cally, with a thin, firm line. Contonrs appear not everywhere; marked in a delicate,
dark brown line, they define the border between adjacent parts of the body that
are similar in value; most usually they are absent at the junction of light and dark
areas. Occasionally, the dark line of the contour is moderated by a translucent,
pale grey or pink, wider line laid upon it.

II. The hair:

1. the covering layer of the grey and green underpaint;

2. strands of hair are in various shades of ochrę, in places mixed with white, laid
softly, in a covering manner, with evident brush strokes. The generał tone is slightly
varied for individual figures: warm browns are in prevalence.

III. Mary's cloak:

a. the bhie outside:

1. the thin, translucent, blue and green layer of the underpaint (malachite);

2. the layer of blue (natural ultramarine), varied in thickncss and value, in the
light parts mixed with white laid in a covering manner; elear and translucent
in half-tones; with a varied thickness in shadows; almost in a covering manner,
with a pure pigment in the binder, at times with an addition of black (natural
ultramarine, vegetable black).

b. the green inside (copper green):

1. the covering layer of the green underpaint;

2. the layer of cooler green of varying thickness, modelling the folds, in shadows
glazed with black, in lights and half-tones partly transparent;

3. the finishing touches of the chiaroscuro are executed with golden strokes, which
bring out the form; their density stresses the luminosity;

4. the original oil varnish, very much darkened, almost brown, laid in a layer of
uneven thickness.

IV. Mary's red dress (organie red):

1. the covering layer of the grey and green underpaint as in point 1.1. and II. 1;

2. the chiaroscuro modelled with pure red, in fine strokes of varying density.
V. Mary's pink shawl (organie red):

1. the colours of the passages close to Mary's head or their coloured underpaints,
namely, the azure of the sky, the green layer of the cloak lining and the layer of the
underpaint of the flesh tints (verdaccio);

2. pink mixed with white in various proportions, laid in fine strokes, in a covering
manner;

3. the stripes painted with pure red and gold powder; the shadows of the folds are
deepened with pure red.

VI. The Child's white shirt:

1. the layer of the underpaint as in point 1.1 and 2;

2. the flesh tint as in point 1.3;

3. the white is slightly toned down with red, laid in loose strokes of the brush, trans-
parently. In the lighter patches the form is defined by means of several thicker,
covering lines, painted in white and gold.

VII. The blue drapery covering the Child:

1. the layer of the underpaint as in point 1.1;

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