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{\fhimajor\f31531\fbidi \froman\fcharset161\fprq2 Cambria Greek;}{\fhimajor\f31532\fbidi \froman\fcharset162\fprq2 Cambria Tur;}{\fhimajor\f31535\fbidi \froman\fcharset186\fprq2 Cambria Baltic;}
{\fhimajor\f31536\fbidi \froman\fcharset163\fprq2 Cambria (Vietnamese);}{\fbimajor\f31538\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\fbimajor\f31539\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}
{\fbimajor\f31541\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\fbimajor\f31542\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\fbimajor\f31543\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);}
{\fbimajor\f31544\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}{\fbimajor\f31545\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\fbimajor\f31546\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}
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{\flominor\f31552\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\flominor\f31553\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);}{\flominor\f31554\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}
{\flominor\f31555\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\flominor\f31556\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}{\fdbminor\f31558\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}
{\fdbminor\f31559\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}{\fdbminor\f31561\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\fdbminor\f31562\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}
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{\fhiminor\f31571\fbidi \fswiss\fcharset161\fprq2 Calibri Greek;}{\fhiminor\f31572\fbidi \fswiss\fcharset162\fprq2 Calibri Tur;}{\fhiminor\f31575\fbidi \fswiss\fcharset186\fprq2 Calibri Baltic;}
{\fhiminor\f31576\fbidi \fswiss\fcharset163\fprq2 Calibri (Vietnamese);}{\fbiminor\f31578\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\fbiminor\f31579\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}
{\fbiminor\f31581\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\fbiminor\f31582\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\fbiminor\f31583\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);}
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Table Grid;}}{\*\revtbl {Unknown;}}{\*\rsidtbl \rsid2781610\rsid2818916\rsid4336519\rsid5069056\rsid9787853\rsid11025863\rsid13137969\rsid15282604\rsid16276046}{\mmathPr\mmathFont34\mbrkBin0\mbrkBinSub0\msmallFrac0\mdispDef1\mlMargin0\mrMargin0\mdefJc1\mwrapIndent1440
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{\*\pnseclvl6\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl7\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl8\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl9
\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}\pard\plain \ltrpar\s17\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs28\alang1025 
\ltrch\fcs0 \b\fs28\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 ÁùºÏ²ÊÔ¤²â Technical Bulletin Volume 28, 2007}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid2781610 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid2781610\charrsid2781610 
\par }\pard\plain \ltrpar\s1\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel0\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 Bernardo Daddi\hich\f1 \rquote \loch\f1 s }{\rtlch\fcs1 \ai\af1 
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\af1 \ltrch\fcs0 \insrsid15282604 \line }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 Simona Di Nepi, Ashok Roy and Rachel Billinge}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 

\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid5069056 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 {\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 The Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (NG }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 acquired in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2004}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
, the first work by Bernardo}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Daddi to enter the ÁùºÏ²ÊÔ¤²â (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 1}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Bernardo Daddi (active by }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1320}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash died }{
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\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 only a highly gifted artist, but also one of the most}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
prolific and influential painters of fourteenth-century}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Florence. The beautiful, extensively decorated panel of}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the Coronation originally constituted the principal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 scene of a larger painting, completed in the lower part}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 by }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 now at Christ Church Picture}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Gallery in Oxford (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
). The latter panel complements}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the image of the Virgin and Christ with four}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 kneeling angels playing music and a fragmentary saint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 standing at either side: on the left is Saint John the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Baptist \endash 
 identified by the camel skin worn under his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cloak \endash  and on the right a deacon saint holding a}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 book and a banner, almost certainly Saint Stephen (note 1).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Both panels have undergone substantial alteration: the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 has been cut on all sides, and modern}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
replacements have been added to form the top of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
arch, the left edge, and on the darker pink strip of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 textile along the base. Its current frame is also}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 modern, a fine reproduction of a fourteenth-century}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 design (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 19}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 has been}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 visibly reduced in size, and in its present state is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
considerably narrower than the London fragment (note 2).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The acquisition of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 The Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 by the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Gallery provided the opportunity temporarily to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
reunite the two fragments, and to conduct extensive}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 technical and scientific investigation on both panels.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The reunited panels were shown in the Room }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 exhibition at the ÁùºÏ²ÊÔ¤²â, }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Reunions: Bringing}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Early Italian Paintings Back Together }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 12 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 November}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2005}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 29 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 January }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 2006}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), and at Christ Church, Oxford}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 11 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 February\endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 9 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 April }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2006}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The outcome of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
investigation discussed in this article has brought to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 light new information on the original appearance}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 and the history of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 its dismemberment, as well as on Daddi\rquote s painting}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 technique.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604   
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 History}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 The authorship of the two panels was until recently}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the subject of debate. Although there are important}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 exceptions, Daddi\rquote s fame rests mainly on the production}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of small-scale devotional works, and this is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 perhaps why in the last century scholars variously}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ascribed the }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to Florentine artists of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 younger generation: in the }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1944 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Christie
\rquote s sale the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
was catalogued as by Nardo di Cione (note 3);}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Richard Offner described it as \lquote Close to the Assistant}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of Daddi\rquote  and the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 as by the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \lquote Assistant of Daddi\rquote 
, a personality he himself designated,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and to whom he ascribed over twenty}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 paintings (note 4); Klara Steinweg, the art historian we must}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 credit for making the connection between the two}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
fragments, believed the compositional innovations of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the reunited panels indicated the involvement of}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Andrea di Cione (elder brother of Nardo and Jacopo}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 di Cione) (note 5). Following Steinweg\rquote s association of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
panels, the old attribution of the Christ Church}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 picture to Taddeo Gaddi was abandoned (note 6), and James}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Byam Shaw cautiously described both panels as}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \lquote Florentine School\rquote  (note 7). Most modern scholars, endorsing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the view expressed by Mikl\'f3s Boskovits and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Enrica Neri Lusanna, now consider the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 with }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to be by Daddi, and date the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 work between 
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1340 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1345}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  (note 8). Strong stylistic similarities}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 can be traced between the reunited }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 and several autograph paintings, such as the Uffizi}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Triptych }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 of }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1328}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  (note 9), the Orsanmichele }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Maest\'e0 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1347}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  (note 10),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
and particularly the so-called San Pancrazio Altarpiece}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of about }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1338 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 40 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (which in fact came from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Florence Duomo, Santa Reparata) (note 11). The small}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Marriage of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) in the Royal}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Collection, originally part of the San Pancrazio}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 predella, has a number of similar features to this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 with }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 such as the bright}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 palette (especially the deep reds and vivid greens), the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 rendering of facial features, the generous modelling of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the drapery, and the decorative motif of the hems.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Additional stylistic indication of Daddi\rquote s authorship of}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599 }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is the rare punch mark seen in two of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 angels\rquote 
 haloes in the Christ Church panel (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 4}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The fantastic creature squeezed into a round lozenge}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash  generally referred to as the dragon punch \endash  recurs}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
only in works associated with Daddi and his workshop}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (so far it has been traced in the border of the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Assumption of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 from the Lehman Collection}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in the Metropolitan Museum of Art, New York,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 and in the halo of San Crescenzio in the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 from the Galleria dell\rquote Accademia,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Florence) (note 12).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Although the painting\rquote s original destination is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
unknown, it may be significant that, as Dillian Gordon}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pointed out, two lost paintings signed by Daddi were}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 recorded in S. Maria a Quarto, near Bagno a Ripoli}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 (outside Florence): a panel in the choir dated }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1340}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and one on the high altar dated }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1341}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 13}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  Regrettably}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the records
 do not describe the subjects of these}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 paintings, but the fact that S. Maria a Quarto was in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the parish of Santo Stefano might explain the prominent}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 positioning of Saint Stephen in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Angels}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . The painting\rquote s known history starts at the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 beginning of the last century, when it appears to have}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
been an object of interest to artists and connoisseurs:}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 it is almost certain that it was in the collection of}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Herbert Horne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 14}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  and thanks to Caroline Elam, we}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 now know it was perhaps the \lquote fine Coronation of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Virgin round Orcagna or Gaddi\rquote  Charles Ricketts saw}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 at the dealers Robinson & Fisher
\rquote s on }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 13 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 May }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1904}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 15}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 In his diary Ricketts writes that he would have}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 bought the picture had Herbert Horne not arrived on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 the scene}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ),}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  thus suggesting that NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599 }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 may have}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 entered Horne\rquote s collection at this point. }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 The}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 next appears on }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 31 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 March}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1944}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , in the sale of the Property of the late John}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Pierpont Morgan}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 17}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 );}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  on this occasion it was bought by}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Mrs M.H. Drey, and in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1955 }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 it passed into the hands}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the renowned Swiss collector Heinz Kisters}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604  in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Meersburg (near Lake Constance), where the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 American connoisseur Richard Offner was able to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 study it closely. Following Kisters\rquote  death in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1977}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 painting remained in Switzerland (Kreuzlinglen) with}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 his wife and son, until it was purchased at Sotheby\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 by the ÁùºÏ²ÊÔ¤²â}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 19}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 The reunion}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 In the entry for the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in the }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1958}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
volume of his }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Corpus of Florentine Painting, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Offner}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 wrote: \lquote A composition of this theme current at the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
time certainly continued downwards sufficiently to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 afford room for kneeling angels. Since the surviving}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 fragment transcribes corresponding portions of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Academy Coronation by the Assistant of Daddi, it is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
more than likely that the lower part showed angels in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 similar attitudes. This hypothetical panel, thus}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 extended, served as the central leaf of a polyptych of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 which the lateral panels were filled with groups of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 sainted worshippers\rquote }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 20}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604  Offner thus established that, in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 all likelihood, the ÁùºÏ²ÊÔ¤²â }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 fragment of a larger ensemble depicting angels and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
