Historical Painting Techniques, Materials, and Studio Practice
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Figure 3. Infrared reJlectogram assembly of the Virgin's head (area of reJlectogram: 23 X 17 em).<br />
Type II underdrawing characterized by variable density <strong>and</strong> line width. ReJlectograph by M. Faries.<br />
can be seen in the cross section illustrated in Plate 29a, obtained from the<br />
location marked in Figure 3. The underdrawing layer is only a few microns<br />
thick.<br />
Type II underdrawing is characterized by variable line width <strong>and</strong> intensity.<br />
These properties, together with the distinctly dropletlike forms visible in some<br />
places, suggest type II lines were produced using a liquid. Type II lines are<br />
found in the figural group of the center panel, where they describe the forms<br />
more firmly. Figure 3 shows the infrared reflectogram of St. Anne's head.<br />
Here sketchy type I lines have been overdrawn with the type II underdrawing.<br />
Nearly all the underdrawing in the St. Anthony predella panels is executed<br />
with a liquid type II drawing material that lays out the composition concisely.<br />
In the central figural group of the main panel, however, the line is often rigid<br />
<strong>and</strong> repetitive as, for example, in the shading to the right of the Christ Child.<br />
In addition to these kinds of underdrawing there is a third form, type III,<br />
that can be seen with the naked eye in St. Anne's red robe (Fig. 4). These<br />
lines are characterized by their bold appearance with h<strong>and</strong>ling qualities more<br />
similar to that of a paint than of an ink. A cross section shows type III was<br />
laid down thickly, <strong>and</strong> then covered with a translucent layer (Plate 29b). Type<br />
III has only been found in St. Anne's red drapery <strong>and</strong> no other place in either<br />
the side or predella panels. A fo urth type of marking of fo rm is evident in<br />
the reflectogram of the Virgin's sleeve (Fig. 5). Here, a dark irregular line lies<br />
over the first layers of paint (Plate 29c). The subsequent layer of paint follows<br />
the line denoted by this "correction" layer. Optical microscopy showed the<br />
pigment here is charcoal (13). Two panels, The Miracle if the Purse <strong>and</strong> The<br />
Metzger <strong>and</strong> Berne 129