National Gallery Technical Bulletin Volume 33, 2012 Colourless Powdered Glass as an Additive in Fifteenth- and Sixteenth-Century European Paintings Marika Spring Introduction

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Particular thanks are due to Jo Kirby and Claudio Seccaroni for providing references and valuable advice on the relevant historic documentary sources, and to Ian Freestone for his useful comments on the text of this article. Discussions about the literature on the analysis of archaeological vessel glass compositions with Koen Janssens and Andrew Meeks were most helpful. The author would also like to thank Rachel Grout, who contributed to the analyses of paintings by Raphael during a fellowship in the National Gallery Scientific Department 2001–2002, as well as Kate Stonor, Ashok Roy and Helen Howard, who contributed some of the occurrences of glass in the table.

Full scholarly information for the sixteenth-century Netherlandish paintings discussed in this article, and for those from Ferrara and Bologna, will appear in forthcoming National Gallery Catalogues: ‘The Sixteenth- Century Netherlandish Paintings and French Paintings before 1600’, by Lorne Campbell; and ‘The Sixteenth-Century Italian Paintings: Bologna and Ferrara’, by Giorgia Mancini and Nicholas Penny.

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Table 1: Fifteenth- and sixteenth-century paintings in which colourless powdered glass has been identified in paint samples, in chronological order, together with quantitative SEM–EDX analysis of the particles, normalised and expressed as weight % oxide (not including elements present at values lower than 0.1%).

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