1

FromFlorencetoBologna:examinationandtreatmentofGiulianoBugiardinis
MadonnaandChildwithSaintJohntheBaptist

NicaGutmanRieppi

MadonnaandChildwithSaintJohntheBaptist,c.152325
113x81.5cm,Oiloncradledpanel
AllentownArtMuseum,Pennsylvania,SamuelH.KressCollection,1961.
(1960.10)

GiulianoBugiardinisMadonnaandChildwithSaintJohntheBaptist,partoftheSamuelH.Kress
collectionattheAllentownArtMuseum,isamongtheartistsbestknownworks,mostofwhich
depicttheVirginandChristChildwiththeinfantSaintJohntheBaptist.Althoughaprolific
artist,Bugiardiniscreativeprocesshasnotbeenstudied.Recenttechnicalexaminationand
restorationofthepaintingbyNicaGutmanRieppi,AssociateConservatorfortheSamuelH.
KressPrograminPaintingsConservation,providedanopportunitytoobservesomeofthe
artistspaintingtechniques,toidentifysomeofhismaterials,andtogainabetter
understandingofhisstudiopractice.Duringtheinitialvisualexaminationofthepainting,
brushworkunrelatedtothefinalimagewasobservedpromptingamoredetailedinvestigation
usingavarietyofanalysesincludingstereomicrography,xradiography,infrared
reflectography,crosssectionexaminationandfiberopticsreflectancespectroscopy.Various
changesinthecomposition,madebothinthepreparatorydrawingstageandduringthebuild
upofthepaintlayerswererevealed.Comparisonwithhisearlierpaintingofthesamesubject,
theMadonnaandChildwithSaintJohnattheGalleriadellAccademiainFlorence,helpsus
betterunderstandthechangesidentifiedintheAllentownpaintingandillustratestheartists
formalevolution.

Artist

AnItalianpainteranddraughtsman,Giuliano
Bugiardini(b.1475d.1574)wasassociatedwiththe
16thc.FlorentineManneriststyleofpainting.Born
GiulianodiPierodiSimoneBugiardini,hewasalso
knownasGiulianodiPierodiSimone.Accordingtothe
16thcenturybiographerandartistGiorgioVasari
(15111574),Bugiardinifirststudiedwiththesculptor,
BertoldodiGiovanni,andbeganhistraininginpainting
asanapprenticeinthestudioofDomenicoGhirlandaio
(14491494).ItwasinGhirlandaiosstudiothat
BugiardiniwasintroducedtoMichelangelo(1475
1564),whomheassistedonthefrescosoftheSistine
Chapelceiling.Whilehisearlyworkreflectsthestyle
ofhismaster,hismatureworkwasstronglyinfluenced
byMariottoAlbertinelli(14751515),whomhemet
throughtheartistsguild,theCompagniadiSanLuca,
andwithwhomhesharedastudiofrom1503until
Anonymousartist,PortraitofGiuliano
1509,whenAlbertinellijoinedtheworkshopofFra
Bugiardini,engravingfrom"LeVite"
Bartolommeo(BacciodellaPorta,14721517).
byGiorgioVasari,editionof1568.

BugiardinisMadonnaandChildwithSaintJohntheBaptist(AllentownArtMuseum)showsthe
artistsawarenessoftheFlorentineworksofRaphael(14831520),inparticular,thesubject
matterandiconographyofRaphaelsTheHolyFamilywithaPalmTree(1506),andthe
pyramidalcompositionofRaphaelsEsterhazyMadonna(1508).

GiulianoBugiardini,MadonnaandChildwith
SaintJohntheBaptist,c.152325
113cmHx81.5cmW,Oiloncradledpanel
AllentownArtMuseum,Pennsylvania
SamuelH.KressCollection
Photo:AllentownArtMuseum,
SamuelH.KressCollection,1961.(1960.10)

Raphael(RaffaelloSanzio),MadonnaandChildwith
theInfantSaintJohn.TheEsterhazyMadonna,1508
28.5cmx21.5cm,Temperaandoil
TheMuseumofFineArts,Budapest
Photo:RazsoAndras
TheMuseumofFineArtsBudapest/Scala/Art
Resource,NY

ProvenanceandChronology

GiulianoBugiardini,MadonnaandChildwith
GiulianoBugiardini,MadonnaandChildwith
SaintJohntheBaptist
SaintJohntheBaptist

c.152325,113x81.5cm,Oiloncradledpanel
c.152325,113x81.5cm,Oiloncradledpanel

AllentownArtMuseum,Pennsylvania
AllentownArtMuseum,Pennsylvania
SamuelH.KressCollection,1961.(1960.10)
SamuelH.KressCollection,1961.(1960.10)

