# Spectroscopic and Imaging Analyses on Easel Paintings by [PERSON]
## 3 Results
### Pigments and Dyes
#### 3.3.5 Red, Pinkish Hues and Flesh Tones  
In the _Sacred Conversation_ of Fano (Figure S6; Table S6), a madder-type lake [20], extracted from the roots of Rubia sp., was also detected due to the bands at 510 and 550 nm, highlighted because of the contribution of purpurin [25; 26]. In this altarpiece, the madder-type lake and the Child's drapery were used for a few details (GSMF 51). A coccid-derived red lake (carmine-type) was detected in many paintings (Figure S6; Table S6) because of 520-530 and 570 nm absorption bands [27; 28]. The colours of [PERSON]'s robe (GSMF 13), [PERSON]'s mantle (Figure S8a-c; GSMF 17) and the carnation flower held by the [PERSON] (GSMF 22) were obtained with a coccid-derived lake (Figure 3a) [10]. In the [PERSON]'s red dress (GSMF 19) and in the drape of honour behind her (GSMF 23), spectra with intermediate characteristics can be observed, and a mixture of the two red lakes can be hypothesized.  
Mn was detected by ED-XRF in the _[PERSON] and the Archangel [PERSON]_ (GSS 8), in the _Sacred Conversation_ of Fano (GSMF 23) and Montefiorentino (GSMF 16, 23-26, 32-33, 65, 68), and in the _Martyrdom of Saint Sebastian_ (GSM 1, 6). Its presence could be related to powdered glass [18; 19], probably added to the red lake to improve the drying of oil paint [29], or perhaps to reach a different consistency and fluidity of the paint, or to obtain a diverse effect of the layer brightness. Red lake glazing depicted with meticulous hatching occurs in the shades of many of [PERSON]'s paintings such as in the [PERSON]'s mantle of the _Annunciation_ and in the [PERSON]'s mantle of the _Buffi_ altarpiece (Figure S7a-c).  
Vermilion was used in bright red hues such as in St. Paul (GSST 4). Sometimes it was applied as an underpainting of red lakes, such as in _Saint Roch_ (SR 5) and Clio (MC 20, 25-26) panels, or mixed with them.  
As-based pigments, such as orpiment and realgar (As\({}_{4}\)S\({}_{4}\)), occur in the deeper orange shades mixed with vermilion or overpainted on it (Table S6) such as in the _Sacred Conversation_ of Fano (GSMF 3) and Montefiorntino (GSMF 18, 22, 49, 65), in _Annunciation_ (GSA 12-13), Erato (MC 43), the _[PERSON]_ altarpiece (GSPB 11, 20) and [PERSON] (SR 5).  
Vis-RS and ED-XRF analyses carried out on the flesh hues of females and the Child (Table S7) identified lead white and small amounts of vermilion (GSSR 19; GRAD 4; GSMFF 27) mixed with ochre (GRAD 5, GSCM 28), depending on the desired hue. Sometimes green Cu-based pigments (GSST 8; GSMFF 29-31; GSPB 8, 10, 31) and bone black were added.  
In the little devotional panel of the _Dead Christ in the Sarcophagus with the Symbols of Passion_ (GSCSP 7), the flesh tone was depicted using lead white, green Fe-based pigment very finely ground, applied on a green earth-based layer, perhaps to allow a bruised appearance (Figure S8a,b). As usual, male flesh tones are typically darker than females' (Figure S8c,d) or children's ones, with higher contents of Fe-based pigments and charcoal black, the latter seen in DM (Figure S8e,f). Shadows were obtained with thin glazes containing brown pigments (probably earth) and black particles.