saints. For the indefatigable American connoisseur this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was a natural conclusion to reach: the Coronation of}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the Virgin was without doubt one of the most popular}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 subjects in fourteenth-century Florentine painting,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
and many of the surviving depictions of this theme}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 followed Offner\rquote s description. The best-known example}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is probably the altarpiece painted in about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1328 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Giotto and workshop for the Baroncelli Chapel in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Santa Croce, Florence}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 21}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  (see }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The latter}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 appears to have provided a prototype for numerous}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
other Coronations, such as Daddi\rquote s polyptych in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Galleria dell\rquote  Accademia}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 
\b\insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Florence, of about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1340}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 22}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (see }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ); Allegretto Nuzi\rquote s polyptych in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Southampton Gallery, dated to about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1350 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (its two}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 side panels are in the Museum of Fine Arts, Houston,}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Texas)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 23}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 );}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  the triptych, attributed to Puccio di Simone,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 once formed by the now lost panel from the Cenami}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Spada Collection in Lucca and the panels in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Galleria Nazionale di Parma (probably about}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1345}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 50}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 24}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 );}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  the polyptych by Giovanni del Biondo in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 San Giovanni, Val d\rquote Arno, dated to about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1370}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 25}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 );}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604  and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the ÁùºÏ²ÊÔ¤²â altarpiece by Jacopo di Cione}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and workshop (NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 569}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ) painted in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1370}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 for the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 church of San Pier Maggiore, Florence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 In }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1961 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Klara Steinweg}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 27}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604  Offner\rquote s close collaborator,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 identified the missing angels in the brightly}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 coloured picture at Christ Church (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 plate 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 28}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
subject of the painting, as well as the fact that it had}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 been significantly cut down in size, made }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 an ideal candidate as the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 s lost fragment,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and several stylistic similarities persuaded}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Steinweg that the two panels originally belonged}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
together: these include the monumentality of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 figures, the treatment of the drapery, the \lquote toothcut}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 motif \rquote  (a row of dentils in the gable and base of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 throne)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 29}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  and the S-shaped mordant gilding traceable}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 on the hem of Saint John the Baptist\rquote s robe, the front}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of Saint Stephen\rquote 
s robe, and the edge of Christ\rquote s blue}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cloak. Steinweg also observed faint traces of circular}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 segments on the painted surface on the bottom lefthand}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 corner of the Virgin\rquote s mantle, and at the bottom}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
right-hand corner of Christ\rquote s cloak. Scientific}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 endorsement of her hypothesis was given by the Xradiograph}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 panel, which showed the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 outlines of two fully punched haloes around the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 bottom edges, and a hand just below the Virgin\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 mantle. The two haloes clearly correspond with the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
two truncated saints in the Christ Church panel, and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the hand with that of Saint John the Baptist gesturing}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 upwards to the main scene. Steinweg published a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 diagram drawn by her colleague Brigitte Klesse,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 reconstructing the two panels (}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 fig}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). Klesse differentiated}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
between what was found in the X-radiograph \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 indicated by tiny dots \endash  and what she completed with}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 dotted lines. Steinweg also suggested that a trefoil}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 depicting God the Father, similar to the one in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 top medallion of Daddi
\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in the Galleria}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 dell\rquote Accademia (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
), was missing from the Kisters}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 30}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604   }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604 
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 New technical and scientific examination}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid4336519\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 at the ÁùºÏ²ÊÔ¤²â}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 As part of the preparatory work for the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Reunions}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 exhibition, the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Four Musical}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 were extensively studied: new X-radiography}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
was carried out on both panels; for the first time a full}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 survey was made using infrared reflectography}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 31}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 );}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 paintings were studied under a microscope and paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 samples were analysed to build up a picture of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
materials and techniques used}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 32}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604   }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 Painting technique}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 The construction of the panel and many aspects of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the manner of execution follow an established tradition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of Florentine panel painting, many features of}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 which are recorded in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Il libro dell\rquote Arte}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 , Cennino}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Cennini\rquote s invaluable treatise on the practice of art,}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and, specifically, the practice of painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 33}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  Although}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 written at the end of the fourteenth century, the book}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 describes the traditional methods of panel painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 which would have been familiar in Giotto
\rquote s time. In}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 fact Cennini had been the apprentice of Agnolo}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Gaddi, son of Giotto\rquote s own pupil Taddeo Gaddi, and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Bernardo Daddi, a probable associate of Giotto, would}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
have followed in this tradition. The materials and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 techniques of Trecento painting have been surveyed}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 more generally in a ÁùºÏ²ÊÔ¤²â publication of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , but no picture from around the }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1340}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 s was available}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 for study at that date and the work concentrated}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 on a somewhat earlier period, and dealt more
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 comprehensively with the techniques employed rather}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 later, from the mid-}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1360}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
s in the Florentine workshop}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the di Cione family}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 34}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was painted on a panel}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of poplar wood }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 9 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
cm thick, and, judging from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 tool marks on the reverse, the panel is still of its original}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 thickness. It was prepared with a white ground of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 true gesso, but there is no reinforcing canvas embedded}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
in the ground, or beneath it, as occurs on many}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Trecento panels}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 35}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
 The design was drawn onto the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel using a liquid material applied with a brush or}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pen. The drawing is simple, only outlines and important}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 folds are drawn and there are no attempts to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
indicate modelling or the fall of light and shade, apart}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 from some short hatched lines in some of the deeper}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 folds (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 fig}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 . }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The contours where paint was to abut}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 gold, such as the Virgin\rquote s profile, were then incised.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Incisions have also been used for straight lines in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
architecture and tiled floor, and for details such as the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pole of Saint Stephen\rquote s banner and the organ pipes}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 7}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). There are no major alterations to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
underdrawing or changes between the drawing and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 painting in the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel. However, infrared}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 reflectography of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 did reveal a}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 change to the angel holding the tambourine; this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 angel was initially drawn supporting the instrument}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
with her left hand underneath, the tips of her fingers}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 curling up to touch the front of it (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 fig. 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The examination of several samples as paint crosssections}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
revealed that Bernardo Daddi did not always}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 conform to the painting methods generally seen in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panels of the mid-fourteenth century: he applied a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 thin layer of pure lead white paint to the ground,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
presumably to provide a more reflective and smoother}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 surface than a polished layer of gesso could offer}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 36}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 This pure white paint has been detected beneath the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Virgin
\rquote s drapery, and beneath the pink-patterned cloth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of honour on the throne and Christ\rquote s pale pink robe}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plates 13 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 15}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
); it seems likely that it is in fact}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 present beneath all painted areas on the panel,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 although the underlayer revealed in samples from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 tiled pavement in the Christ Church panel shows the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
lead white in this part to have been tinted with a little}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 azurite. A similar technique of underpainting with}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 white has been noted for the Virgin\rquote s (darkened) ultramarine}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 robe in the Orsanmichele }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Maest\'e0 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (Florence,}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Orsanmichele)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 37}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Analysis has shown the binding medium for the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
paint layers to be pure egg tempera, as was usual for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Italian paintings of this period}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 38}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
 Drying oil is present,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 but not as a paint binder, appearing rather in the various}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 oil-based adhesives, often containing pigment in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 addition, used for decorative mordant gilding in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 design}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 39}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  In the }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 mordant gilding}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 plays a prominent part in the design, accounting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
for the final decorative features worked in gold leaf}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and paint of the Virgin\rquote s mantle (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), the edging}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 of Christ\rquote s ultramarine blue cloak (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
) and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 fleur-de-lis pattern covering the entire pink cloth of}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 honour (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ). This gilding technique also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 functions in a more subdued role as the gold threads}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 on the orange and green fringe around the edges of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the cloth of honour, with its outer band of mordant}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 gilding (}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 11}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 40}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  in the gilded textiles of the robes}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the music-making angels, and for the linear designs}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 of the coloured tile pavement in the lower fragment}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the painting (}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This elaborate use of}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 mordant-gilded detail is set against the more solid}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 gold look of punched and decorated water-gilding as}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the background to the throne, the haloes of the Virgin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and Christ, and the four water-gilded and deeply}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 punched haloes of the angels in the Christ Church}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 painting. The haloes with their densely stippled}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 sections, a
nd the coloured glazes representing the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 jewels of the Virgin\rquote s crown, and those embellishing}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the punched cross within Christ\rquote s halo, must have}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 been intended to convey a three-dimensional effect.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
The placing of the crown with its black outline drawn}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 over the halo is also an attempt at three-dimensionality}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 12}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This technique, also used in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 from S. Maria Novella}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (Florence, Galleria dell\rquote 