PhotoCredit:AllentownArtMuseum,SamuelH.
PhotoCredit:AllentownArtMuseum,SamuelH.Kress
KressCollection,1961.(1960.10)
Collection,1961.(1960.10)

The
MadonnaandChildwithSaintJohntheBaptist,whichwaspurchasedbytheSamuelH.Kress
Foundationin1931andgiventotheAllentownArtMuseumin1960,wasformanyyears
erroneouslydocumentedasanearlyworkinBugiardinisoeuvre.Signedingoldwithan
elegantlyabbreviatedsignature,IVL.FL.F.(JulianusFlorentinusFecit,),butnotdated,itwas
believedtohavebeenpaintedaround1510,notlongafterRaphaelsTheHolyFamilywitha
PalmTreeandtheunfinishedEsterhazyMadonnainBudapest.ConsequentlytheMadonnaand
ChildwithSaintJohntheBaptist,intheGalleriadellAccademiainFlorence,whichisfullysigned
anddated,JULIANUSFLORENTINUSFACIEBAT1520,wasconsideredanelaborationofthe
subjectoftheAllentownpainting,revisitedbytheartistadecadelater.However,recently
discovered17thcenturyarchivalmaterialhasidentifiedtheAllentownpaintingintheOratory
oftheChurchofSantaMariadiGallierainBologna,indicatingthatitwaspaintedduringthe
artistsBolognesesojourn,between1523and1525,andthus,thelaterofthetwopaintings.

TheearliestknownmentionoftheAllentownpaintingwasbythe
17thcenturyhistorianA.Masiniin1650as,asmallpaintingwhich
decoratesthealtaroftheOratory[ofSantaMariadiGalliera].The
paintingwasstillintheOratoryin1803whenitwaspublishedina
guidebookofBologna.Inhistraveldiaries,thedealerandart
historianOttoMundler,notedthatthepaintingwasbeingoffered
forsaleduringhisvisittoBolognaonSeptember17,1857,Palazzo
AldovadicontainssomepicturesforsaleMadonnadiGalliera
picturerecentlydiscovered,VirginandChildwithS.Johnthe
Baptist.Theinfantchildisbreakingafruitfromapalmtree;S.

InteriorofthechurchofSantaMariadi
Galliera,Bologna.Photograph:Guido
Piacentini,ComunediBologna,MuseiCivici
dArteAntica

Johnisextendinghishandstowardit.Thefiguresare2/3sizeoflife.2f.8in.w.3f.8in.h.
wThepicturehasbeenrecentlyrestored.Forsale,butalargepricedemandedMarked
IVL.FL.F(thewellknownsignatureofGiulioBugiardini).OttoMundlerwasappointedbySir
CharlesEastlake,DirectoroftheNationalGalleryofArtinLondon,toinvestigatenew
acquisitions.PerhapsbasedonMundlersadvice,Eastlakeconsideredpurchasingthepainting
in1862,butultimatelydidnot.SirCharleswrote:TheheadoftheinfantC(hrist)issoplaced
underapalmtreethatthetreeseemspartofitThismightberectifiedbymakingthegilding
ofthenimbusalittlemoreconspicuousthehairmightalsobebroughtdownaninch&halfon
theforehead&thetopoftheheadreducedthenimbuswouldthenalsorequiretobebrought
lower.Thesamedefect(toomuchforehead&skull)isobservableinthelittleSt.John&might
berectifiedhisbodyisalsoalittletoothick.Eastlakescommentsrevealacommon19th
centuryattitudewhereintheimprovementofpaintingsisregardedasentirelylegitimate.It
isunclearwhetherthepaintingwassoldaroundthattimeorreturnedtotheOratory.Atan
unknowndate,andforanundeterminedperiodoftime,thepaintingwasexhibitedinthe
PinacotecadellAccademiadiBelleArtidiBologna,andincludedinthePinacotecas1876
catalogue:MadonnaandChildwithSaintJohnsignedIVL.FL.F,provenance,Oratoryofthe
ChurchofSantaMariaGalliera.Thepaintinghadnotappearedinpreviouscataloguesnorwas
itpresentinsubsequentones.Basedonthecataloguesdescriptionofthesignature,the
referenceinOttoMundlerstraveldiaries,aswellasareferencebythenineteenthcenturyart
historian,GiovanniBattistaCavalcaselle,whoin1866referredtothepaintingintheoratoryof
SantaMariadiGallieraashavingthesamesubjectastheversioninFlorence,itseemscertain
thattheAllentownpaintingwasinBologna.

