Fig. 6From: Salvator Mundi: an investigation of the painting’s materials and techniquesCross-section sample 5 from cuff of sleeve, proper right hand, visible light (top) and ultraviolet fluorescence illumination (bottom), showing: (1) imprimitura, (2) warm brown underlayer, (3) thin black or gray layer, (4) gray paint layer, (5) pale gray paint layer, (6) white paint layerBack to article page