Accademia), is not taken as far}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 as the literal three-dimensional carved and gilded vine}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pattern pastiglia work employed by Daddi in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 haloes of the later Orsanmichele panel}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 41}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 An even more striking decorative counterpoint of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the London }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 would originally}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 have been provided by the shimmering quality of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 silver 
leaf beneath translucent green glaze: the lining}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of Christ\rquote s blue cloak and of the Virgin\rquote s mantle was}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 executed, unusually, in silver leaf attached by means of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 an oil mordant (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 14}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 42}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604  Sadly this effect has been}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 lost as a result of the drastic darkening and turbidity of}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the copper-containing glazes laid over the silver}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 substrate (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 43}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604  In this case it is the paint that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 has discoloured rather than the metal having}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 tarnished; the silver is in fairly good condition, unlike}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 that of the exposed silver leaf representing the organ}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
pipes in the lower fragment, where the technique is of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 a more conventional kind, with silver leaf laid on a}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 red-brown bole containing an aqueous binder, that is,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 the equivalent of water-gilding (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 7}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 44}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 With pictures of the age of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 one must consider to what degree colour}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 change may have occurred, whether as fading or darkening,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
in various parts of the painting, and the overall}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 impact this would have had}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 45}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
 Perhaps the most serious}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 distortion is the darkening of glazes over silver}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 leaf in the linings of the mantles of Christ and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Virgin, as noted above. There is some darkening, also,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
in the glazes used to depict the jewels on the water}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 -}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 gilded}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and mordant-gilded parts, but these areas are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
more difficult to assess since there is a certain amount}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of retouching and repair here as well. Microscopical}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 examination of the Virgin\rquote s off-white drapery revealed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 no evidence of serious colour change (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ):}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 there are very subtle transitions in colour between the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 lightest possible grey in the shadows (where minor}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 quantities of carbon black pigment are combined with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
lead white) and a very pale pink, rendered as a thin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 scumble of red earth pigment mixed with white over}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 a pure white underlayer as described above. Since}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 none of these pigments \endash  neither the white, the black}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 nor the red \endash 
 is vulnerable to light, it is clear that the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 paint cannot have faded; any distortion of colour is}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 more likely to be connected with the wearing of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 paint layers and the yellowish-grey tone that has}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
developed in the present varnish on the picture. A}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 very similar light-coloured drapery was used by Daddi}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 for the Virgin in the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 triptych in Florence}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (Galleria dell\rquote Accademia) of roughly the same date}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and presumably involves the same technique. In the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 London painting the mordant-gilded repeating}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pattern on the Virgin\rquote 
s drapery contains small lozenges}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of ultramarine blue, substantially unchanged, and a}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 more curvilinear part of the design in reddish brown}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The latter is vermilion-containing paint}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 which has darkened slightly at the surface and it is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 noticeable that in the small vertical section of reconstructed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
drapery at the left edge of the panel, the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 equivalent areas of the pattern, matched with restorer\rquote s}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 vermilion, remain a brighter red}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 46}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The pink textile cloth of honour, on the other}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
hand, contains notably light-sensitive materials, specifically}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 a red lake pigment which forms the solid pink}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 colour (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plates 13 }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This is made up of several}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 layers of lead white mixed with a deep pink lake,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 applied over a thin reflective layer of white. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
design was roughly incised into the wet pink paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) and then the blue, green and gold}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pattern in paint (natural ultramarine and green-toned}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
mineral azurite \endash  see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) with gold leaf was}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 applied directly, possibly aided by a stencil, over the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 pink background colour: paint first, then lastly the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
gilding over a dark brown mordant layer. Examination}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the red lake pigment protected from light beneath}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the layers that make up the pattern has demonstrated}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 that the degree of fading of the red lake has been}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
minimal. The pale pink areas of Christ\rquote s robe, also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 containing a red lake with white, appear rather more}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 faded, however. In this drapery, the mauvish-blue}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 shadows comprise a thin glaze of natural ultramarine}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
partially protecting the pink underlayer, and the same}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 technique is employed for the drapery of the truncated}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 figure of Saint John the Baptist in the Christ}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Church fragment (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 17}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Some of the observed colour changes are less}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
disturbing. The orange-coloured parts of the fringe of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the throne\rquote s canopy (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 11}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), which is painted in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 red lead (}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 minium}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; lead tetroxide)}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid4336519\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 47}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid4336519\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  a pigment often}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 employed in Florentine Trecento painting, has lightened}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to some degree, although where the same}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
pigment has been used for the bright orange}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 diamond-shaped tiles in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 appears unchanged (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). In the same lower}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 portion of the panel, the vermilion draperies of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 two angels playing portative organs show only the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
most minor darkening of the surface pigment,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 although in paintings in egg tempera this material}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 sometimes exhibits a much more serious form of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 darkening}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 48}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 ).}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  The green and yellow }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 cangiante }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 draperies}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the two other angels, which combine lead-tin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 yellow (the early, vitreous form of the pigment, \lquote type}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 II\rquote , that is, }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 giallorino)}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 49}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  with natural azurite, and glazes}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 of natural ultramarine in the deepest shadows, are also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
well preserved through the use of pigments that are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 stable in egg-tempera medium. These materials, and}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 their uses, are summarised in Table }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (see p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 25}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604   }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 The new r\hich\af1\dbch\af31501\loch\f1 econstruction}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 As well as providing new information about Daddi\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
working methods, technical examination has served to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 confirm Steinweg\rquote s thesis, and revealed additional}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 material that allows us to propose a new reconstruction}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 for the missing parts of the panel.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Before discussing what might be missing from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
original painting it is first necessary to establish}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 exactly what remains. The }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 painted on a large, irregularly shaped wooden panel}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 20}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). None of the edges we see now is original.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 At some date before }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1828 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the lower section depicting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 angels and saints was cut from the bottom; this}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 conclusion is based on the fact that Fox-Strangway\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 gift of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to his former college, Christ}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Church, occurred in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1828}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 . Not only was the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 cut at the bottom to remove}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the angels, but it was also cut horizontally above}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Christ\rquote s halo and at both lateral edges. Presumably to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 make a more marketable object, additions were}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
attached to the remaining fragment: a narrow strip}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2 }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 cm wide) on the left, with the repainted arm of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the throne behind the Virgin; a larger strip across the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 bottom (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8 }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cm deep), painted in a darker pink than}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the textile strip just above it, perhaps in order to}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 resemble the riser of a step; and a polygonal piece at}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the top (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 28}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cm high), completing the throne with a}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pointed arch. The extent of the original paint shows}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 clearly in the X-radiographs, and is identifiable by its}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
very distinct pattern of horizontal cracks, which do}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 not occur in any of the added parts (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 figs 4, 7 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 X-radiography also shows that the additions were}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 attached using half-lap joins, the new wood overlapping}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the original by about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cm at the back for both}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the top and bottom joins (resulting in two horizontal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
bands across the X-radiograph where the two bits of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 wood overlap).}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Samples of paint were taken for analysis from the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
fleur-de-lis pattern on the lower section of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 panel in order to shed light on the date this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 addition
 had been applied. The deep pink colour on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the addition forming the background to the pattern}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was painted in a mixture of lead white, vermilion and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 red lake, matching the original pink colour applied as}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
several layers of red lake and white over the white}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 lowermost layer (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 13}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The deep green parts of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 the addition contain the nineteenth-century pigment}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 combination known as \lquote 
chrome green\rquote  (a manufactured}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 mixture of chrome yellow [lead chromate] and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Prussian blue [ferric ferrocyanide]); \lquote chrome green\rquote }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 was not available until some time after }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1818}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
. In this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 case it had been used, rather successfully, to match the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 original deep green paint based largely on azurite. The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 blue parts of the added-on section are painted with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 French (that is, synthetic) ultramarine 
containing a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 little added Prussian blue (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 plate 21}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
matches the colour of the original lapis lazuli ultramarine}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 13}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), but its constitution establishes that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 it could not have been applied before }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1828}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , and in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 fact probably dates from after }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1830}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 50}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 It is therefore possible to say with certainty that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
modern interventions took place at two separate}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 stages: first, at some date before }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1828}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , the panel with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 the four musical angels was cut from the base of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Coronation scene; subsequently, most probably after}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1830}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , new pieces of wood were added to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Coronation fragment and the repainting occurred. It}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 must have been around this time that, before presenting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the now smaller }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 on the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 market, a new frame was made. This frame, shown in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1944 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Christie\rquote 
