Ultramarine blue for Mary’s cloak, red for the Passion, cardinals and the scarlet woman. Other colour codes, including their importance in multiplex narrative.
Rossetti
A relatively latecomer, he started painting Pre-Raphaelite landscapes in 1856, with stunning results in the Alps, and his monumental view of Florence, but those proved unsuccessful.
Three panels, hinged together, first for an altarpiece, later for secular narratives. Examples from 1420, through those of Bosch, to the Eve of St Agnes by Arthur Hughes.
Paintings by Hogarth, Whistler, Lucy Rossetti, Orchardson, Elihu Vedder, Dagnan-Bouveret, Bonnard, and Willian McGregor Paxton.
Ariadne, Bacchantes, Sappho, Queen Guinevere, Salome and Judith in ecstasy, in paintings by Lovis Corinth, David, Rossetti, Gustav Klimt and others.
Femme fatale, daughter of Pope Alexander VI, she was the lover of Isabella d’Este’s husband, and inspired portraits until Dante Gabriel Rossetti in 1871.
Raphael’s Disputa, Joan of Arc, the coronation of Charlemagne, a knight dedicating his service in a country church, a shockingly naked St Elizabeth, and a Last Supper painted in Norway.
Curtains in Raphael’s remarkable trompe l’oeil, concealing a nude, opened by the peeping tom, revealing a lost lover, and as separator between players and spectators.
Dante and Beatrice, the Black Death that opens Boccaccio’s Decameron, the death of Brunelleschi, Botticelli in his studio, and the de’ Medicis.
Sewing for Garibaldi’s redshirts, the flag of a castle, Sir Lancelot, fishermen and sailors, Pentecost costumes, and other purposes.
The Eclectic Light Company 