Figure 6. Paul Delaroche, The Execution of Lady Jane Grey, ca. 1834. Canvas, 45. 7 X 53.3 e/11. Corporation of London, Guildhall Art Gallery. IV, were reproduced by lithography. Artists were also able to keep their works in the public eye by means of high-quality engravings <strong>and</strong> Delaroche had an arrangement with the print publisher Adolphe Goupil to produce <strong>and</strong> publish engravings, after his paintings (41). For large paintings, including Lady Jane Grey, The Children of Edward IV, <strong>and</strong> Joan of Arc, he painted a reduced-scale copy from which the engraving could be made (42) . In the case of Lady Jane Grey, it is possible that the painting now in the collection of the Guildhall Art Gallery, Corporation of London, is the reduced-scale copy (Fig. 6) (43). The engraving, by Mercurij, one of several engravers who engraved the painter's works fo r Goupil, was begun in 1834, but was only completed in 1857, the painter himself having died the previous year (44). Acknowledgments The authors would like to thank John Leighton, curator of nineteenth-century paintings at the National Gallery, fo r generously sharing the information he has gained during his research with the authors; Rachel Billinge, Leverhulme Research Fellow at the National Gallery, for infrared reflectography carried out on the painting; Raymond White fo r examination of the paint medium by gas chromatography mass spectrometry; Sara Hattrick <strong>and</strong> the Photographic Department for photography. Notes 1. Boime, A. 1971. The Academy <strong>and</strong> French <strong>Painting</strong> in the Nineteenth Century. London: Phaidon, 9-21. 2. Boime, A. 1980. Thomas Couture <strong>and</strong> the Eclectic Vision. New Haven <strong>and</strong> London: Yale University Press, 3-35. 3. Delaborde, H., <strong>and</strong> J. Godde. 1858. Oeuvre de Paul Delaroche, reproduit en photographie par Bingham, accompagne d'une notice sur la vie et les ouvrages de Paul Delaroche par Henri Delaborde, et du catalogue raisonne de l'oeuvre par Jules GoddlE. Paris: Goupil. References to the essay are cited as Delaborde, 1858; those to the catalogue as Godde, 1858. 4. Ziff, N. D. 1977. Paul Delaroche: a study in nineteenth-century French history painting. New York <strong>and</strong> London: Garl<strong>and</strong> Publishing, Inc. 5. Boime, 1980. Op. cit., 40-41, 52-60, 70-75. Kirby <strong>and</strong> Roy 173
6. Foissy-Aufrere, M.-P 1983. La jeartlle d'Arc de Paul Delaroche, Salon de 1824: dossier d'une oeuvre. Rouen: Musee des Beaux-Arts, 82-87. 7. Hauptman, W 1985. Delaroche's <strong>and</strong> Gleyre's teaching ateliers <strong>and</strong> their group portraits. Studies in the History of Art (18) :79-82, 89-97. 8. Delecluze, E.-J. 1834. Salon de 1834 (2nd article). joumal des debats, politiques et litteraires 5 March 1834. 9. Paris Salon de 1834. Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivalls exposes au Musee Royal Ie 1" mars, 1834. Paris: Vinchon. Facsim.ile edition, 1977. New York <strong>and</strong> London: Garl<strong>and</strong> Publishing Inc., 52 (no. 503). 10. Ziff, op cit., 126-35. 11. Ganz, P 1950. The <strong>Painting</strong>s of Ha1/5 Holbeill. London: Phaidon, 251 (no. 107) <strong>and</strong> plate 148. 12. Mirecourt, E. de, [C-J.-B.Jacquot]. 1871. Histoire co/I.temporaine: portraits et silhouettes au XIX" siMe. 119. Delaroche, Decamps. 3rd ed. Paris: Librairie des contemporains, 16-17. 13. Planche, G. 1855. Salon de 1834. In Etudes sur I 'ecole franfaise (1831-1852), peinture et sculpture. Paris: Michel Levy Freres, Vol. 1, 241. 14. Boime, 1980. Op. cit., 56. 15. Armitage, E. 1883. Lectures on painting, delivered to the students of the Royal Academy. London: Tri.ibner & Co., 254-56. 16. Gould, C 1975. Delaroche <strong>and</strong> Gautier: Gautier's views on the ((Execution of Lady jane Grey" <strong>and</strong> on other compositions by Delaroche. Leaflet accompanying the exhibition of the restored painting. London: Trustees of the National Gallery, Publications Department. 17. Alley, R. 1959. Tate Gallery catalogues. The fo reign paintings, drawings <strong>and</strong> sculpture. London: Trustees of the Tate Gallery, 298. 18. Examination of the paint cross sections <strong>and</strong> pigments was carried out by Ashok Roy using optical mjcroscopy, scanning electron microscopy coupled with energy-dispersive X-ray analysis, <strong>and</strong> X-ray diffraction. Identification of the paint media by gas chromatography mass spectrometry was performed by Raymond White. Identification of lake pigment dyestuffs by high performance liquid chromatography was carried out by Jo Kirby. The conservation treatment is described in the National Gallery conservation records. 19. Boime, 1971. Op. cit., 22-47. 20. Bouvier, P-L. 1832. Manuel des jeunes artistes et amateurs en peinture. 2nd ed. Paris: F. G. Levrault. 21. Paillot de Montabert,J.-N. 1829. Traite complet de la peinture. Paris: Bossange pere, Vol. 9, 36-65. 22. Arsenne, L.-C 1833. Manuel du peintre et du sculpteur [etc.]. Paris: Librairie encyclopedique de Roret, Vol. 2, 195-413. 23. For example, Godde states that the ebauche of Straffo rd (1835, location unknown) was painted by Henri Delaborde from Delaroche's watercolor sketch <strong>and</strong> a wax model. Godde, 1858. Op. cit. (note 3), plate 19 <strong>and</strong> commentary. 24. Ingamells,J. 1986. The Wallace Collection. Catalogue of Pictures, II, French Nineteenth Century. London: Trustees of the Wallace Collection, 114 (no. P604). 25. Foissy-Aufrere, op. cit., 21-23. 26. Boime, 1971. Op. cit., 45, 102-3. 27. Godde, 1858. Op. cit. (note 3), plate 16 <strong>and</strong> commentary. 28. Ziff, N. D. 1975. Dessins de Paul Delaroche au cabinet des Dessins du musee du Louvre. La Revue du Louvre et des Musees de France, XXV: 163-68. A further donation of drawings was made to the Louvre in 1982. 29. Etude pour la 'Jane Gray" [sic], 1727RF. Pencil <strong>and</strong> red chalk, 23. 1 X 20 cm. See Guiffrey, J., <strong>and</strong> P Marcel. 1910. Inventaire general des dessins du Musee du Louvre et du Musee de Versailles. Ecole franfaise. Paris: Librairie centrale d'art et d'architecture. Vol. 5, 2-3 (no. 3535). 30. Delaborde <strong>and</strong> Godde, op. cit., 15, plate 14 <strong>and</strong> conU11entary. 31. Paillot de Montabert, op. cit., vol. 9, 144-47. 32. Bouvier, op. cit., 236-37. 33. Couture, T. 1879. Conversations on Art Methods lMetlLOde et entretiens d'atelierJ. (French edition, 1867). New York: G. P Putnam's Sons, 7. 34. Delaborde, op. cit., 18. 35. Armitage, op. cit., 79. 36. Boime, 197 1. Op. cit., 36-41. 37. Bouvier, op. cit., 207-74. 174 <strong>Historical</strong> <strong>Painting</strong> <strong>Techniques</strong>, <strong>Materials</strong>, <strong>and</strong> <strong>Studio</strong> <strong>Practice</strong>