AlthoughitisuncertainwhenitleftBologna,inthelate19thcenturyitbelongedtoCharles
FairfaxMurray(18491919),apreRaphaelitepainterwhohadsettledinFlorence,becominga
wellknowndealer.TheDictionaryofArtHistoriansincludesthisdescription:FairfaxMurray
wasagreatinfluenceintheartmarket,advisingtonumerousprivateandpubliccollectionsin
EuropeandtheUnitedStates.LockettAgnewdescribedhimasthefinestjudgeofartinthe
world.EdwardHuttonclaimedthatduringthelatenineteenthcentury,Renaissancetreasures
weresoplentifulthatMurraywouldparkhimselfonacafebench,and,poundingthebench
withastick,shout,BringoutyourMadonnas!Twohundredlire!Hegavemostofhis
paintingstotheDulwichMuseum.Theremayhavebeenanunrecordedintermediateowner
beforeAlessandroContiniBonacossisoldittoSamuelH.Kressin1931.

DetailofBugiardinissignature,infinemordantgilding,ontheAllentownpainting.
Photocredit:AllentownArtMuseum,SamuelH.KressCollection,1961.(1960.10)

PanelPreparation

DetailoftheMadonnasheadanduppertorso.
GiulianoBugiardini,MadonnaandChildwith
SaintJohntheBaptist,c.152325
AllentownArtMuseum,Pennsylvania
SamuelH.KressCollection,1961.(1960.10)
Photocredit:AllentownArtMuseum,SamuelH.Kress
Collection,1961.(1960.10)

GiulianoBugiardini,MadonnaandChildwithSaintJohn
theBaptist,c.152325
113x81.5cm,Oiloncradledpanel
AllentownArtMuseum,Pennsylvania
SamuelH.KressCollection,1961.(1960.10)
Photocredit:AllentownArtMuseum,SamuelH.Kress
Collection,1961.(1960.10)

DetailxradiographoftheMadonnasheadanduppertorso,2010.

The1932cradleonthereverseofthepanel.

Thepaintingisonawoodpanelsupport,possiblypoplar,whichwasthinnedandcradledby
StephenPichettoin1932,shortlyafterthepaintingenteredtheKresscollection.(The
treatmentrecord,SamuelH.KressFoundationArtCollectionData,islocatedintheobjectfile
attheSamuelH.KressFoundation).

Thepreparationischaracterizedbyverticalwhitelines,plainlyvisibleintherecentx
radiograph,whichoccurrandomlyalongtheverticalgrainofthewood.Areasofexposed
woodonthereversedidnotshedanylightontheoriginoftheseverticallines.Thesesame
radioopaquelines,appearinanearlyshadowgraphtakenbyAlanBurroughsbeforethe1932
restoration,i.e.,beforethepanelwasthinnedandthecradleapplied,provingthattheyarenota

later,restorersrepairappliedtothereverse,butrepresentanoriginalartistsmaterial
appliedtothefrontofthewoodpanelaspartofthepreparation.Prominentverticalcracksin
thesurfaceofthepaintingcorrespondwiththeouteredgesoftheanomalousstriations.

AlthoughthematerialsusedforthegroundintheAllentown
panelarefairlytraditional,withgessoasthefirstlayer,
followedbyathinimprimituraofleadwhite,acommonly
foundpreparationinthisperiod,thisdoesnotexplaintheodd
striationsseeninthexradiographs.Theleadwhite
imprimiturawasrapidlyappliedinhorizontalbrushstrokes,
andisclearlydistinguishablefromtheverticallinesofthe
radioopaquestriations.Thereareseveralpossible
explanations.Thepanelmayalreadyhavehadwidecracks
alongtheverticalgrainthatwerefilledwithaleadbased
materialbeforetheapplicationofthegesso.Alternatively,a
previouslypreparedpanel,withthegessoalreadycracked,may
havebeenused.,thecracksfilledwithaleadcontaining
material,andsandedpriortotheapplicationoftheimprimitura.

Detail shadowgraph of the Madonnas

head and torso, taken before the cradle

was applied to the reverse in 1932.

Thexradiographalsorevealswhitedotsintheareasassociatedwiththestriations,suggesting
thepresenceofleadsoaps.Darkspotsinsimilarpassagesonthesurfaceofthepaint,mayalso
representleadsoapaggregatesthathavemigratedtothesurfacefromtheunderlyinglead
containingfillingmaterial.

Thisrepairoffaultypanelsorgrounds,doneintheartistsstudio,maybeafairlycommon
practice.

