museums and institutions:
Attributed works:
12. Tarquin and Lucretia, by Titian. 188.9 by 145.4 cm. (Fitzwilliam Museum, Cambridge).
Attributed works:
13. Tarquin and Lucretia, by Titian and (?) Another Hand. 293 by 243 cm. (Musée des Beaux-Arts, Bordeaux).
Attributed works:
14. Tarquin and Lucretia, by Heinrich Aldegrever. Engraving, Actual Size. (Fitzwilliam Museum, Cambridge).
Attributed works:
15. Tarquin and Lucretia, by Heinrich Aldegrever. Engraving, Actual Size. (Fitzwilliam Museum, Cambridge).
Attributed works:
16. Tarquin and Lucretia, by The Master 'L. D.' (Léon Davent). Etching.
Attributed works:
17. Tarquin and Lucretia, by Cornelius Cort. Line-Engraving. (Fitzwilliam Museum, Cambridge).
Attributed works:
18. X-Ray of Fig.12. [Tarquin and Lucretia, by Titian. 188.9 by 145.4 cm. (Fitzwilliam Museum, Cambridge).]
Attributed works:
19. Infra-Red Reflectogram of Detail from Fig.12. [Tarquin and Lucretia, by Titian. 188.9 by 145.4 cm. (Fitzwilliam Museum, Cambridge).]
Attributed works:
20. Cross-Section of a Sample Taken from the Dark Shadow in the Curtain to the Right of Lucretia's Upright Arm. Ground-up Copper Resinate Was Mixed with Ochres, Red Lead and a Little Lead White. The Shadows Were Strengthened Using Red Ochre and Umber. Underneath the Green There Are Thin Grey-Blue (Azurite) and Red Preparatory Layers for the Curtain.
Attributed works:
21. Photomicrograph of a Cross-Section of a Sample Showing the Underdrawing in Lucretia's Upright Arm. Black Pigment Particles Immersed in a Brown Matrix Can Be Seen between the Slightly Pinkish Flesh Colour and the Gesso Ground.
Attributed works:
22. Photomicrograph Showing the Brush Drawing around Lucretia's Chin.
Attributed works:
23. Cross-Section Taken Just Beside Tarquin's Left Calf. The Gesso Ground is Missing in the Sample. From the Bottom of the Sample Upwards There Are: Black Particles of the Drawing; A Mixture of Lead White and Ultramarine (Bed Linen); A Few Scattered Black Particles; Lead White Mixed with Red Ochre; A Copper Resinate Glaze Showing Brown Discolouration and Finally the Varnish Layers.
Attributed works:
24. Photomicrograph of Lucretia's Left Eye. In Addition to the Outlines, Done as Finishing Touches, Underlying Dark Lines Can Also Be Seen.
Attributed works:
25. Photomicrograph Showing the Highlight in Lucretia's Nose and the Shadow in Her Upright Arm. The Vertical Line in the Middle of the Photograph Is Part of the Underdrawing for Lucretia's Right Arm.
Attributed works:
26. Cross-Section from the Red in Tarquin's Left Stocking. A Thick Resinous Material Containing Red Lead Was Found between the Final Vermilion of the Stocking and a Light Reddish-Brown Underlayer. (The White Material on Top of the Vermilion Was Formed during the Preparation of the Cross-Section and Is Not a Part of the Painting).
Attributed works:
27. Cross-Section of Tarquin's Left Stocking. The Bluish Bed Linen Continues under the Red Stocking. A Resinous Layer Was Found between the Red of the Stocking and the Blue of the Bed Linen.
Attributed works:
28. Cross-Section from Tarquin's Breeches. A Thick Layer of Red Lead Was Applied Directly onto the Thin Gesso. A Succession of Pink and White Impasto Paint and Red Glazes Make up Tarquin's Breeches.
Attributed works:
29. Cross-Section from the Mid Tone in the Curtain, near the Centre of the Top Edge of the Painting. Overlapping Layers of Red Lead, a Grey Mixture and Fine Azurite Were Used to Indicate Both Light and Shadows in the Curtain before the Final Paint Layers Were Applied.
Attributed works:
30. Cross-Section from the Counterpane, Where There Is a Shape on the X-Radiograph. Both Changes in the Composition of the Painting and Preparatory Layers Are Responsible for the Change from Red to Green in This Area.
Attributed works:
31. Photomicrograph of Lucretia's Right Toe, Painted Thinly over the Counterpane.
Attributed works:
32. Detail of Fig.12. [Tarquin and Lucretia, by Titian. 188.9 by 145.4 cm. (Fitzwilliam Museum, Cambridge).]
Attributed works:
33. Detail of Fig.12. [Tarquin and Lucretia, by Titian. 188.9 by 145.4 cm. (Fitzwilliam Museum, Cambridge).]
