prasinum, burnt red ochre and a little cinnabar. Next the rosy tints were applied, and after-wards
lumina for the highlights by an admixture of white. E. H. M.
51
The Greek Painters’ Guide: This guide to the practice on Mount Athos gives a wonderfully full account of both technical processes and iconography: it is translated in Didron, Manuel d’Iconographie Chrétienne, 1845, Eng. trans, omitting technical first part, 1886: under the influence of the monks and of the famous forger Simonides, Didron referred the guide to the fourteenth or fifteenth century and Manuel Panselinos, who is quoted as the model artist, to the twelfth. Bayet, Rev. Archéologique, iii. 3 (1884), pp. 325-34, makes it probable that he worked in 1535 and that the guide, as we have it, belongs to the eighteenth century. See (modern Greek) preface to the best text published by A. Papadopoulo-Kerameus, St. P. 1909, to which I always refer; cf. Diehl, Manuel, p. 854; Dalton, Byz. Art, p. 649. But it gives a much more ancient tradition, as is shown by its frequent agreement with Theophilus. Our author says it existed in the fifteenth century and may go back to the fourteenth.
52
Sóchnÿya, lit. juicy, Fr. juteux.
53
This is from the root of bêly ‘ white’ and suggests ‘ white showing through’.
54
Kondakov, Iconography of B.V.M., i (1914), pp. 321-3.
55
Salazaro, Studî sui Monumenti d’Italia Meridionale, 1871, Pls. x-xv.
56
In Russian the root kras – confuses inextricably the ideas of ‘red’, of ‘paint’ and of ‘beauty’.
57
Zélen in Russian is ‘green colour’: pra is a rare prefix suggesting antiquity.
