Domenico, son of Pacio, colonist found drawing sheep by his master Beccafumi, from whom he then had the surname

surface prep

The canvas should be primed with a traditional ground, likely lead white or a similar white pigment mixed with oil, to provide a bright, reflective surface that aids in the glazing techniques typical of the period. While specific details of Banti’s ground are not in the sources, 19th-century practice generally involved a white or off-white ground to facilitate the layering of transparent colors (Source 1, Source 2).

underdrawing

A sketched outline of the subject is likely made in another medium before applying paint, as is common in oil painting practice (Source 1, Source 8). For a history painting, this underdrawing would establish the narrative composition and figure placements. Banti may have used charcoal or thinned oil to sketch the forms, ensuring the narrative moment is clearly defined before color application.

underpainting

A monochrome underpainting, or grisaille, is likely employed to establish the tonal values of the composition. This technique involves painting in a single color (often gray, brown, or black and white) to define light and shadow before adding color. This aligns with the traditional method of extracting red and yellow tones initially to focus on form and value (Source 2).

Glazing

Applying a transparent coat of color over a dry underlayer to deepen tones and create luminosity. This was a common practice among old masters and 19th-century artists.

Scumbling

Applying a semi-opaque layer of paint over a darker ground to create a gray bloom or coolness, allowing the underlying painting to show through.

Chiaroscuro

Using strong contrasts between light and dark to create volume and dramatic effect, essential for history paintings.