Table 1 Suggested pigments based on non-invasive examination of the original areas
From: Giovanni Baronzio's 'Crucifixion': analytical approaches and art historical considerations
Colour | Area | Suggested pigments |
|---|---|---|
White | Ground, front side | Calcite; admixtures of gypsum, silicate material and lead white |
Ground, back side | Gypsum; admixtures of calcite | |
White elements | Lead white | |
Gold | Background | Water gilding |
Inscription SPQR, stirrups, bridle, belt of horse | Gold leaf applied directly on pictorial layer | |
Coats and hood of horsemen | Gold-silver alloy or double metal layer covered with lead white paint; sgraffito technique | |
Flesh tones | Skin | Lead white; admixtures of iron yellow, lead–tin yellow, cinnabar, copper green; carbon black for dark shades; no green preparatory underlay |
Red | Red frame, Garments, flag | Cinnabar + minium |
Shirt of person between the two main horsemen | Red iron oxide, admixtures of cinnabar and minium | |
Blue-green | Garments | Azurite + copper green |
Black | Contours of figures, details, knife of first figure from the left on the lower foreground, dark shades | Black iron oxide, carbon black |
Brown | Hair of figures, legs of horses | Black iron oxide, carbon black, cinnabar, minium |
Yellow | Mary Magdalene’s dress | Lead–tin yellow |