2640. What happened next was that both the Master and the
apprentices demanded that Faldoni explain himself, and he was formally
invited to approach the picture and point out the faults he thought he
had discovered. Nobody expected him to say anything of any consequence,
but they made room for him and gave him the floor, the
better to laugh at him.
2641. At first Faldoni stood with his head cast down and
said nothing in consternation and embarrassment but then, overcome by
the same inexplicable force that had caused him to point at the painting
in the first place, his drew himself up, took a deep breath and said.
2642. “The feet and the shoes and the socks of the
figures in this group do not correspond to the jackets, vests and other
clothing,” he blurted out. What Faldoni was pointing out was a detail
of one of those complicated figurative scenes full of men, horses, and
dogs all in a procession. Each figure had a characteristic pattern of
color for their clothing based on the heraldry of the person
represented.
2643. It just so happened that some figures standing behind some horses could be seen to have reversed their clothing, so to speak, because in the upper portion of the painting a person with a tan and blue vestment ended up with orange and purple socks down next to the horse’s hooves.
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