Raphael – Stratigraphy

Raffaello Madonna del Baldacchino

Raffaello Madonna of the Baldacchino

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Stratigrafia Raffaello
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Support
poplar wood. The boards are joined together with calcium caseinate and cross-panels

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Animal glue

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Ground preparation
made of calcinated plaster and animal glue. Sometimes with the addition of glass powder as an inert filler and small quantities of earth or yellow lead and tin.

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Animal glue

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Drawing
performed with a brush soaked in very diluted black pigment, with sharp and precise strokes that outline the contours, sometimes completed by hatching

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Priming
white, based on lead white and boiled linseed oil

Raffaello Macrofotografia

Raffaello Macrophotography

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Skin tones imprimitura
monochrome executed with light layers of dark color consisting of lead white and burnt lacquer combined with boiled linseed oil.
The underlying drawing is visible through the monochrome

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Skin tones pictorial layer

Bottom layer – Lead white and vermilion (or yellow ocher).

Top layer – Lead white, vermilion, yellow ocher and carbon black.

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Colour films
Thin colored and semi-transparent film often of
of a different tone than the overlapping layers.

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Pictorial layer

A corpo painting (of pure pigment or mixed with white). The most intense shadows, already defined by transparency, are reinforced by thick layers of color (pure or combined with a small percentage of carbon black).

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Glazes
of color that mark the chiaroscuro differences and accentuate those iridescent effects already sought in the previous phase

Raffaello Sanzio – Urbino 1483- Rome 1520 – Madonna of the Baldacchino, 1506 – oil on canvas 279×217 cm cm – Palatine Gallery, Florence