The Lower Motif on the Tunic of the young figure: A Later Addition

The figure to the right of Christ remained concealed for several centuries beneath a layer of black paint. Its rediscovery revealed several later interventions affecting this part of the Painting. Following the addition of Christ’s halo, a new observation concerns the lower motif on the young figure’s tunic.

This study shows that the lower motif was applied after at least part of the crack network in the underlying layer had already formed. This conclusion is based primarily on the stratigraphy of sample no. 6 and on the examination of the penetration of red paint into cracks visible in macrophotography.

The stratigraphic cross-section establishes that the red layer of the motif lies over a white layer containing lead white. This sequence shows that the red layer of the motif was applied over the lighter-coloured layer, without in itself making it possible to determine the time interval between the two interventions.

Two decorative motifs on the garment of the figure to the right: an upper geometric border and a lower floral band.

The two decorative elements on the tunic: the upper geometric border and the lower red-brown motif.

Two motifs with different characteristics

The tunic features two distinct decorative elements. Beneath the collar, a geometric border is composed of golden triangles or chevrons arranged against a dark background. Lower down, a red-brown motif made up of curved lines and plant-like forms is painted on a light-coloured band.

The first decorative element is regular and integrated into the construction of the collar. The second is freer in design and is superimposed on the already painted surface of the garment.

This difference in conception is confirmed by the material analysis of the lower motif.

Stratigraphy establishes the superimposition of the motif

Sample no. 6 was taken from the area of the red-brown motif. Its stratigraphic cross-section reveals four main layers:

  1. a preparation layer composed of gesso and natural earth pigments;
  2. a white layer containing lead white;
  3. a red layer composed of red lake, red ochre and natural earth pigments;
  4. a varnish layer.

The red layer corresponding to the motif lies above the white layer of the tunic.

Sample 6 (Editech–Seracini): stratigraphic analysis of the lower decorative motif on the garment of the figure to the right.

Stratigraphic cross-section of sample no. 6 (Editech–Seracini, 2011). The red motif layer lies above a white layer containing lead white.

The red paint penetrated into the cracks

The A001 macrophotograph makes it possible to observe the relationship between the red paint of the motif and the crack network in the light-coloured layer.

In the area indicated by the white arrow, red material is present inside a crack and extends beyond the area where it was deposited on the surface.

This observation was submitted in 2026 to Ludovic Pauchard (Université Paris-Saclay, CNRS), a specialist in the mechanics and morphology of crack networks. Analysis of several cracks shows a progressive decrease in the red component with increasing distance from the main deposit. This evolution is compatible with a capillary impregnation phenomenon: a sufficiently fluid paint can penetrate into a pre-existing open crack network.

Macro photograph (A001), 100% view, of the lower decorative motif on the young figure’s garment, processed using the Fattal et al. (2002) method.

The arrow indicates a crack into which the red paint penetrated. The image was digitally processed using the algorithm developed by Fattal et al. (2002).

An impregnation compatible with pre-existing cracks

The 300% enlargement shows more precisely the progression of the red material into the opening of the crack.

According to Ludovic Pauchard’s analysis, the repeated occurrence of this impregnation in several cracks constitutes evidence in favour of their pre-existence at the time the red paint was applied. The liquid would have penetrated by capillary action into cracks that were then open and accessible.

“Some very fine cracks in contact with the red area do not, however, show this impregnation. This could be explained not only by their small opening, but more generally by the competition between capillary forces, which promote penetration, and viscous forces, which oppose it: for a very narrow crack and/or a sufficiently viscous liquid, penetration may become extremely slow or remain limited over the timescale considered. These cracks may also have formed subsequently.”

The observation therefore provides evidence of relative chronology: at least part of the crack network appears to predate the application of the red motif.

Macro photograph (A001), 300% enlargement, showing red paint within a crack in the lower decorative motif on the young figure’s garment; processed using the Fattal et al. (2002) method.

300% enlargement. The red paint extends into the opening of the crack.

Conclusion: the red motif is a later addition

Two observations converge. The stratigraphic cross-section of sample no. 6 shows that the red layer of the motif lies over a layer containing lead white, while the macrophotographs reveal the penetration of red material into several cracks affecting the underlying layer.

According to Ludovic Pauchard’s analysis, this penetration corresponds to a phenomenon of capillary impregnation of a crack network that was already open and accessible at the time of the red application. The repeated occurrence of this phenomenon in several cracks reinforces this interpretation.

These observations make it possible to conclude that the red motif was applied after at least part of the crack network in the underlying layer had formed. It therefore constitutes a later addition to this pictorial state. They establish a relative chronology between the two states, without making it possible to determine the time interval separating them.