UVFLosses and retouches appear as black spotsunder ultraviolet light
UVRCraquelure and morphology is moreevident in ultraviolet reflected imagingsince ultraviolet light is reflected by thevarnish which on the other hand istransparent for visible light. UVR Ultraviolet Reflected can provide information on the pigments. The white pigment used for the highlights is probably lead white but not for sure titanium white – its modern alternative – since it looks bright in this imaging since it is bouncing off ultraviolet light. Titanium white on the contrary absorbs UV.
IR In the infrared image it’s more obvious the fluid and thin preparation which was given with a large and flat brush.IRThe layering build up of this painting is quite essential. Under theyellow ochre of hair there is just the thin preparation which showsthe bare canvas. On the other hand lead white on the face is muchmore opaque to the infrared and doesn’t allow to see through it.
IRFCThe blue mantle shows a red false colorsuggesting ultramarine blue.IRFCThe green snake was painted probably withgreen earth as pointed by the greenish falsecolor.
IRFRed and yellow cadmium pigments have astrong infrared fluorescence so their usecan be easily inferred.
IRTR Losses appear as white dots due to the increased transparency to the infrared coming from the painting’s back side.IRTRInfrared transmitted allows to gather someinformation on the layering of the painting.Here is evident that the snake was paintedafter the Madonna since there is no snakeunder the Madonna’s feet.
IRRInfrared Reflectography allows to seethrough the more infrared-opaquepigments. The 3 infrared methods —Infrared (IR), Infrared Reflectography (IRR)and Infrared Transmitted (IRTR) - do notshow an extensive underdrawing norpentimenti. Thus the painter show to bewell trained in this traditional devotionalcomposition.This is the only evident sign of anunderdrawing. Probably the painter usedjust few strokes to define all thecomposition.