Painting the flesh
Artists' Techniques
Francesco di Antonio del Chierico painted the flesh with a subtle, but very effective technique. He used the bare parchment as the base flesh tone.
He sketched the putti with lead-point and then outlined them in grey-black ink. Allowing the creamy parchment to show through, he shaded faces and bodies with a pale wash of a diluted salmon-coloured flesh tone (earth pigments mixed with lead white). He added opaque lead white highlights and small details in an organic pink or violet.
Author’s prologue
Donato Acciaiuoli’s prologue addressed to Louis XI opens with a title and an initial C executed in gold leaf. The initial is enveloped in white vine scroll on blue, pink and green background, which also forms the full border, inhabited by cherubs (putti), birds and deer (hotspots 1 and 2). The border also includes medallions with a child’s head and an armoured warrior’s bust, and the royal arms of France supported by putti. The latter show subtle visual and material differences with the putti painted in the same position on fol. 6r (hotspots 3 and 4), supporting the attribution of the decoration to two different artists.
Above the prologue, the name of the French king in the dedication written in gold ink has been amended: LOISIUM (which remained unchanged on fol. 1v) was scraped away and replaced with LODOVICUM. The gold ink used for the substituion is slightly different in composition from the one used elsewhere on the page (hotspot 5).