After more than five centuries, the secrets of the Mona Lisa are being revealed. Scientists have used X-rays to analyze a minuscule sample of paint, uncovering new information about Leonardo da Vinci’s techniques.
What is Plumbonacrite & Why Is It Hidden in the Mona Lisa?
The discovery of plumbonacrite suggests da Vinci mixed lead oxide powder into his oil paints.1 This technique would have created thicker, faster-drying paints, possibly contributing to the Mona Lisa’s unique qualities.
Plumbonacrite is a rare lead compound that’s formed over long periods in alkaline environments. Its presence in the Mona Lisa is a surprising discovery, as it’s not a common ingredient in historical paints.
Researchers found it within a blend of oil, lead, and other pigments, suggesting that da Vinci added a substantial amount of lead oxide to his oil paint.
How Researchers Discovered it
The discovery of plumbonacrite in the Mona Lisa was a result of meticulous scientific investigation. Led by Victor Gonzalez, researchers focused on the presence of lead within the painting.
Using advanced X-ray technology known as “high-angular resolution synchrotron X-ray diffraction and micro-Fourier transform infrared spectroscopy,” they analyzed a tiny sample of paint extracted from the base layer of the artwork.(ref) This allowed them to identify the chemical composition of the paint mixture with exceptional precision.
How da Vinci Developed This Paint in 1500s
The presence of plumbonacrite suggests that da Vinci dissolved orange-colored lead oxide powder in oil. The resulting paint mixture would have been thicker, thus enabling the artist to create more pronounced textures and build up layers more efficiently.
It would also have dried faster, allowing for quicker layering of colors. Additionally, the lead-based mixture would have imparted a golden hue to the paint and a honey-like consistency, contributing to the Mona Lisa’s aesthetic.
Da Vinci’s innovative recipe of lead oxide mixed in oil paint diverged from traditional methods. It offered a new approach that influenced other Renaissance artists and changed their painting process.
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Martha A. Lavallie
Martha is a journalist with close to a decade of experience in uncovering and reporting on the most compelling stories of our time. Passionate about staying ahead of the curve, she specializes in shedding light on trending topics and captivating global narratives. Her insightful articles have garnered acclaim, making her a trusted voice in today's dynamic media landscape.
