Works in the National Gallery

We now cite a few pictures, out of a large number which have been studied for the purpose of observing the present state of the materials which have been used in their production. We begin with some works in the National Gallery, Trafalgar Square.

Jan van Eyck, The Arnolfini Portrait, 1434 Photo © The National Gallery, London.

Margaritone Di Magnano (1216-1293)

No. 564. In the very limited palette of this early painter in tempera we note that the vermilion, a yellow earth, lamp-black and a puce colour are well preserved; the last-named pigment may be a form of iron oxide, and corresponds in hue to the artificially prepared oxide called 'Mars violet.'

Giovanni Da Milano (Late Fourteenth Century)

No. 579A. The crimson on the robes of two of the three figures which occupy these panels seems to be derived from madder, and is well preserved.

Jan Van Eyck (1390?-1441)

No. 186 (dated 1434). The green robe in this famous picture shows distinct cracks, which differ in character and are larger in size than any others in the work. The flesh-tints are perfectly preserved as to texture. I suspect that verdigris has formed a constituent of the green paint employed.

Fra Giovanni Angelico (1387-1445)

No. 663. The translucent reds and purples in this work have faded somewhat; the green, which appears to be malachite - 'green bice' - has stood. On the whole this exquisite work in tempera is remarkably well preserved.

Dierick Bouts (1410?-1475)

No. 664. Painted on linen which had received a very thin priming; the preservation of this work, which has never been varnished, is remarkably good except in two particulars - the red pigment used for the sleeves, linings of robes, etc., having faded, and the white paint on the dress of the Virgin having partially scaled off. From certain peculiarities in the touch, and from the minutely wrought details of the landscape, I conclude that the medium used could scarcely have been the usual egg-yolk tempera, but was rather a thin size.

Bennozzo Gozzoli, School Of (Fifteenth Century)

No. 591. The vermilion in this tempera picture is preserved in startling brilliancy; the translucent reds have become rather faded and embrowned.

Melozzo Da Forli (1438-1494)

No. 755. It is probable that verdigris was employed in painting the green carpet in this work. If so, the cracks in this part of the picture (more conspicuous here than in other parts) would be due to the corrosive action of this dangerous pigment.

Tuscan School (End Of Fifteenth Century)

No. 781. The lining of the cloak of Tobias in this picture seems to have been painted with verdigris; it is now very dark, in parts nearly black, although the pigment used has evidently been mingled with much protective resin, as its thickness is excessive when compared with that of other parts of the work.

Andrea Schiavone, Jupiter seducing Callisto, about 1550 Photo © The National Gallery, London.

Gregorio Schiavone (Fl. 1470)

No. 630. The madder and vermilion in the robe of one of the figures in this tempera picture are well preserved. This is also the case in another work by the same artist in the author's possession.

Gheeraert David (1460-1523)

No. 1,045. The fine crimson glazings of madder-lake in this oil picture are in perfect preservation. The same remark may be made concerning another picture (No. 1,432) by the same artist.

Michelangelo Buonarroti (1475-1564)

No. 790. This unfinished tempera picture affords an instance of the stability of vermilion mixed with red-lead (in the robe of one of the figures), of terre verte and of madder-lake. The last-named pigment is also to be noted in the well-preserved hatchings and stipplings on the robes of two of the angels in No. 809.

Ridolfo Del Ghirlandaio (1483-1561)

No. 1,143. This oil picture, originally painted on wood but transferred to canvas, has been repaired and repainted in several places. But the red glazings, apparently madder-lake, and the green colour, seemingly verdigris on malachite, are, if original, well preserved. The preservation of verdigris when glazed on malachite is not unusual; the two pigments are closely related chemically, and are not likely to react upon or injuriously affect each other.