4 CONCLUSIONS

We introduced the reader to a painting whose artist used both the same colors and combinations of colors, even paints taken from the same factory stock, as those consistently used by Manet ca. 1860. It is a painting that visibly conforms to the large variety of criteria broadly known to characterize the working techniques and cultural affinities of this artist, down to the strange peculiarities of his individual manner. The historical record documents Manet's execution of an oil copy of the Vel�zquez Infanta during this period. Have we then succeeded in establishing the authenticity of the painting?

It seems impossible to us to ascribe to coincidence this variety of astonishing congruities. The scientific examination described in this study reports findings objectively arrived at with great caution. We believe it adds confirmation to the convincing factual aggregate of textual material already known about this painting. Our answer to that question of authenticity is consequently, yes, this is the work of �douard Manet, well beyond any reasonable doubt.

ACKNOWLEDGEMENTS

The authors express their deep gratitude to colleagues who supplied or made available the photograph and x-ray documents used in this study, or who spent their time in very helpful discussions. In particular we owe special acknowledgment to Ann Hoeningswald and Philip Conisbee (National Gallery of Art, Washington), Henrik Bjerre (Dansk Museum), Christopher Riopelle (National Gallery, London), Mark Tucker and Beth Price (Philadelphia Museum of Art), Albert Kostenevitch, Alexander Babin, A. Sizov, Lilia Viazmenskaia (Hermitage Museum, St. Petersburg), and Jean-Pierre Mohen and R�gis Lapassin (Center for Research and Conservation of French Museums). We appreciate as well the assistance and support of Andrew Brainerd, Esq., Dr. Walter McCrone, and Dr. Leonard Reiffel. It has been through the kind and effective help of all these persons and institutions that this work has been accomplished.