Curator: Conclusion The decision to restore the cloak of the central figure in Veronese's painting from its present red to the green found underneath is fully justified. ββββββββ βββββ βββ ββββββββ βββββ ββββ ββββ βββ βββ βββββββ βββ βββββββ βββββ βββ ββββββββ βββ ββββ ββββββββββ βββ ββββ βββ βββ βββββ βββ βββ βββββ ββ ββββββββββ βββββββββ βββββ ββ βββββββ ββββββ ββββ ββ ββββββ βββββ ββββ ββββββββ ββββββββ ββββ ββββββββββ ββββββββ βββββ βββ βββββββββββ
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The curator argues that the decision to restore part of a painting to its original green, rather than the current red, is justified. The curator supports this claim by asserting that another artist probably added the red to the painting. This assertion is a sub-conclusion, because it is further supported by the factual premise that the red paint was a late addition to the painting, and wasnβt from the original artistβs workshop.
The assertion that a later artist tampered with Veroneseβs painting is a sub-conclusion in the curatorβs argument. It is supported by evidence from x-ray and chemical tests, and in turn supports the conclusion that restoring the original green colour in the painting is justified.
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