s sale catalogue, follows exactly the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 shape and decorative motifs of the throne depicted in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the painting (from the leaves along the border to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 indentation on the inside border) (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 fig}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 51}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  That this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is not the original frame is proved by the fact that it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
was clearly designed to fit the cut fragment. In addition,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the style and craftsmanship of this frame also}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 suggest that it was manufactured in the nineteenth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 century, probably soon after the London }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 was altered to its present state. The current frame of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is a modern, remarkably good imitation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 of a fourteenth-century engaged frame: it was made}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 after }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1944}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , and it appears to be an exact copy of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 frame of a triptych by a follower of Daddi at the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Pinacoteca di Siena}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 52}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 
),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  of which it faithfully reproduces}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
every feature, including the engraved foliage on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the spandrels (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 19}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 On the London }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel, the only}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 evidence of an original edge is found around the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 outer curved edge of gold behind Christ. Here the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
gesso ends with a raised barb in places, indicating that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 gesso and gilding would have continued up onto the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 raised moulding of an engaged frame. Originally the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 wood beyond this barb would not have been painted}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
but covered by the frame moulding. The diagonal}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel edge we now see was created when the top}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 addition was added, and subsequently the brown paint}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 was applied continuously from the addition onto the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 original unpainted wood (}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 p\hich\af1\dbch\af39\loch\f1 late 20}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 
 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 That the panel with the four musical angels was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
once part of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 can be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 confirmed by studying the X-radiographs and infrared}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
reflectography of NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 shows}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the fragmentary figures of John the Baptist on the left}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and a deacon saint, almost certainly Saint Stephen, on}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the right. These figures are cut off at the neck, but at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the bottom of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel, in the left and}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 right corners, are traces of haloes. In the X-radiograph}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 these are discernible as areas with curved edges, and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
outlines of fully punched borders, inside which the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cracking is different from elsewhere (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 figs 7 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8,}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 p}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 . 19}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). With the lower part of the panel removed,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 these fragmentary heads had to be suppressed so as}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
not to detract from the main composition. This was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 done by scraping out the areas covered by the gold of}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the haloes (removing both gesso and gold leaf) and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 the paint of the faces, applying a new ground, and filling}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
in these parts of the composition with draperies}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and the throne textile (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plates 24 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 25, 
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 p}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 . 19}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The left hand of Saint John the Baptist originally}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 extended up so that his fingertips overlapped the hem}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the Virgin\rquote 
s robe. This hand therefore also needed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to be suppressed. This time a thick layer of paint was}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 applied over the back of the hand and decorated with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 gold, green and blue to replicate the cloth of honour.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
The fingertips were painted out using thinner paint,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and some of the lines around the fingers were used to}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 form part of the pattern on the Virgin\rquote s dress (see}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 22, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 p}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 . 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The fingertips are now visible, and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 the area of the rest of the hand stands out in a different}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
colour from the surrounding pink (although it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 must have matched when first painted out). Infrared}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 reflectography clearly shows the outline around the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 hand continuing under the creamy repaint (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 fig}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 . }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 p}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 . 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
). One other detail of the original composition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 extended onto the upper panel \endash  the banner held by}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Saint Stephen. This was merely painted over, and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 traces of the red paint of the banner can be seen}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
under repaint at the hem of Christ\rquote s blue robe and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 throne covering below}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 
\b\insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 \b\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 \b\insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 With this information it is possible to align the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Christ Church fragment with fair precision. It seems}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 that very little has been lost between the two pieces,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 not much more than the width of the saw cut, which}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 was not perfectly horizontal. The slight angle of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
cut is most clearly seen at the top edge of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Angels}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , where there is a narrow strip of white (becoming}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 slightly wider from left to right (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ),}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 presumably part of the marble throne. This white area}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 bears traces of a gold fringe, visible near the figure of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Saint Stephen (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 23}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This indicates that the cloth}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of honour originally ended with a gold fringe exposing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 a little strip of throne before the wooden}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
structure, in front of which the angels sit, began.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 As has already been established the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel does not retain its original lateral}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 edges, consequently there is no proof of exactly how}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
wide it was. However, an attempt to reconstruct the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 missing parts of the two saints, using similar depictions}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of saints in other works by Daddi as models, showed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 that the panel must have been wider on both sides if}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the saint
s were shown as complete figures, not cut by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 framing elements. Further study of the X-radiograph}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 revealed another unexpected indication of how much}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 may have been lost: in the bottom right corner, above}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
and to the right of Saint Stephen\rquote s halo, are traces of a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 fully punched second halo (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 fig}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). Strangely this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
second halo was not noticed by Steinweg, but since it}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is very close to the edge of the panel it is possible that}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 her X-radiograph did not include the edges, or they}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 were covered by a frame. It indicates that there must}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
have been a second figure (saint or angel) standing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 behind Saint Stephen. Multiple figure groups with}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 overlapping figures often feature in works by Daddi}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
), but it is rare for him to cut foreground}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 figures, so a reconstruction was made extending the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel far enough to the right to fit a second standing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 figure (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). Extending the panel a matching}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 width to the left also provided enough room for}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 another figure behind the Baptist, a necessary addition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
since the balance of figures in Daddi\rquote s compositions is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 always symmetrical. That there is no longer any trace}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of this figure\rquote s halo is due to the fact that the area on}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the extreme left which would have had the second}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 halo has been cut. Since we do not know who the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
outer figures were, they are here shown as generic}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 saints.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The addition of the two extra saints results in a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
satisfactory composition with a half-circle of figures}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 around the base of the throne. The blank areas above}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the saints\rquote  heads would probably have been filled with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the arms of the throne and the completion of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
draperies of Christ and the Virgin, although it is not}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 impossible that more saints or angels might have been}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 placed here. The proportions of the panel as proposed}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 in this reconstruction turn out to be similar to those}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
used elsewhere by Daddi. Indeed, when the inner}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 frame of the Bigallo Tabernacle}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 53}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  dated }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1333}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 (Florence, Museo del Bigallo), with a similarly shaped}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 top, was scaled to fit the }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 proposed reconstruction was found to fit exactly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 27}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This is not to suggest that the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Coronation of}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
would necessarily have had a frame like that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the Bigallo triptych, which is much smaller and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 intended for a very different use. In fact all that can be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 deduced from the reconstruction is that there was a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
raised, gilded moulding attached to the frame around}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the curved edges of the gilding above the throne.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 Conclusion: is the reconstruction complete?}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 The newly found evidence, however, does not entirely}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 solve the question of the painting
\rquote s original appearance:}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was this a single panel or a polyptych? In other}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 words, is the recent reconstruction (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 26}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 complete, or are there further missing panels? The}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 answer to this question must be sought in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 comparison with other Coronations of the Virgin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
painted at this time. As has been already established, in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 depictions of the Coronation from the first part of the}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 fourteenth century saints are always relegated to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 lateral compartments, as if they were side spectators of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the celestial ceremony (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plates 5 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). This is the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 composition that Richard Offner, unaware of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 soon-to-be-found musical angels and fragm
entary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 saints, proposed for the missing parts of the London}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }
{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . Following the discovery of the Christ}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Church picture, Klara Steinweg made the suggestion}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash 
 subsequently accepted by a number of scholars \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 that the painting was in fact a single, free-standing}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel, originally made for a small chapel or to hang}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 on a pillar}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 54}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  According to Steinweg, the inclusion of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 saints in the central part of the composition created a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
complete scene, making additional panels with saints}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 superfluous. While Steinweg was correct in stating}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 that there are no surviving examples of polyptychs}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 from the first half of the fourteenth century showing}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the Coronation of the Virgin with saints in the central}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel, it is also true that we do not know of single}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panels of the same period with this composition}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 55}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 ). }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Indeed, the only example mentioned by Steinweg of a}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 single panel with saints being part of the main scene is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Jacopo di Cione\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in the}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Galleria dell\rquote Accademia, dated to after }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1373 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
therefore not strictly comparable}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 56}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 ). }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Searching for an answer in Daddi\rquote s own work, we}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
find that the artist did produce Coronations featuring}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 saints in the same space as the Virgin and Christ. In}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the Lindenau Museum, Altenburg (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 
plate 28}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), and the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 G
alleria Sabauda, Turin, are the central panels of two}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 small Coronation triptychs, and in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Gem\'e4ldegalerie, Berlin, is a similar work still retaining}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 its side panels}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 57}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604  Nevertheless, it is crucial to stress}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 that, in spite of the undoubted iconographic similarity}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 with NG }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , these are smaller, very different types}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of work, which, as the Berlin painting shows, were}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 once flanked by narrative scenes. Judging by Daddi\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