DigitalxraydetailoftheMadonnasproperleft
shoulderrevealstworadioopaqueverticallines,
denotedbyredarrows.Associatedcrackingofthe
paintisseencorrespondingtotheirouteredges.
Additionally,brightwhiterounddotsseen
scatteredwithinthelinessuggestthepresenceof
leadsoapformations.

PhotomicrographoftheMadonnasredrobeshows
anareaofpaintcorrespodingtooneofthevertical
radioopaquewhitelinesseeninthexrayimage.
Thedarkspotsrepresentareaswhereleadsoap
aggregatesappeartohavemigratedfromthe
underlyingleadcontainingmaterial.

CrosssectionsampledfromtheMadonnasredrobe,photographedunderdarkfield
illumination,showstheimprimituraandgessolayers.

CrosssectionsampledfromtheMadonnasredrobe,photographedunderdarkfieldillumination,
showstheimprimituraandgessolayers.

Underdrawing

InfrareddigitalcompositedetailoftheMadonnastorso,takenwithanIndigoFLIRvisInGaAscamera,usingan
astronomyHfilter(15001800nm.)ImagescapturedandcompositedbyJohnDelaneyandPaolaRicciardiofthe
NationalGalleryofArt,Washington,D.C.

TofurtherunderstandBugiardinisworkingmethods,thepaintingwasexaminedwithinfrared
reflectography,whichrevealedanextensivepreparatoryunderdrawingforallthreepainted
figuresaswellasthelandscapeandpalmtree.Studyofthedrawnlineswithbothinfrared
reflectographyandstereomicroscopicexaminationsuggeststheuseofadry,blackcolored
drawingmedium,possiblycharcoal,applieddirectlytotheleadwhiteimprimitura.

DetailofSt.Johnsraisedhand.

Photomicrographofabrasionofthepinkfleshtone
paintrevealstheblackcoloreddrawnlineofthe
contourofthebaseofSt.Johnsthumb.

DesignTransfer

DetailInfrareddigitalcompositeoftheChristchildfigure
capturedwithanInGaAscamerausinganHfilter

andcompositedbyJohnDelaneyandPaolaRicciardi
oftheNationalGalleryofArt,Washington,D.C.

DetailInfrareddigitalcompositeofSt.John
capturedwithanInGaAscamerausinganHfilter
andcompositedbyJohnDelaneyandPaolaRicciardi
oftheNationalGalleryofArt,Washington,D.C.

Thenatureandqualityofthedrawnlinessuggeststwodifferenttypesofunderdrawing,one
thatresultsfromadesigntransfer,likelyfromacartoon,andanotherthatappearstobea
freehandsketch.Theevenweightofthedrawnlinesandtheschematicnatureofthecontours
anddetailswithinforms,suggestthatcartoonsmayhavebeenusedforthefiguresofboththe
childrenandfortheMadonnastorsoandarms.AsthetwoAllentownchildrenareidenticalin
scaleandposetothoseintheearlierFlorentinepainting,itislikelythatthesamecartoonwas
used.Thisreuseofcartoonsintheartistsworkshop,aswellasthesharingofcartoons
betweendifferentartistsandtheirstudios,iscommoninRenaissanceandearlymodern
painting.

DetailoftheMadonnastorso.
MadonnaandChildwithSaintJohn,152325
AllentownArtMuseum,Pennsylvania
SamuelH.KressCollection,1961.(1960.10)
Photocredit:AllentownArtMuseum,SamuelH.Kress
Collection,1961.(1960.10)

DetailoftheMadonnastorso.
MadonnaandChildwithSaintJohntheBaptist,1520
GalleriadellAccademia,Florence
Scala/ArtResource,NY

10

InfrareddigitalcompositedetailoftheMadonnastorsowithunderdrawinglinesmappedinred.

The underdrawing for the robe of the Allentown Madonna is different from the painted images of
both the Allentown and Florentine versions, with a distinct style for the sleeve and placement of the
mantle. The underdrawn mantle is similar to that in the Florentine painting, draping diagonally across
her torso; however, unlike the Florenentine painting, it wraps more tightly around the Madonnas
waist. The Allentown Madonnas body is turned more toward the Christ Child, with her proper right
shoulder positioned further to the right, her neckline higher, her extended proper right arm lowered,
and her fingers raised. In the initial drawing her body was more foreshortened, with her knees placed
much higher.

DetailoftheMadonnasproperleftknee.

InfrareddigitalcompositedetailoftheMadonnasleftproperknee.
Underdrawing,denotedbythetwogreenarrows,revealsaninitial
higherplacementofthekneeandsmallerscaleofthetorso.

