The Temptation of Amadeo
"... an enormous painting against the far wall. ... placed it at once as Renaissance, and probably Venetian. It was done in egg tempera on wood. And it had the marvelous sheen of such paintings, a gloss that no synthetic material can create...
A splendid choir of black-winged angels hovered around a single kneeling figure, that of a young auburn-haired boy. The cobalt sky behind them, seen through a series of arches, was splendidly done with masses of gilded clouds. And the marble floor before the figures had a photographic perfection to it. One could feel its coldness, see the veins in the stone.
But the figures were the true glory of the picture. The faces of the angels were exquisitely modeled, their pastel robes and black feathered wings extravagantly detailed. And the boy, the boy was simply alive! His dark brown eyes veritably glistened as he stared forward out of the painting. His skin appeared moist. He was about to move or speak.
In fact, it was too realistic to be Renaissance. The figures were particular rather than ideal. The angels wore expressions of faint amusement, almost bitterness. And the fabric of the boy's tunic and his leggings, it was too exactly rendered. ...could see the mends in it, a tiny tear, the dust on his sleeve. There were other such details- dried leaves here and there on the floor, and two paintbrushes lying to one side for no apparent reason."
- Anne Rice (The Queen of the Damned)
This was the description I took into consideration when I made this painting. And it's a poor rendition at that. But at least I tried to follow it and made it according to how I imagined it would look like.