surviving body of work, the present painting is the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 only large-scale Coronation (with or without side}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panels) with saints in the central panel. There are}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 therefore no surviving comparable examples to help}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
us firmly establish whether the reunited National}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Gallery and Christ Church fragments originally}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 formed a single panel or were part of a larger ensemble.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 At this stage the only observation that can be}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
made is that, if one relies on the traditional format of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Coronations produced in Daddi\rquote s time, and also on}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the large size of the recently reconstructed London}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , the earlier theory placing NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 6599 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels 
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in the centre of a polyptych still}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
seems plausible. According to this hypothesis, the four}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 central saints would have originally led a host of their}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 companions in the side panels, and their place of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 honour immediately beneath the Virgin\rquote s throne}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
would have been a sign of their importance to the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 patron or to the church itself.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Although the question of the original appearance}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
of the ÁùºÏ²ÊÔ¤²â }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is still}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 
 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 open, what has emerged with increasing clarity from}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
recent research is that with this work Daddi invented}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 a new, highly original, iconographic formula. It is no}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 coincidence that, shortly after NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 
6599 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was painted,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
younger Florentine artists started to experiment with}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 its unusual composition: among the several surviving}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 examples that testify to its impact are Coronation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 scenes by Daddi\rquote s disciple Puccio di Simone (see}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 plate 29}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), by the Master of San Lucchese (both in the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Lindenau Museum, Altenburg), by an unidentified}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Florent
ine artist (Christ Church) and, most notably,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the later, strikingly similar panel attributed to}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Mariotto di Nardo, now in the Fitzwilliam Museum,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Cambridge (see }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 30}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604  (note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 58}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604 ).  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 Acknowledgements}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid11025863\charrsid15282604 \hich\af1\dbch\af31501\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid15282604 
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid11025863 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 The authors wish to thank Dillian Gordon for her}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 inva
luable help throughout the preparation of this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 article, in particular for generously sharing her new}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 research material; Joanna Cannon, Reader in History}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 of Art at the Courtauld Institute of Art, for reading}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the entire article, and for her kind advice and useful}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 suggestions; and Catherine Higgitt for her contribution}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to the analysis of paint medium in samples. We}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 are also grateful to Jacqueline Thallmann, Curator at}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Christ Church Picture Gallery, Oxford, for kindly}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 allowing us to include photographic and technical}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 material of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid11025863 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid15282604\charrsid15282604 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 Notes
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid5069056 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 1 The two most commonly represented deacon saints are Stephen and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Lawrence. Lawrence is usually shown holding a gridiron or palm of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
martyrdom, neither of which is held by the saint in the Christ Church}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
panel. Stephen is usually identified by rocks on his head, the part of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
figure now missing. Comparison with other saints by Daddi revealed that}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
in all other occasions where he depicted a deacon saint with a banner and a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 book the figure also had the rock
s of Saint Stephen on his head. This, taken}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 together with the fact that the figure does not have either of the usual}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 attributes of Saint Lawrence, makes Stephen the most likely identification.
\par 2 When the Christ Church panel was cut, only part of the standing saints}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was removed so as to leave the angels intact.
\par 3 London, Christie\rquote s, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 31 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 March }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1944}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , lot }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 136}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 : \lquote The Property of the Late J.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Pierpont Morgan\'85
 removed from Wall Hall, Aldenham, Herts\rquote .
\par 4 For the attribution of NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 see R. Offner, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 A Critical and Historical}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Corpus of Florentine Painting}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 , New York }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1958}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Section III, Vol. VIII, p. 
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 150}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ;}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Corpus}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , New York }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1947}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Section III, Vol. V, pp.}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 115}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . Most modern scholars consider paintings attributed by Offner to}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the Assistant of Daddi to be late works by Daddi, with workshop assistance.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 5 Klara Steinweg, \lquote Rekonstruktion einer orcagnesken Marienkr\'f6nung\rquote , in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Mitteilungen des deutschen Kunsthistorischen Institutes in Florenz}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Vol. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , part II,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 December }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1961}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 122}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 . According to Steinweg, Andrea di Cione provided}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the model for the }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 at the Galleria dell\rquote Accademia,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Florence (}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
), probably by Bernardo Daddi and workshop.
\par 6 J. Byam Shaw, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Paintings by Old Masters at Christ Church, Oxford, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Oxford}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1967}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 31}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 7 Also adding: \lquote If we could suppose that the \'93Assistant\'94 was a young disciple,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
and if, as Berenson suspected, Orcagna was Daddi\rquote s pupil, then there might}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
be some ground for considering our Coronation an early work of Andrea}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Orcagna himself.\rquote  Byam Shaw }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1967\hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 32}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 8 See M. Boskovits and E. Neri Lusanna, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 A Critical and Historical Corpus of}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Florentine Painting}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Florence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 , Section III, Vol. III, p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 45}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , note }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 52}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; G.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Freuler, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Manifestatori delle cose miracolose: Arte Italiana del }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 300 }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 e }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 400 }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 da}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 collezioni in Svizzera e nel Lichtenstein}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Lugano-Castagnola, Thyssen-}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Bornemisza Foundation, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 April\endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 30 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 June }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1991}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 168}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 70}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , cat. no. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 62}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; A.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Tartuferi, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Bernardo Daddi. L\rquote Incoronazione di Santa Maria Novella. Galleria}{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 dell\rquote Accademia}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Livorno }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 30 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 58}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ; Everett Fahy and Andrea De}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Marchi have expressed similar opinions (see Sotheby\rquote 
s catalogue entry, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Old}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Master Paintings}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , London, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 July }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2004}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , lot }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 38}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 128}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ).
\par 9 See Boskovits and Neri Lusanna }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 110}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 21}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 10 For a recent illustrated study of the Orsanmichele }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Maest\'e0 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 see L. Bertani and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 M. Vervat, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 La Madonna di Bernardo Daddi negli \lquote horti\rquote  di San Michele}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Livorno}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 11 See Boskovits and Neri Lusanna }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 231}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 70}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Although Daddi\rquote s authorship of the so-called San Pancrazio Altarpiece is}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 not documented, this painting is universally agreed to be a fully autograph}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 work. Byam Shaw and Freuler have emphasised the resemblance between}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the angels in the Christ Church panel and those in the central panel of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
San Pancrazio Altarpiece (both the kneeling angels and those looking}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 down on the Virgin from the spandrels). Byam Shaw }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1967 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 32}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; Freuler }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1991 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 170}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .
\par 12 See note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 22 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 for a discussion of the attribution of the }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 from the Galleria dell\rquote 
Accademia. For detailed images of the Lehman}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Collection fragment and the Galleria dell\rquote Accademia }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 see}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Tartuferi }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 58}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . E.S. Skaug produced a study of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 punch 
marks used by Daddi and workshop in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Punch Marks from Giotto to}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Fra Angelico. Attribution, Chronology, and Workshop Relationship in Tuscan Panel}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Painting, ca.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 1330}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 -}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 1430, Oslo }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1994}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Vol. I, p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 102 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 112}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 181}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; Vol.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 II, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , no. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 742 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (see also E. Skaug, \lquote Tecniche ed Estetica nella Pittura del}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid2818916\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Trecento Italiano\rquote , in M. Boskovits, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Da Bernardo Daddi al Beato Angelico a}{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Botticelli: Dipinti Fiorentini del Lindenau-Museum di Altenburg, }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Florence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2005}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 28}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , fig. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
). A similar dragon motif is also found on the sgraffito decoration}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 on the step of the Virgin\rquote 
s throne in the Orsanmichele }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Maest\'e0}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; a detail}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of this decorative motif is illustrated in Bertani and Vervat }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000 }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 16}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , fig. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 13 D. Gordon, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 ÁùºÏ²ÊÔ¤²â Review }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (April }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2004}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash March }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 
2005}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 -}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 17}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . For records of S. Maria a Quarto see Florence, Biblioteca Nazionale,}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Sepoltuario Strozziane, Col. XXVI, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 170}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , carta }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 81 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 v, and carta }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 166 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 v. Cited}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 by Offner, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Corpus}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , New York }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1930}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Section III, Vol. III, p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 2 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \lquote 
Authenticated Facts and Dates by Bernardo Daddi\rquote )
\par 14 Herr Kisters communicated this information to Richard Offner. Offner}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1958 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 4}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 150}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 15 Caroline Elam has kindly drawn attention to Charles Ricketts\rquote s diary}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 entries of }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 12 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 13 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 May }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1904}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . London, British Library, Add. Ms }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 58116}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 27}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
r. This painting was possibly part of the sale of the Horatio Granville}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Murray-Stewart collection.
\par 16 On his entry of }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 13 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 May Ricketts adds: \lquote Horne warned me off the}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Coronation\rquote . It is possible that Horne warned off Ricketts because he}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 wanted to buy the picture himself.