The nature of the underdrawing for the Allentown Madonna suggests the use of a cartoon. The
similarities of the underdrawn image to the Florence painting imply that the same cartoons may have
been used for both paintings; however, there are enough deviations to make us wonder whether the
cartoon was originally made for another, earlier painting (either lost or never completed) and re-used
for both the Florence and Allentown paintings, with changes made during the painting stages of both
works. As many of Bugiardinis paintings incorporate elements from earlier works, especially in his
large series of paintings depicting the Madonna, the Christ Child and St. John, Bugiardini must have
kept and re-used cartoons in his studio, and appears to have brought some of them with him during
his brief stay in Bologna. Infrared examination of the Florence painting would provide further insight
to Bugiardinis use of cartoons.

11

DrawingfromLife

Whiletheschematicnatureandqualityoftheunderdrawnlines
fortheMadonnasrobeandthetwochildfiguressuggesttheuseof
designtransfer,likelyusingcartoons,averydifferent,loosely
sketchedunderdrawingisfoundinthelandscape,thepalmtree
andtheMadonnashead,suggestingamorefreehandapplication.
TheunderdrawingfortheMadonnasheadisnotworkedupin
detailbutconsistsofrapidlysketchedstrokesmarkingthegeneral
shapeandplacementoftheheadandbasicfacialfeatures.
DetailinfraredimageoftheMadonnasfaceshowing
anunderdrawnlinemadetoestablishthe
placementofandproportionbetweentheeyes.

DetailoftheMadonnashead.

MadonnaandChildwithSaintJohn,152325
AllentownArtMuseum,Pennsylvania

SamuelH.KressCollection,1961.(1960.10)

GiulianoBugiardini,Theheadofthevirgin,eyesdowncast
16thc.,paperandchalk
27.5cmHx20.5cmW,
MuseduLouvre,Paris
ReuniondesMuseNationaux/ArtResource,NY

A rare surviving sketch of a female head by Bugiardini, today in the collection of the Department of
Graphic Arts at the Louvre, bears striking similarity to the Allentown Madonna. This highly finished
drawing is larger in size than both the underdrawn and painted heads of the Allentown Madonna, and
could thus not have served as a cartoon for the painting, but, rather, most likely functioned as a
preparatory study. Due to Bugiardinis re-use of cartoons to transfer the design, facial features
depicted in his multi-figural paintings often appear somewhat generic and conventional. The
particular upward slant of the eyes and the expression of serene contemplation seen both in the
preparatory drawing in the Louvre and the Allentown painting, appear more specific and akin to a
portrait, perhaps drawn from a live model. Although Bugiardini often borrowed figures to compose
his paintings, Giorgio Vasaris brief description of the artists stay in Bologna supports such studio
practice: having been drawn to Bologna by certain friends, he executed some portraits from life,
and, for a chapel in the new choir of S. Francesco, an altar-piece in oils containing Our Lady and two
Saints, which was held at that time in Bologna, from there not being many masters there, to be a good
work and worthy of praise.

12

Artistschanges

DigitalinfraredcompositedetailoftheMadonnastorsowitha
mappingofunderdrawnlines(red)andearlylayinofpaint
forthemantleandfingerpositioning(blue).

DetailoftheMadonnastorso.

DetailoftheMadonnastorsophotographedinspecularlightrevealsthe
textureoftheearlypaintingofthebluemantle,mostnoticeableinthe
areatotheupperrightofSt.Johnshead.

ExaminationwithinfraredreflectographyrevealsthatBugiardinichangedhismindseveral
timeswhilepainting.Inparticular,heradicallyrethoughttheMadonnasposeandpositioning
ofhermantle.Unliketheunderdrawnmantlewhichdrapedacrossherchestandwrapped
tightlyaroundherwaistline,whentheartistbeganpaintingthebluemantlehereferredback
totheFlorentinepainting,withitsloosedrapefallingacrosstheMadonnaslap,wrapping
aroundherback,andloopingoverherproperleftshoulder.However,thisideawasabandoned
inlaterstagesofpaintingandwaspaintedoverwithchangesandadjustmentsthatcanbeseen
inthefinalimage.

13

DigitalinfraredcompositedetailoftheMadonnastorsowithamappingoftheunderdrawnlines(red,)
theearlylayinofpaintforthemantleandfingerpositioning(blue)andthefinalchangesseen
inthepainting(green).

