Thank you Natural Pigments for providing this information.
Why is it that the older painters, with so few colours available–and those that they did have, so much less bright than the turbo-charged pigments of today,–manage to create more beautiful, luminous and natural looking flesh tones than more recent artists seem capable of? More luminosity with duller colours….hmmm. Being that we are of the earth perhaps flesh colour needs to be made up of earth colours. After all, we are all, whether black, white or somewhere in between, spectrographically, just varying shades of dull orange. Not much magnificence in being dull orange but there we are. Plus, of course (getting back to the luminosity issue) the old masters had a much better understanding of the importance of tonal relationships (the drama of light and shade) than we moderns.