The effect was to, at last, allow some sense of a three-dimensioned image, a face behind a veil. This brought with it a realisation that the foreground 'cloth' required a separate painting process and a different technique of application. Where previously the thought had been to drape the face-image in an overcoat of thinned-down paint and then to comb this overlay in order to bring the requisite texture, what began to happen was that the previous combings had provided the striated ridges that would allow a new layer of paint to be dragged across the striations. These miniscule ridges of previously combed-&-dried paint provided a raised surface that would catch the new paint.
The realisation is that the cloth has its own integrity and requires just as much attention as the underlying image of the face. This is a significant realisation because the more detailed the cloth becomes, the less distinct the face becomes and so, while achieving a satisfactory cloth-effect, the underlying image still has to be provided with a way of coming through from beneath.