Inthecompletedpainting,themantlenolongerfallsacrosstheMadonnaswaistbutrather
coversherentireproperrightside,fromjustbelowthewaist,tightlyencirclingherbody.While
themantlestillcontinuestodrapebackoverherproperleftshoulder,additionalpaintedfolds
andfabricwereaddedtocoverpartofherproperleftarm,creatingagreatersenseof
movementandbetterbalancetothecomposition.Additionally,inalaterstageofpainting,the
Madonnasposturewasshifted,leaninglesstowardtheChristChild,asevidencedbya
pentimentoofthelandscapewhichextendsunderneaththeredpaintoftheMadonnasproper
rightshoulder.UnliketheFlorencepaintingwiththeMadonnasredsleevepusheduptoher
elbow,thesleeveintheAllentownpaintingextendsbelowherelbow,emphasizingthe
downwarddirectionofhergazeandestablishingacentralfocalpointbetweenthetwo
children.AlthoughtheMadonnasheadwaspaintedslightlylargerthantheunderdrawnhead,
shewasalwaysconceivedwithherheadtilteddownwardasnochangesweremadetothe
Madonnasfaceortotheangleofherhead.Withherdownwardgazeandtheshiftinher
posture,theVirginmoreeffectivelyinteractswithbothchildren,reinforcinghersymbolismas
mediatrixbetweenherSonandmankind.Thechangesmadeduringthepaintingstages
ultimatelyshiftthepaintingawayfromtheAccademiaversionandtowardsaRaphaelesque
model.

DetailoftheMadonnasproperrightshoulder.
DetailshadowgraphoftheMadonnasproperrightshoulder.
Thewhitearrowspointtothepentimentoofthe
Themoreradioopaquepaintofthelandscapeandskyisseen
landscapethatextendsunderneaththeredrobe.
underneathpartofthelessradioopaquepaintedoftheredrobe.

14

PaintingTechnique:

Sky

Detailoftheupperleftsky.

Aftertheunderdrawingwasappliedontopoftheupperleadwhiteimprimitura,thepaintingof
theskywasbegun,beforetheexecutionofthefigures.Theskywasbuiltupinmultiplelayers,
startingwithanapplicationofbrightpinkoilpaintappliedoveralltotheareaoftheskyand
workedaroundareserveleftfortheMadonnasfigure.Thislayinofpinkpaintwasthickly
appliedinhorizontalbrushstrokes,impartingastrongtextureleftvisibleinthefinalpainted
image.Theareaoftheskywasfurtherbuiltupwithsubsequentthinapplicationsofmoredilute
lightblueoilpaintlayers,thelowermostlikelycontainingazuriteandtheuppermostlikely
containingultramarine.Thepinkunderlayer,combinedwithadditionallatertouchesofpinkin
thecloudsandthehorizonlinecreatesanoverallwarmglowcontrastingwiththecoolerblue
paintofthesky.

XradiographdetailoftheskytotheleftoftheMadonnasfaceshows Photomicrographofthetopleftedgeoftheskyrevealsthe
thehorizontalapplicationoftheradioopaqueleadwhitecontaining
texturedpinklayerbeneaththebluesky.
pinkunderlayer.Brushstrokescanbeseenworkeduptotheedgeof
areserveleftforthelaterpaintingoftheMadonnasheadandchest.

15

PaintingTechnique:

LayeringofBlues

Theparticularbalanceandcontrastofwarmandcoolcolorsseenthroughoutthepainting
appearstobeaneffecttheartiststroveforfromtheinceptionofthepaintingprocess,as
evidencedbytheparticularpaintlayeringsystem.Asisseeninthelayeringofthelightbluesky,
anunderlyingwarmthisalsoechoedintheMadonnasbluemantlewhichwasentirely
underpaintedwithabrightredpaintlayer.Thisparticularlayeringstructureisnotaresultof
theartistschangesmadeduringthepaintingprocessastheredunderpaintispresentunder
theareasofthebluemantlethatdonotextendovertheearlierorfinalpaintedversionsofthe
Madonnasredrobe.Stereomicroscopicexaminationofthewidedryingcrackspresent
throughoutthebluemantle,especiallyinthedarkerblueshadows,revealtheunderlyingred
paint.

Photomicrographofdryingcracksinthebluepaint
ofthemantlerevealtheredunderpaint.

Photomicrographoftheproperrightedgeofthebluemantle.
Theredunderlayerisvisiblealongtheedgeoftherobeand
withintheintersticesofcracks.

Acrosssectionsampledfromthelighterblueouterliningofthemantleshowsitspaint
stratigraphy,withtheredpaintunderlayer,comprisingamixtureofvermilionandredlake
pigments,appliedontopoftheleadwhiteuppergroundlayer.Athick,mediumrich,bluepaint
layercontainingazuriteandleadwhitepigmentparticleswaspaintedontopoftheredlayer,
followedbyathinlighterbluepaintlayercontainingultramarineandleadwhitepigments.The
pinkishfluorescenceoftheuppermostbluelayer,seenunderultravioletlight,suggeststhe
presenceofalakepigment.Thelackofadefinedinterfacebetweentheunderlyingredlayer
andtheblueazuritecontaininglayeraboveitsuggeststhattheredlayerwasstillsomewhat
wetwhenpaintwasappliedoverit.This,combinedwiththefactthattheupperlyingazurite
containinglayerwasparticularlyrichinmedium,likelyattributestothewidedrying
craquelure.