\par 17 Christie\rquote s sale catalogue, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1944 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). Although the contents of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 this sale were removed from Aldenham, Herts, the year following the death}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
of J. Pierpont Morgan Jr (the son of the financier and art collector), it is}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 almost certain that the London }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 was acquired by the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 father (d. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1913}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
), possibly directly from Herbert Horne. Christine Nelson,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Drue Heinz Curator of Literary and His
torical Manuscripts at the Morgan}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Library and Museum, kindly confirmed that J. Pierpont Morgan Jr is not}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 known to have purchased any paintings.
\par 18 Kisters owned an impressive collection of Early German and Netherlandish}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 paintings, including a number of wor
ks by Lucas Cranach the Elder. His}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 collection (not including Daddi\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) was exhibited at the German}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 National Museum in Nuremberg in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1963}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
. See Peter Strieder [Hrsg.]}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Steingr\'e4ber, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Sammlung Heinz Kisters, Altdeutsche und Altniederl\'e4ndische}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Gem\'e4lde, }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Nuremberg }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1963}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 19 The statement made by Gaudenz Freuler and in Sotheby\rquote s sale catalogue}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (both cited in note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) that the painting was on the New York art market in}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1924 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is incorrect: it relies on Van Marle\rquote 
s description of \lquote a Coronation of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the Virgin and saints for sale in New York\rquote , but this description cannot refer
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 because by }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1924 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical}{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 had long been two separate panels. R. van Marle, }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 The Development of}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
the Italian Schools of Painting,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Vol. III, The Hague }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1924}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 508}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 20 Offner }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1958 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 4}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 150}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 21 In the past scholars have been divided as to whether the altarpiece was}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 painted shortly before Giotto\rquote s departure to Naples in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1328}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , or after his}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 return to Florence in }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1333}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . For an argument in support of the earlier dating}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 see M. Boskovits, in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Giotto: bilancio critico di sessant\rquote anni di studi e ricerche}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Florence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 2000}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , cat. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 27}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .
\par 22 The authorship of this work is somewhat problematic: in the last century}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 scholars ascribed it t
o a follower of Assistant of Daddi and to Puccio di}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Simone. The present attribution to Daddi is based on the modern critical}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 approach, which designates as autograph works which may have been}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 painted in part by workshop assistants (for a full history of attribution see}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Tartuferi }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
(cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 49}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 51}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). The close resemblance of NG}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 6599 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 to the central panel of the Galleria dell\rquote Accademia altarpiece should}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 not be taken as sufficient evidence as to the autograph status of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
ÁùºÏ²ÊÔ¤²â panel.
\par 23 For a catalogue entry and colour reproduction of the central panel see C.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Wright, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Renaissance to Impressionism: Masterpieces from Southampton City Art}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Gallery}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , London }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1998}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 18}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 19 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 107}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; for the side panels see C.C.}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Wilson, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Italian Paintings XIV-
XVI centuries in the Museum of Fine Arts,}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Houston}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
, London }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1996}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 52}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 66}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , cat. no. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 4}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , and pp. }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 54}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 24 For full attribution history of this work see L. Fornari Schianchi, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Galleria}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Nazionale di Parma}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 : }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Catalogo delle opere dall\rquote antico al Cinquecento}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Milan }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1997}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 46}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 -}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
. (Offner believed this work to be by the so-called Master of the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Fabriano Altarpiece. Offner }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1947 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 4}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 189}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 94}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Pl.XLI.)
\par 25 Van Marle }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1924 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 19}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 521}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 26 See D. Bomford, J. Dunkerton, D. Gordon and A. Roy, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Art in the Making:}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Italian Painting before }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 1400, London }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 156}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 27 Klara Steinweg began to work as Offner\rquote s assistant on the monumental}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Corpus }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1930 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and, following his death in }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1965}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , she assumed the supervision}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of four volumes, until her death in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 197\hich\af1\dbch\af39\loch\f1 3}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 . I. Hueck, \lquote Obituary\rquote ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Burlington Magazine}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 , CXV, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1973}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 397}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 28 Steinweg }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1961 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).
\par 29 This type of decoration also recurs in the so-called San Pancrazio}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Altarpiece in the Uffizi (see note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 11}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).
\par 30 Steinweg }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1961 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 126}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 31 The paintings were initially examined in infrared using a Hamamatsu}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 C}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2400 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 camera with an N}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 2606 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 series infrared vidicon tube. The infrared}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 reflectogram images reproduced in this article were recorded using the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ÁùºÏ²ÊÔ¤²â
\rquote s new digital infrared camera SIRIS which uses a }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 320}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid16276046\charrsid15282604 
\hich\af1\dbch\af39\loch\f1  x }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 256 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
pixel indium gallium arsenide (InGaAs) array sensor. The infrared}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 reflectograms in this article were recorded at the camera
\rquote s maximum resolution}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 10 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pixels per mm. For further details about the camera see D.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Saunders, R. Billinge, J. Cupitt, N. Atkinson and H. Laing, \lquote A new camera}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
for high-resolution infrared imaging of works of art\rquote  in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Studies in}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Conservation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Vol. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 51}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , No. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 4}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2006}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 277}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 90}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 32 Paint samples were analysed by standard methods in use in the National}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Gallery Scientific Department: microscopical examination of samples and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
cross-sections; analysis by SEM-EDX, and paint media investigations using}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 GC, GC\endash MS and FTIR.
\par 33 F. Brunello, ed., }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Il Libro dell\rquote Arte di Cennino Cennini}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Neri Pozza Editore,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Vicenza }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1971}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .
\par 34 D. Bomford, J. Dunkerton, D. Gordon and A. Roy }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 43}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 35 D. Bomford, J. Dunkerton, D. Gordon and A. Roy }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 36 The local application of a thin reflective underlayer of lead white with a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 surfac
e red lake glaze has been demonstrated in several of the pink}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
draperies on the San Pier Maggiore altarpiece by the di Cione workshop,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 see, for example, Saint Reparata\rquote 
s pink drapery, recorded in D. Bomford, J.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Dunkerton, D. Gordon and A. Roy (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), plate }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 155}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 180}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 37 G. Bitossi, P. Baglioni, L. Dei and M. Mauro, \lquote Caratterizzazione chimicofisica}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 dei materiali pittorici\rquote 
, in Bertani and Vervat (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), figs }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid16276046\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 62}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 38 Samples for paint medium were examined by Catherine Higgitt. Original}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 paint from NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and the Christ Church panel was found to be bound}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in egg tempera (NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
: blue of Christ\rquote s robe; off-white colour of throne;}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
deep pink of cloth of honour. Christ Church panel: cream colour, top}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
right-hand edge; pale green floor tile). A discoloured glaze over silver leaf}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
from the Christ Church panel gave indications of the presence of (now}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 degraded) drying oil.
\par 39 D. Bomford, J. Dunkerton, D. Gordon and A. Roy }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ),}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 43}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 40 This exact same use of mordant gilding is seen in numerous works by}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Daddi: see for example the throne canopy in }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 The Coronation of the Virgin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Lindenau Museum, Altenburg, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 plate 28}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
, or in the Orsanmichele }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Maest\'e0}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , see}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Bertani and Vervat }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note 
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).
