Additional Clarity on Color Interpolation

Hans Posse's Description Of The Painting

Taken unedited, from an official letter from the STAATLICHE MUSEEN ZU BERLIN quotes a color description by art critic Hans Posse; “Vor schwarzem Grund fällt helles Sonnenlicht auf die Gruppe, die dunkelbraune Schagschatten auf den ockergalbbraunen Boden wirft, und modelliert die Korper hart und klar, auch in dem warmen Mantel, Dunkelolivgrun im Rocke des Aposteles, die verbrannte ockergelblichroto Fleishfarbe, im Gegensatze zu reinem Weiss im Buch. in den Flugeln und, mit Grau getont, in dem beschatteten Gewande des Engels, steigern die plastische Wirkung der Gestalt zu oinen formlichen Herausspringen aus dem Bilde.” Ref.

Translation (verbatim letter) - “In front of a black background, bright sunlight falls on the group throwing dark brown shades onto the ocher(sic) yellow-brown soil, and models the bodies hard and clear, even in the warm cloak, dark olive green in the apostle's coat, the burnt ocher yellowish flesh color, as opposed to pure white Book. in the wings and, toned with gray, in the shadowed garment of the angel, heighten the plastic effect of the figure to formally jump out of the picture.”

The following details were from new information noted in both the description and in part, the master Black & White print supplied by the State Museum. Print computer enhanced.

Color Details and Missed Photo Interpretations

Dark Olive Green St. Matthew surrounded by a warm (colored) cloak, wearing a “dark olive green in the apostle's coat”, not a maroon or deep red as depicted on the majority of reproductions. Some paintings even depict a black coloration in his coat-like tunic as well.

Cloak Color Interpretation Accuracy in German

Saint Matthew's outer cloak has been described by Posse as a "burnt ochre (sic) flesh color. In German, flesh does not refer to skin color. FLEISCH FARBIG means "meat color" - Posse's term Fleishfarbe is literally "flesh-colored" or reddish (ochre yellow meat color). The cloak in the "The Inspiration of Saint Matthew" appears to reflect this description probably because of Caravaggio's know palette list.

Crack In The Floor Is Actually From A Crack In The Glass Negative

The museum noted in official documents that a small corner of the glass plate negative was broken Hans Posse (yet the piece was also included for the final high-resolution contact print). Many reproduction artists interpreted this crack detailed (unknowingly) as an adjoining floor crack or piece of Terra cotta. It can be seen almost touching the foot of St. Matthew's Savonarola Chair; see color image. Because the small piece of glass was loose in the negative, it is believed the gap opening (and changing refractive index) gave the mistaken impression in some later photocopies as a floor crack or secondary adjoining stone.https://fr.wikipedia.org/wiki/Fichier:Le_Caravage_-_Saint_Mathieu_et_l%27ange.jpg The photo from the German museum's original was sent to Noel Baron. The image is barely perceptible.

The Color Red and the Angel's Hair

The only controversy in the faithful color reproduction is the exact color of the angel's hair. That color was never described by Posse. The determination of what color was to be chosen was based on the changing science in panchromatic film's range of sensitivity. Color referencing other angels Caravaggio had painted, a medium light to dark mahogany brown was common.The Inspiration of Saint Matthew second version was influential in this decision. The photo-sensitivity to certain light frequencies in old black and white pioneered panchromatic film actually gives a clue to color selection when colors like red reflect and create more density in the captured image rather than the older orthochromatic material. Early films with varying degrees of sensitivity prior to the refinement of panchromatic film gave a limited range of results like rendering darker complexions in the faces of the people in late 19th century scenes. German film-makers like Perutz pioneered early sensitized Panchromatic plates as early as 1902. Because the negative is on glass, it indicates the possibility that the transition to panchromatic photo emulsions wasn't fully utilized until early in the 20th Century. A museum or similar institution would certainly acquire the best material that was available for documentation. Celluloid or nitrate based film tended to wrinkle and distort in time, not to mention flammability. A tip-off as to the effect of red is seen in the red cloak. The exposed area is lighter, indicating a later type of emulsion. The angel's hair wasn't quite as light meaning the red was more subdued, possibly towards a mahogany brown.

About Noel Baron – American Artist 1952 – 2006

Noel Baron was a Fine Arts painter and professional Classical Ballet dancer. Her early ballet career took her worldwide, performing at before audiences at the New York City Ballet, Joffrey Ballet and Dutch National Ballet in Amsterdam. Baron received a commission in 1986, from the Archdiocese of Palermo and the Italian Cultural Institute to reproduce a replacement to the 1969 theft of the Caravaggio Nativity from the Oratorio of San Lorenzo. Her ability to explore, research and investigate the means to accurately reproduce historic art in a high-quality medium is reflected in numerous articles and TV interviews worldwide. Articles and interviews reflected a story about the strange disappearance of the reproduction and mysterious reappearance.

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