00:00What is unique about this particular painting is that it holds a secret, and the secret
00:14is that there is an unknown, until now, painting underneath the Egeomo, and the discovery and
00:23mapping of this underpainting has helped us to understand a lot more than what we knew
00:31until this day about the reuse of canvases and the reuse of paintings in Renaissance
00:39studios, in particular Titian's studio.
00:43It was even almost as if we were conducting an archaeological excavation on this painting
00:48because we approached it from the surface up, and we started looking into the layers
00:54of its stratigraphy, using a range of imaging methods, and then at the same time, physical,
01:02chemical, analytical methods that allowed us to look under the surface.
01:08It was like uncovering a puzzle.
01:11We said, okay, maybe this is a part of something, and then the artist changed his mind, but
01:16then once we started realizing that there is a complete work underneath, we became extremely
01:23excited, happy, and intrigued also.
01:27The portrait that is underneath this painting is the portrait of a standing man.
01:34We have not been able, we did our research, but we have not been able to identify who
01:41this man is.
01:42He is not one of the known patrons, for example, or friends or clients of Titian.
01:49He is standing.
01:50He is a professional man.
01:52The setting is an interior setting, an office setting.
01:55He is standing in front of a desk.
01:58One hand touches a book or a stack of papers, and then the other hand he is holding a quill.
02:06So this is clearly the portrait of a banker, a lawyer, some professional man in his workspace.
02:20He didn't like it.
02:22He didn't pay for it.
02:24He left town.
02:25Who knows?
02:26Titian is somebody who was reusing his canvases.
02:30There have been other paintings discovered or partially painted works under some of his
02:36other canvases, but I'm not aware of any case where we can safely map the direct painting
02:45of a composition over an earlier one.
03:00I'm not aware of any case where we can safely map the direct painting of a composition over
03:07an earlier one.
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