\par 41 Bertani and Vervat }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 14}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 42 Small details involving mordanted silver leaf with translucent glazes of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
natural ultramarine have been detected on later paintings, for example the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Fra Angelico predella panel in the National Ga
llery (NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 663}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), probably}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1420}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 s. See D. Gordon, M. Wyld and A. Roy, \lquote Fra Angelico\rquote s Predella}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 for the High Altarpiece of San Domenico, Fiesole\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 ÁùºÏ²ÊÔ¤²â}
{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 23}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2002}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 43 For another possible comparison see the polyptych panels by Simone}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Martini, Orvieto, Museo dell\rquote 
Opera del Duomo, ex-S. Domenico, Orvieto.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 The linings of the mantles of the Virgin and the Magdalen, now black, were}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 executed in a green pigment (copper resinate?) applied over silver leaf and}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 decorated with }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 sgraffito }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 work of tiny parallel incisions (G. Testa, \lquote Simone}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Martini: Madonna con il bambino tra i santi Domenico, Pietro, Maria}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Maddalena e Paolo\rquote , in }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Arte Sacra in Umbria. Mostra dei dipinti restaurati}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 1976}{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 1981, Ministero per i beni culturali e ambientali: Quaderni a cura}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 della Soprintendenza ai beni ambientali architettonici artistici e storici}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 dell\rquote Umbria, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Perugia }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1981}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 35}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 43}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , here p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 38}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; G. Testa, \lquote Simone}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Martini: Polittico di S. Domenico\rquote , in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Dall
a raccolta alla musealizzazione. Per}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 una rilettura del museo dell\rquote Opera del Duomo di Orvieto}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Giusi Testa and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Raffaele Davanzo (\lquote 
Conservazione tra teoria e prassi\rquote , Orvieto, Palazzo}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Papale, June\endash September }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1984}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), Ministero per i beni culturali e ambientali,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Soprintendenza per i beni ambientali architettonici artistici e storici}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 dell\rquote Umbria, Todi }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1984}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 34}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 42}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; here pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 39}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 42}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , with further information}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 on materials; C. Hoeniger, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 The Painting Technique of Simone Martini}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , PhD}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 diss, Princeton }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1989}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 258}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 60}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , 
identifies the linings as copper green over}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 gold leaf). See also Simone Martini\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Virgin and Child}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Orvieto, Museo}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 dell\rquote Opera del Duomo, ex-S. Francesco, Orvieto. Silver leaf, now abraded}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
and tarnished, was applied over red bole for the lining of the Virgin\rquote s}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 mantle, overlaid with \lquote 
verde semitrasparente\rquote  (copper resinate?), Testa (op.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 cit.), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 46}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . A similar technique appears to have been used for the lining}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
of the Virgin\rquote s off-white mantle in Daddi\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Assumption of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (fragment}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of an altarpiece), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 c}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1340}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Robert Lehman Collection (}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1975}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 58}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ),}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Metropolitan Museum of Art, New York. The optical principle is exploited}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in the use of a green glaze over gold leaf for the lining of the Virgin\rquote s deep}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 blue robe in Jacopo di Cione\rquote s Crucifixion altarpiece in the National}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Gallery (NG }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1468}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 c}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1368}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 70}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , see D. Bomford, J. Dunkerton, D. Gordon}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and A. Roy (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ), plate }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 136}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 151}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , and plate }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 139
}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 153}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 44 A similar use of silver leaf over red-brown bole can be seen in the chalices}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 held by the foremost angels in the }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Madonna delle Grazie }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (Florence,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 Orsanmichele), and in the same picture there are two decorative bands on}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
the dais of the throne created in }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 sgraffito }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 work using paint and silver leaf on}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 an aqueous base. See Bertani and Vervat }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2000 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 10}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 16}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 17}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 45 For example, it has been shown using cross-sectional analysis that the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Virgin\rquote 
s very pale mauve drapery in Lorenzo Monaco\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (NG}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1897}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), of about }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1407}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 9}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , has faded considerably. See A. Burnstock, \lquote The}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Fading of the Virgin\rquote s Robe in Lorenzo Monaco\rquote s \'93Coronation of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 the Virgin\'94\rquote , }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 ÁùºÏ²ÊÔ¤²â Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 12}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1988}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 58}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 65}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . See also}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
G. Hedley and C. Villers, \lquote Evaluating Colour Change: Intention,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Interpretation and Lighting\rquote , in G. Hedley, }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Measured Opinions: Collected}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Papers on the Conservation of Paintings}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , ed. C. Villers, London }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1993}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 145}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .
\par 46 For a full description of this phenomenon, see M. Spring and R. Grout,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \lquote 
The Blackening of Vermilion: An Analytical Study of the Process in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Paintings\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 ÁùºÏ²ÊÔ¤²â Technical Bulletin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 23}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2002}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 50}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 61}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 47 While }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 minium }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (red lead) is sometimes used for draperies in Trecento works,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 it is most commonly found for the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 sgraffito }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 textiles on which Christ, the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
Virgin or accompanying saints are depicted, sometimes in conjunction}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
with vermilion to represent the shadowed areas. A good example of the use}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 minium }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 in a }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 sgraffito }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
design (with ultramarine and gold leaf) is Nardo di}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Cione\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Saint John the Baptist with Saint John the Evangelist(?) and Saint James}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (NG }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 581}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) of about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1365}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , see D. Bomford, J. Dunkerton, D. Gordon and A.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Roy (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 133}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; plate }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 115}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 134}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ; plate }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 116}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 135}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; see also p.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 32}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 48 The bright red draperies painted in vermilion show a faint greyish metallic}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
sheen in places, but discoloration of the surface pigment is very minor. See}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 M. Spring and R. Grout }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2002 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 46}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 50}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 61}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 49 For a history of the use of }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 giallorino}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , see H. K\'fchn, \lquote Lead-Tin Yellow\rquote , in A.}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Roy, ed., }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Artists\rquote 
 Pigments: A Handbook of their History and Characteristics}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
ÁùºÏ²ÊÔ¤²â of Art, Washington DC, Oxford University Press, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1993}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp.}{\rtlch\fcs1 
\af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 83}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 112}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . See also E. Martin and A. Duval, \lquote Les deux vari\'e9t\'e9s de jaune de}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 plomb et d\rquote \'e9tain: \'e9tude chronologique\rquote , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Studies in Conservation}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 35}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1990}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp.}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 117}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 36}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; D. Bomford, J. Dunkerton, D. Gordon and A. Roy (cited in note
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 26}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 37}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 .
\par 50 French (synthetic) ultramarine was invented probably in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1827 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 published in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1828}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 ; commercial production of the pigment did not begin}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 until }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1830 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and was not widespread until a few years later. See J. Plesters,}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \lquote Utramarine Blue, Natural and Artificial\rquote , in A. Roy, ed., }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Artists
\rquote  Pigments: A}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Handbook of Their History and Characteristics}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , Vol. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Washington DC }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1986}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 55}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 51 Christie\rquote s sale catalogue (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 3}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ).
\par 52 P. Torriti, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 La Pinacoteca Nazionale di Siena: I dipinti dal XII al XV secolo,}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Genoa }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1980}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 230}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 53 See Boskovits and Neri Lusanna (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 170}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 83}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 54 Steinweg }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1961 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 126}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . In this regard Freuler writes: \lquote In the}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
fourteenth century it was common to allow donors to decorate church}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
pilasters with frescoes or panel paintings featuring patron saints, as a modest}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
alternative to the decoration of a chapel, as for example in Orsanmichele,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Florence.\rquote  Freuler }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1991 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 168}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ; Sotheby\rquote s sale catalogue}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 8}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 124}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 55 It is worth drawing attention to the only other known panel painting,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
executed by an artist who was active in the first half the fourteenth}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
century, showing saints in the same space as the Virgin and Christ: this is a}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 panel by Vitale da Bologna (}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1309}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1359}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), last documented in the }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1956}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid16276046\charrsid15282604 \hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Stoclet Collection catalogue (J.P. van Goidsenhoven, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Adolphe Stoclet}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Collection, Part I, }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Brussels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1956}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 104}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ). Although it is possible that this}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
painting was executed before NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , its smaller size and different}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 composition (with dimensions of }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 52 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \u-3881\'3f\u-4064\'3f}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 59 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
cm, it is about half the height}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of the London }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}
{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ) mean that it would not have provided a model}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 for it.
\par 56 Steinweg }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1961 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 126}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . For an image of this work see G.}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Bonsanti, }{\rtlch\fcs1 
\ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 The Galleria dell\rquote Accademia, Guide to the Gallery and Complete}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Catalogue}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Florence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1987}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 58}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 57 See illustration of the Turin fragment in N. Gabrielli, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Galleria Sabauda,}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Maestri Italiani, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Turin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1971}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 , Tav. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , fig. }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 15}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; for the triptych in the
\par Gem\'e4ldegalerie see M. Boskovits, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Fr\'fche Italienische Malerei}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 Gem\'e4ldegalerie}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Berlin}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 , Berlin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1988}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 251}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 .