Photomicrographofthecrosssectionsamplesiteoftheouterliningofthebluemantle.

CrosssectionsampledfromtheouterliningoftheMadonnasbluemantle,viewedunderdarkfieldillumination.
Sampledoesnotincludethelowermostgessolayer.

CrosssectionsampledfromtheouterliningoftheMadonnasbluemantle,viewedunderultravioletillumination.
Sampledoesnotincludethelowermostgessolayer.

16

17

PaintingTechnique:
Madonnasredrobe

AcrosssectionsampledfromashadowoftheMadonnasred
roberevealsaninitiallayinofbrightredpaintcontaining
vermilionandtranslucentredparticles,similartothelayerfound
underthebluepaintofthemantle.Aslightlycoolertoned,very
resinouspinklayercontainingtranslucentredandleadwhite
pigmentparticleswasscumbledontopoftheinitialbrightred
layer,followedbyadeepredtranslucentglaze.Examinationof
thecrosssectionunderultravioletlightrevealsabrightpink
fluorescenceintheuppermostlayer,andtoalesserdegreeinthe
underlyinglayeraswell,whichisoftencharacteristicoflake
pigments.Unlikethecrosssectionofthebluemantle,thereisa
definedinterfacebetweentheinitialredpaintlayerandthe
upperresinouspinklayer,suggestingthatmoretimehadpassed
DetailoftheMadonnasredrobe.

beforetheredlayerwaspaintedover.

CrosssectionsampledfromtheMadonnasredrobe,photographedunderdarkfieldillumination.

CrosssectionsampledfromtheMadonnasredrobe,photographedunderultravioletillumination.

18

PigmentAnalysis

MappingofFORSanalysissites.
FiberOpticsReflectanceSpectroscopy(FORS),anondestructivetechniqueusedforpigment
identification,wascarriedoutwithanFS3fiberopticsspectroradiometer(ASD,Inc.)intherange
3502500nmbyJohnDelaneyandPaolaRicciardioftheNationalGalleryofArt,Washington,D.C.

Pigmentsidentifiedareasfollows:

AreaofPaintingAnalyzed
Redrobe
LighterBlueofmantle
DarkerBlueofMantle
Bluesky
Purplesleeve
Clouds
Fleshtones
Virginshair
Backgroundbluemountain
Greenoflandscape
PalmTree
Rockinrightforeground
Lowergroundlayer

AnalysisSites
12
1,2,3
0,4,5,6
17
7,8
15,16,18,20,
21
24
22
10
9
14,19
23

PigmentsIdentifiedbyFORS
RedLake,leadwhite
Lapislazuli,azurite,leadwhite
Lapislazuliandazurite
Lapislazuli,leadwhite
Redlake,lapislazuli,leadwhite
Leadwhite,lapislazuli,redlake
Leadwhite,ironoxidepigments(earthsand/orochres,)
vermilion
Leadwhite,ironoxidepigments(earthsand/orochres)
Azurite,leadwhite,possiblylapislazuli
Coppergreen,azurite
Coppergreen,leadwhite
Ironoxidepigments(earthsand/orochres)
Gypsumwasidentifiedinmostsitesanalyzedwith
bandsatabout1447,1493,1540,1944,and2217nm

19

Treatment

MadonnaandChildwithSaintJohntheBaptist,c.152325
113x81.5cm,Oiloncradledpanel
AllentownArtMuseum,Pennsylvania,
SamuelH.KressCollection,1961.(1960.10)

MadonnaandChildwithSaintJohntheBaptist,c.152325
113x81.5cm,Oiloncradledpanel
AllentownArtMuseum,Pennsylvania,
SamuelH.KressCollection,1961.(1960.10)

WhenthepaintingwasbroughttotheConservationCenter,thevarnishwasextremelydiscolored,
andsomeoftheoldretouchesfrompastrestorationhadblanched,especiallythoseinthesky.The
discolorationofthevarnishwasparticularlydisfiguringasitimpartedanoverallyellowtonalitytothe
image,mostnoticeableinthebluesky.Afterthoroughexaminationofthepaintingandspottestingof
thevarnishandpaintlayers,cleaningofthepaintingwascarriedout.Withthecarefulremovalofthe
varnishlayers,thejuxtapositionandbalanceofcoolandwarmhueswasrestored,seen,forexample,
inthecontrastbetweenthebrightblueskyandthewarmpinkishglowofthehorizon.Additionally,the
pinkishredoftheMadonnasrobeisnowoffsetbythebrightgreenofthemiddlegroundlandscape,
moreeffectivelysituatingthefigureintheforegroundandcreatingagreaterdepthofthelandscape.

