#salvator-mundi

#salvator-mundi

He argues that the "low-cut, rectangular neckline" of Christ's tunic is unprecedented both for a Renaissance depiction of Christ and for a male sitter "of an elevated social status". He says that in all other paintings of Christ of the period, Christ's tunic has a much higher collar close to the neck, and that a low-cut and embroidered neckline are typical for female portraits of the period such as Leonardo's La Belle Ferronnière (around 1493-94) in the Musée du Louvre.