Bulletin du Musée National de Varsovie (20.1979)

2. in shadows and half-tones, lean azurite underpaint of a water colour character;

3. natural ultramarine combined with white in various proportions, laid in strokes
of various density and colour intensity; in shadows, with pure pigment, without
white;

4. red glaze in shadows.
VIII. St. John's red garment:

1. the layer of organie purple;

2. the layer of cool organie red, modelling the folds, in the lighter parts combined
with white.

IX. The animal skin covering St. John:

1. the underpaint layer as in point 1.1;

2. the layer of purple as in point VIII.l;

3. umber mixed with white, the strokes of the brush imitating animal hair.
X. The angel's blue garment:

1. the thin, greenish-blue layer of the underpaint (azurite with lead white);

2. pure or whitened ultramarine, laid in strokes of varying density;

3. shadows in places glazed with organie red.

XI. The angeFs wings:

1. the blue of the sky (ultramarine with lead white);

2. the thin covering layer of warm grey (the colour of the architecture to which the
chiaroscuro of this layer was added);

3. the pure blue (azurite), laid transparently, in a water-colour manner, the thick-
ness of the pigment being uneven and the texture of the brush strokes evident.
Flashes of light are painted with an admixture of white, in other light areas, the light
colour of the underpaint was employed;

4. the half-tones are warmed up using a layer of oil-and-resin varnish.

XII. The angeFs white shirt:

1. the light grey layer with a warm, greenish tone (white, natural ultramarine, ochrę);

2. the lighter patches are laid in pure white, in a covering manner, or with a smali
admixture of ultramarine.

XIII. The yellow collar:

1. the homogeneous, covering layer of yellow pigment (iron-oxide yellow with lead
white);

2. the covering layer of pure yellow pigment, warmer in tone, laid thickly, with evi-
dent texture of the brush strokes and a rough, uneven surface (iron-oxide yellow
pigment).

XIV. The book cover in the angel's hand:

1. dark reddish brown laid with a hard brush, in a paste-like manner, with little binder
and evident texture of the brush strokes;

XV. The azure of the sky:

1. the covering layer of blue (ultramarine mixed in various proportions with lead
white); in the upper, darker part, strokes left by the brush are clearly seen.

XVI. The architecture:

1. the blue layer as in point XV.l;

2. the thin, covering layer of warm grey (lead white, vegetable black, ochrę and smali
crystals of ultramarine);

3. shadows laid transparently, with fine lines (vegetable black with an admixture
of ochrę).

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