The bole was dampened with “gilders liquor” and the rectangular sheets of gold leaf were applied.        
Wessel spent the next three weeks inscribing a detail of a map
of constellations by J. Flamsteed, obtained from his friend,
Felice Stoppa of Milan, into the gold leaf.
 
       
The silverpoint drawing of Becca holding
the sundial. 		Beginnings of the drawing with India ink. Washes of India ink were applied to the model’s face, hair, and dress. Red clay “bole” mixed with rabbit skin glue was applied in the areas of the panel that would be covered with gold leaf. Details showing areas covered with terre verde and verdaccio green colors. Details of the painting after the bright reds – or “apples in the cheeks” – were painted in.   The skin areas were glazed with thin layers of translucent pink flesh tones made from cadmium
red, raw siena and titanium white. 		A detail of the head with greens and “apples” softened further with pink fleshtones. The tempera portion of the painting is finished.
The finished Becca (Sundial), 2006, egg tempera with gold and palladium leaf, collection of
Dr. and Mrs. Joe Gretzula.