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Historical Painting Techniques, Mat
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Contents vii viii Foreword Preface
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Foreword One of the first events or
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The discussions in this volume pres
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Plate 2a, above right. Attributed t
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Plate 4a, above. Jacques Louis Da
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Plate 7a, above. Valerio Mariana da
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Plate 9. Marco Palmezzano, Mystic M
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Plate 13, right. Surya in his Chari
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Plate 16. The Fifth King of Shambha
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Plate 20. Cross section oj Sample 3
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Plate 26, top. Titian, Venus and Ad
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Plate 29. Cross sections of the St.
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Plate 33. Paul Delaroehe, The Execu
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Plate 35, right. Detail Jrom the lo
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Abstract This paper argues for an i
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we find a description of the affini
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2. A Practical Treatise on Painting
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knowledge and understanding of the
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Table 1. Scientific methods used Jo
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the painting together, share backgr
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y distance with "the aid of the air
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ected, shadows would appear matte a
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The differences in saturation, clea
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19. White, R. Personal communicatio
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occupation agreable pour charmer l'
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DE PEJN'FURE PRATIQUE. Par demit::
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In spite of the laments of certain
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While cooking their eggs, two young
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some used for painting (i.e., amber
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ange of artists' materials, books o
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Figure 3. Personal account book, 18
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paper resulted in a volume of corre
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4. HKI MS 865-1993, 497. The move i
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[1] How to make a gold ground. Take
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into a glass, and put in a bit of w
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[37] To make crude verzino for writ
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it on what you are working, with a
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28. On these "clothlet colors," see
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it also includes instructions fo r
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Ricordi di belli colori Initially i
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Figure 4. Gherardo Cibo, "Fusaina [
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The treatise is typical for the lat
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Filza CXLIII, fols. 1122r, 1125v, 1
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that is, plaster of Paris, which ha
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100 80 60 40 a 3500 30.00 2500 2000
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process described by Cennini for ge
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Abstract The frequent use of verdig
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strating that spreading this glaze
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10. Thompson, op. cit., 61. 11. Ber
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Tingry, in 1830, gives a recipe for
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elonged to William Mallord Turner (
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500 450 As Ph As 400 350 Fe Co 300
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19. Merrifield, op. cit., 745-6. 20
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Table 1. Tibetan color names, trans
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J Figure 3. Three-dimensional spect
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Figure 5. Detail IR-reflectogram fr
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Abstract Icons preserved in the Nil
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I )--------------------------1 I i
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The understanding of an icon and it
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Abstract As part of a five-year sys
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later transferred to an artificial
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Winchester Cathedral Holy Sepulchre
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Gilding. Gold leaf was applied for
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Winchester Cathedral Holy Sepulchre
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scanning electron microscopy I ener
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Notes 1. Park, D. 1983. The wall pa
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Abstract It is rare for ancient ext
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Sa. Location : Salisbury west front
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sheltered eye on the southernmost c
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Abstract Extensive examination of A
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create surface gloss and could be v
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Figure 3. Andrea Mantegl1a, The Pre
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Abstract In September 1992 the J Pa
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arrow in Adonis's right hand ends a
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For the early works are executed wi
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- Page 174 and 175: Figure 1. Workshop of Jan Bruegel,
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