\par 58 For illustrations and catalogue entries of Puccio di Simone and the Master}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 of San Lucchese\rquote s panels see Boskovits }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2005 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in note }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 12}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 192}{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid16276046\charrsid15282604 
\hich\af1\dbch\af39\loch\f1  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 125}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 7}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ; for the Christ Church panel see Byam Shaw }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1967 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (cited in}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 note }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ), pp. }{\rtlch\fcs1 
\af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 33}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 4 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 and plate }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 9}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ; a full entry on Mariotto di Nardo\rquote s }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Coronation}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 
\ltrch\fcs0 \i\insrsid5069056\charrsid15282604 of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 is in J.W. Goodison, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
Catalogue of Paintings in the Fitzwilliam}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Museum}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , }{
\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Cambridge, Italian School}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Cambridge }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1967}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 99}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 100}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 . To these}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 examples we must also add a little known panel by Matteo di Pacino}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid5069056\charrsid15282604 (active in Florence from about }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1359}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
), now in the private collection of}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Raffaele Garofalo in Rome. This painting is generally dated to about}{\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 1370}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 
\ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 80 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 on stylistic grounds. See T. Strinati, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 
\i\insrsid5069056\charrsid15282604 La collezione Garofalo, I dipinti}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 ,}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604  }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 [Rome] pp. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 22}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \endash }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 5}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , no. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 12 }{
\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (also in M. Boskovits, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Pittura Fiorentina alla vigilia}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid16276046\charrsid15282604 
 }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 del Rinascimento}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , Florence }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\hich\af1\dbch\af39\loch\f1 1975}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 , p. }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 359}{\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 ).}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 
\par }{\rtlch\fcs1 \ab\af1 \ltrch\fcs0 \b\insrsid5069056\charrsid15282604 
\par }\pard\plain \ltrpar\s2\ql \li0\ri0\keep\keepn\widctlpar\wrapdefault\aspalpha\aspnum\faauto\outlinelevel1\adjustright\rin0\lin0\itap0\pararsid15282604 \rtlch\fcs1 \ab\af1\afs21\alang1025 \ltrch\fcs0 
\b\i\fs24\lang2057\langfe1033\loch\af1\hich\af1\dbch\af31501\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 \hich\af1\dbch\af31501\loch\f1 Table 1 Constitution of the paint layers
\par }\pard\plain \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid5069056 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid5069056\charrsid15282604 Bernardo Daddi}{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 , The Coronation of the Virgin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 (NG }{\rtlch\fcs1 \af1 \ltrch\fcs0 
\dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 6599}{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 )
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\par \ltrrow}\trowd \irow0\irowband0\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv
\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl
\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 
\clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 
\f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Light (pink) area of Virgin\rquote s off-white mantle\cell Thin scumble of red earth + white over white underlayer\cell 
}\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow0\irowband0\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\tx1290\wrapdefault\faauto\rin0\lin0\pararsid16276046\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Pale grey of Virgin\rquote s off-white mantle\cell }\pard \ltrpar
\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 White + trace of carbon black pigment\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1
\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\trowd \irow1\irowband1\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 
\trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr
\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 
\f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Blue lozenge pattern on Virgin\rquote s mantle\cell Natural ultramarine + white\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow2\irowband2\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Red linear design on Virgin\rquote s mantle\cell Vermilion (slightly darkened)\cell 
}\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow3\irowband3\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Christ\rquote s blue cloak\cell Natural ultramarine + white\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow4\irowband4\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Blueish shadows on Christ\rquote s robe\cell }\pard \ltrpar
\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid16276046\yts19 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Natural ultramarine glaze over pink underlayer of red lake with white\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow5\irowband5\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Deep brown linings of draperies\cell Darkened copper green glaze over silver leaf\cell 
}\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow6\irowband6\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Pink cloth of honour\cell Several layers of red lake with pure white underlayer\cell 
}\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow7\irowband7\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Blue pattern on cloth of honour\cell Natural ultramarine + white\cell 
}\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow8\irowband8\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Green pattern on cloth of honour\cell Natural azurite (with a strongly green tone)\cell 
}\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow9\irowband9\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Deep green edging to cloth of honour\cell Natural azurite (with a strongly green tone)
\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 
\ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow10\irowband10\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh
\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt
\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Pinkish-orange edging to cloth of honour\cell Red lead (}{\rtlch\fcs1 \ai\af1\afs24 
\ltrch\fcs0 \i\fs24\insrsid16276046\charrsid15282604 minium}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 ; lead tetroxide)\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1
\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\trowd \irow11\irowband11\lastrow \ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv
\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl
\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 
\clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid5069056 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Bernardo Daddi, }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Four Musical Angels }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
(Christ Church, Oxford)
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\par \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 
\af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Blue shadows of Saint John the Baptist\rquote s cloak\cell }\pard \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid16276046\yts19 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 
\fs24\insrsid16276046\charrsid15282604 Natural ultramarine glaze over pink underlayer of red lake with white\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 
\af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow0\irowband0\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl
\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 
\trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr
\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 
\ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Deep brown lining of cloak\cell }\pard \ltrpar
\ql \li0\ri0\widctlpar\intbl\wrapdefault\faauto\rin0\lin0\pararsid16276046\yts19 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Darkened copper green glaze over silver leaf (attached with oil mordant)\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow1\irowband1\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 
\rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Organ pipes\cell Silver leaf (over red-brown bole)\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow2\irowband2\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 
\rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Scarlet of draperies\cell Vermilion\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow3\irowband3\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 
\rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Yellow highlights on draperies of foreground angels\cell Lead-tin yellow 
\lquote type II\rquote  (}{\rtlch\fcs1 \ai\af1\afs24 \ltrch\fcs0 \i\fs24\insrsid16276046\charrsid15282604 giallorino}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 )\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1
\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\trowd \irow4\irowband4\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 
\trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr
\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 
\ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Mid-green shadows of draperies\cell Lead-tin yellow + azurite\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow5\irowband5\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 
\rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Deepest blue-green shadows of draperies\cell 
Natural ultramarine glaze over lead-tin yellow with azurite\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 
\f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 \trowd \irow6\irowband6\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb
\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 
\trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr
\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 
\ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Green of floor tile\cell Natural azurite (with a strongly green tone)\cell }\pard\plain \ltrpar
\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 
\insrsid16276046\charrsid15282604 \trowd \irow7\irowband7\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 
\trbrdrv\brdrs\brdrw10\brdrcf17 \trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 
\clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb
\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 
\rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Light yellow of floor tile\cell Lead-tin yellow \lquote type II\rquote  (}{
\rtlch\fcs1 \ai\af1\afs24 \ltrch\fcs0 \i\fs24\insrsid16276046\charrsid15282604 giallorino}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 )\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1
\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\trowd \irow8\irowband8\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 
\trftsWidth1\trftsWidthB3\trautofit1\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\tblrsid16276046\tbllkhdrrows\tbllkhdrcols\tbllknocolband\tblind0\tblindtype3 \clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 
\clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx4513\clvertalt\clbrdrt\brdrs\brdrw10\brdrcf17 \clbrdrl\brdrs\brdrw10\brdrcf17 \clbrdrb\brdrs\brdrw10\brdrcf17 \clbrdrr
\brdrs\brdrw10\brdrcf17 \cltxlrtb\clftsWidth3\clwWidth4621\clshdrawnil \cellx9134\row \ltrrow}\pard\plain \ltrpar\ql \li0\ri0\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\pararsid5069056\yts19 \rtlch\fcs1 \af1\afs21\alang1025 
\ltrch\fcs0 \f1\fs22\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 Orange of floor tile\cell Red lead (}{\rtlch\fcs1 \ai\af1\afs24 \ltrch\fcs0 
\i\fs24\insrsid16276046\charrsid15282604 minium}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid16276046\charrsid15282604 ; lead tetroxide)\cell }\pard\plain \ltrpar\ql \li0\ri0\sa200\sl276\slmult1
\widctlpar\intbl\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0 \rtlch\fcs1 \af1\afs21\alang1025 \ltrch\fcs0 \f1\fs24\lang2057\langfe1033\cgrid\langnp2057\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\trowd \irow9\irowband9\ltrrow\ts19\trgaph108\trleft-108\trbrdrt\brdrs\brdrw10\brdrcf17 \trbrdrl\brdrs\brdrw10\brdrcf17 \trbrdrb\brdrs\brdrw10\brdrcf17 \trbrdrr\brdrs\brdrw10\brdrcf17 \trbrdrh\brdrs\brdrw10\brdrcf17 \trbrdrv\brdrs\brdrw10\brdrcf17 
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\insrsid16276046\charrsid15282604 
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\faauto\rin0\lin0\itap0\pararsid5069056 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid16276046\charrsid15282604 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 This volume of the }{\rtlch\fcs1 \ai\af1 \ltrch\fcs0 \i\insrsid5069056\charrsid15282604 Technical Bulletin }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
has been funded by the American Friends of the ÁùºÏ²ÊÔ¤²â, London with a generous donation from Mrs Charles Wrightsman.
\par 
\par Series editor Ashok Roy
\par 
\par \'a9 ÁùºÏ²ÊÔ¤²â Company Limited }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2007
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publ
isher.
\par 
\par First published in Great Britain in }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 2007 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
by ÁùºÏ²ÊÔ¤²â Company Limited St Vincent House, }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 30 }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Orange Street
\par London }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid11025863\charrsid15282604 \hich\af1\dbch\af39\loch\f1 WC2H 7HH}{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 
\par 
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 www.nationalgallery.co.uk
\par British Library Cataloguing in Publication Data
\par A catalogue record for this journal is available from the British Library
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \dbch\af39\insrsid5069056\charrsid15282604 \hich\af1\dbch\af39\loch\f1 ISBN 978 1 85709 357 5
\par \hich\af1\dbch\af39\loch\f1 ISSN 0140 7430
\par \hich\af1\dbch\af39\loch\f1 525049
\par }{\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 Publisher Kate Bell
\par Project manager Jan Green
\par Editor Diana Davies
\par Designer Tim Harvey
\par Picture research Suzanne Bosman
\par Production Jane Hyne and Penny Le Tissier
\par Repro by Alta Image, London
\par Printed in Italy by Conti Tipocolor
\par }\pard \ltrpar\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid5069056 {\rtlch\fcs1 \af1 \ltrch\fcs0 \insrsid5069056\charrsid15282604 
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