45. The lamentation over the dead Christ, by Taddeo Gaddi. c.1335-40 (Yale University Art Gallery, New Haven)
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46. Fig.45 after cleaning in 1954
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47. Hypothetical reconstruction of Fig.45 after the 1954 cleaning
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48. Detail of Fig.45 showing the cross-hatched visible inpainting technique used by Andrew Petryn in 1954
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49. The Virgin and Child enthroned with four saints, by Ugolino di Nerio. c.1305-10. Photographed in 1912 after Icilio Federico Ioni's restoration (Yale University Art Gallery, New Haven)
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50. Fig.49, c.1953
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51. Fig.49 after Andrew Petryn's restoration in 1954-55 where he used a neutral colour for the large losses and a cross-hatched technique in areas of loss that were reconstructed
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52. Fig.49 after restoration in 1968
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53. Fig.49 after restoration in 2006-07
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54. The Virgin and Child with Sts Vincent Ferrer and Jerome, by Piero di Cosimo. c.1510-15. Conservation state of the altarpiece in 1928 (Yale University Art Gallery, New Haven)
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55. Fig.54 after restoration in 1957-59
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56. Detail of Fig.54, showing the original paint layer in remarkably good condition on the stone base of the throne after removal of multiple layers of oil-based overpaint. The foreground was cleaned by Petryn in 1957-59
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57. Fig.54 during current restoration with the nineteenth-century top additions removed
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58. Fig.59 after filling, before restoration. Photographed in 2014
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59. Education of the Virgin, attributed to Diego Velázquez. c.1617. After cleaning, varnishing, filling and inpainting of losses in 2014 (Yale University Art Gallery, New Haven)