Skip to main content

Advertisement

Table 1 Quantitative analysis of the colourless powdered glass additive in five of the sixteenth-century Netherlandish paintings in the National Gallery, London (expressed as weight percent oxide)

From: New insights into the materials of fifteenth- and sixteenth-century Netherlandish paintings in the National Gallery, London

Artist, painting title, date Areas with powdered glass in the paint Glass type Na2O MgO Al2O3 SiO2 P2O5 SO3 K2O CaO TiO2 MnO FeO
Albert Cornelis, The Magdalen in a Landscape (NG2585), c.1520 Pink robe of the angel, with lead white, fluorite and red lake: two types of glass Wood ash–lime (high lime–low potash) 2.8 4.0 2.2 56.0 3.6 0.7 4.8 24.2 0.2 0.6 0.5
Wood ash 2.2 5.7 2.0 58.6 4.0 0.8 7.8 17.0 0.2 0.7 0.5
Attributed to Jan Mostaert, The Head of Saint John the Baptist, with Mourning Angels (NG1080), probably 1520s Red paint beneath the oblong area painted with figures, with vermilion Wood ash–lime (high lime–low potash) 3.6 3.7 1.9 54.7 4.4 6.1 3.5 20.0 0.4 1.0 0.6
Lucas Van Leyden, A Man aged 38 (NG3604), about 1521 Purple robe, in underpaint, with red lake, azurite, lead white, red earth, and in the final glazes with red lake: three types of glass Soda ash 11.6 2.0 1.2 66.6 2.0 1.8 2.6 9.1 0.5 0.8 0.3
Wood ash 2.1 4.9 1.9 57.7 3.8 1.4 9.6 16.4 0.2 0.7 0.6
Wood ash–lime (high lime–low potash) 1.5 4.2 1.8 56.9 3.9 1.9 5.8 21.6 0.2 1.0 0.5
Workshop of the Master of the Holy Blood, A Young Man Praying (NG1063), probably 1525–30 Black coat, with black and a little lead white Wood ash 0.5 3.9 2.0 60.6 1.9 3.3 7.2 18.9 0.2 0.7 0.5
Catharina van Hemessen, Portrait of a Woman (NG4732), 1551 Green background, in underpaint (with lead white, black, lead–tin yellow); two types of glass Wood ash–lime (high lime–low potash) 2.8 2.9 3.3 59.4 3.0 0.8 3.9 21.8 0.4 0.5 0.6
Wood ash 2.1 4.3 2.1 54.5 4.2 5.1 10.8 14.2 0.2 0.7 0.9