20

Theartistsbrushworkandpainthandlingarealsomoreevidentafterthecleaning,revealing
theartiststechniqueofcontrastingpainttextures.Thisisbeautifullydisplayedinthe
Madonnasfleshtones,whichwereunderpaintedwithawarmpinktexturedpaint,ontopof
whichcoolerhighlightsandshadowswerethinlyscumbledwithamoredilutepaint.Thepink
paintwasappliedrapidlywithtexturedbrushstrokeswhiletheupperlyingfleshtonelayers
weremoredelicatelyapplied,withamorefluidconsistency.

DetailoftheMadonnaandChristchildphotographedduringcleaning.

DetailoftheMadonnashead,aftertreatment.

Thetextureandwarmglowoftheunderlyingpinklayercanbe
seeninthisdetailoftheMadonnasproperlefteye.

21

DetailoftheMadonnasmouthshowingthefluid,moredilute
consistencyofthethinupperfleshlayers.Thetextureofthe
underlyingpinklayercanalsobeseenbelowhermouth.

22

SelectedBibliography

LauraPagnotta,Bugiardini(Turin,1987).

LauraPagnotta,DuedipintieundisegnodiGiulianoBugiardini,AntichitViva,Rassegna
d'Arte,31,no.2,MarchApril1992,14.

FrancaFallettiandMagnoliaScudieri,IntornoAlDavid:LaGrandePitturaDelSecoloDi
MichelangeloIntornoAlDavid:LaGrandePitturaDelSecoloDiMichelangelo(Florence:Giunti,
2003)153157.

23

Acknowledgements

Conservator
NicaGutmanRieppi,AssociateConservatoroftheKressPrograminPaintingsConservation,
ConservationCenteroftheInstituteofFineArts,NYU

Text,ContentandTechnicalImages:
NicaGutmanRieppi,AssociateConservatoroftheKressPrograminPaintingsConservation,
ConservationCenteroftheInstituteofFineArts,NYU

Editors
DianneModestini,ConservatoroftheKressPrograminPaintingsConservationandconsulting
conservatortotheKressCollection,ConservationCenteroftheInstituteofFineArts,NYU
MicheleMarincola,ShermanFairchildChairmanandProfessorofConservation,Conservation
CenteroftheInstituteofFineArts,NYU
Dr.HanneloreRoemich,ActingChairman(20082011)andInstituteofFineArtsProfessorof
ConservationScience,ConservationCenteroftheInstituteofFineArts,NYU

InfraredReflectography
Dr.JohnDelaney,SeniorImagingScientist,NationalGalleryofArt,Washington,D.C.
Dr.PaolaRicciardi,SamuelH.KressFellow,scientificresearchdepartment,NationalGalleryof
Art,Washington,D.C.

PigmentIdentification
Dr.JohnDelaney,SeniorImagingScientist,NationalGalleryofArt,Washington,D.C.
Dr.PaolaRicciardi,SamuelH.KressFellow,Scientificresearchdepartment,NationalGalleryof
Art,Washington,D.C.
Dr.AshokRoy,DirectorofScientificResearch,NationalGallery,London

WebDesignandProgramming
JasonVarone,InstituteofFineArts,NYU

SpecialThanks
Wewouldliketothankallofthosewhohavecontributedtothedevelopmentandresearchof
thisproject.WewouldespeciallyliketoacknowledgethecontributionsofDr.LauraPagnotta,
whoseresearchestablishedtheproperchronologyoftheFlorenceandAllentownpaintings;
andDanielaParenti,DeputyDirectoroftheGalleriadellAcademia,Florencewhoprovided
knowledgewhichwasessentialtothisresearch.

WewouldalsoliketothankArtResource,Inc.fortheirgenerousassistancewithacquiring
images;andtheSamuelH.KressFoundationfortheirsupportandassistanceincreatingthis
project.

Tocitethisarticlewesuggestusing:
GutmanRieppi,Nica,FromFlorencetoBologna:examinationandtreatmentofGiuliano
BugiardinisMadonnaandChildwithSaintJohntheBaptist,ConservationCenterofthe
InstituteofFineArts,NewYorkUniversity,2012.
http://www.nyu.edu/gsas/dept/fineart/conservation/kress/bugiardini/intro.htm