A Raphael Madonna and Child Oil Painting: A Forensic Analytical Evaluation

Foreword
Acknowledgements
Contents
About the Author
1 Setting the Scene: The Adoption of Forensic Analysis in the Attribution of an Artwork and the Role of Connoisseurship
	1.1 The Theme of This Text
	1.2 Attribution Terms
	1.3 Popes at the Vatican During the Renaissance
	1.4 Chronology of the Research Undertaken on the de Brécy Tondo
	1.5 List of Publications and Presentations on the de Brécy Tondo Scientific Analyses
	1.6 Summary
	References
2 The Life and Death of Raphael Sanz di Urbino
	2.1 Introduction
	2.2 The Raphael Canon
		2.2.1 Analysis of the Raphael Canon
		2.2.2 The Raphael Tapestries
		2.2.3 Current Location of Raphael’s Paintings
	2.3 The Last Years in Rome
		2.3.1 Raphael’s Autographed Art Works
	2.4 Raphael’s Interaction with Women in Rome
		2.4.1 Felice Della Rovere
		2.4.2 Maria Bibbiena
		2.4.3 Margherita Luti
	2.5 Raphael as an Architect
	References
3 The de Brécy Tondo—A History Prior to Its Purchase in 1981 and Afterwards
	3.1 The de Brécy Tondo Image
	3.2 Initial Research
		3.2.1 The Pentimenti
	3.3 King Charles I, Queen Henrietta Maria and the English Civil War
		3.3.1 The Early History of the de Brécy Tondo
		3.3.2 The Sistine Madonna
	3.4 The Period 1520 to 1645
		3.4.1 Sir Richard Wynn and the Wimbledon Manor House
	3.5 The Period Post 1645
	3.6 The First Public Exhibition of the de Brécy Tondo
		3.6.1 Cartwright Hall, Lister Park, Bradford
	References
4 Scientific Analysis and the Analytical Scientific Evidence for the de Brécy Tondo Being a Renaissance Painting
	4.1 Summary of Four Decades of Physical and Chemical Analyses on the de Brécy Tondo
		4.1.1 Application of Ultraviolet, Visible and Infrared Hyperspectral Imaging
		4.1.2 Application of Ultraviolet Imaging
		4.1.3 Application of AI Computer Imaging Analysis
	References
5 The Sistine Madonna
	5.1 The Personae in the Sistine Madonna
		5.1.1 The Madonna
		5.1.2 The Christ Child
		5.1.3 The Pope Sixtus IV
		5.1.4 Saint Barbara
		5.1.5 The Two Cherubs/Angels
	5.2 History of the Sistine Madonna
		5.2.1 The Sistine Madonna in German Art History
		5.2.2 The Reframing of the Sistine Madonna
		5.2.3 Copies of the Sistine Madonna
		5.2.4 Paintings on Canvas Versus Wooden Panel
	5.3 Analysis of the Sistine Madonna
	5.4 The National Gallery Raphael Paintings Analysis
	5.5 A Comparison of the Scientific Pigment Analyses Carried Out on the de Brécy Tondo, the Sistine Madonna and the National Gallery Raphael Paintings
	5.6 Differences in the Structural Composition Observed Between the de Brécy Tondo and the Sistine Madonna Paintings
	References
6 Renaissance Pigments and Raphael’s Palette
	6.1 Raphael’s Substrate Preparation Techniques
	6.2 Raphael’s Palette
	6.3 Renaissance Pigments
		6.3.1 A Selection of Ancient Pigments in Detail
	6.4 Renaissance Dyes Based upon Organic Extracts
		6.4.1 Organic Dyes Used by Raphael in the Renaissance
	6.5 The Nature of the Ground
	References
7 The Application of Artificial Intelligence (AI) to the Attribution of Art Works
	7.1 Summary of AI Computer Procedures Adopted for the Raphael Paintings Analysis
	7.2 Case Study I. Comparison of Sebastiano del Piombo’s Portrait of a Woman with Felice della Rovere
	7.3 Case Study II. The Haddo Madonna
	7.4 Case Study III. The Transfiguration
	7.5 Case Study IV. The Madonna della Rosa
	7.6 Case Study V. St Luke Painting the Virgin Mary
	7.7 Case Study VI. The Double Portrait
	7.8 Case Study VII. The Vice-Regine of Naples
	7.9 Giulio Romano
		7.9.1 AI and the Recreation of Titian’s Lost Masterpiece: The 11 Caesars
	7.10 Case Study VIII: The Self-Portrait of Raphael
	References
8 Case Studies
	8.1 Introduction
	8.2 Case Study I: The Raphael Portrait Painting of Pope Julius II
	8.3 Case Study II: The Judgement of Paris
	8.4 Case Study III: The Triumph of Galatea
	8.5 Case Study IV: The Transfiguration
	8.6 Case Study V: The Coronation of the Virgin (Pala Di Monteluce)
	8.7 Case Study VI: La Fornarina and the Donna Velata
	8.8 Case Study VII: The Betrothal of the Virgin Mary and Joseph (Spozalizio)
	8.9 Case Study VIII: The Madonna Della Rosa: The Virgin Mary, Christ Child, St John and St Joseph
	8.10 Case Study IX: The Conestabile Madonna
		8.10.1 Ultramarine Disease
	8.11 Case Study X: The Diotaveli Madonna
	8.12 Case Study XI: The Giocondae—The Vice-Regine of Naples Portrait and the Portrait of Isabella of Aragon
	8.13 Case Study 8.XII: Portrait of a Young Man by Raphael
	8.14 Case Study 8.XIII: The Resurrection of Christ
	References
9 Summary and Conclusions
	9.1 The Appreciation of AI Computational Data in Artwork Identification
	9.2 Epilogue
	References
Appendix A Raphael’s Paintings—Catalogue Raisonné of Professor Jurg Meyer zu Capellen (2001–2008)
Appendix B Professor Jurg Meyer zu Capellen—Rejected Raphael Painting Attributions and Attributed Raphael Workshop Paintings*
Appendix C Dr. Luitpold Dussler’s Catalogue Raisonné of Raphael Paintings*
Appendix D Additional Data for Raphael’s Artworks in the Catalogue Raisonné of Professor Jurg Meyer zu Capellen
Appendix E Luitpold Dussler—Rejected* Raphael Attributions
Appendix F Analysis of Professor Jurg Meyer zu Capellen’s Catalogue Raisonné for Raphael Autograph and Workshop Paintings
-4pt-  Glossary
Bibliography
Index