museums and institutions:
Attributed works:
1. Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).
Attributed works:
10. Detail of Fig. 1, foreground near horse's hind leg, far left. Copper-resinate glazes are used to create blades of grass. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
11. Detail of Fig. 1 showing the incised perspective lines converging toward a central vanishing point. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
12. Detail of Fig. 1, flora, centre right. The copper-resinate glazes have darkened with age. The Malrand and the painted grey border are visible along the bottom edge. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
13. Infra-red reflectograph detail of Fig. 1 the 'hornblower' showing lines of underdrawing, probably in carbon black. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
14. The light shape of the dog is outlined by the black underlayer, over which the tree trunk was painted. The altered refractive index of the paint medium has increased the transparency of the top paint layer revealing the layers beneath. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
15. Fig.1 with the incision lines visible on the painting marked in bold black lines. The broken lines illustrate most of the perspective lines of the underdrawing visible with infra-red reflectography.[Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
16. Infra-red reflectograph assembly of the three running dogs in Fig.1. Uccello changed the position of the dogs' tails, and of the open mouth of the third dog.[Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
17. Infra-red reflectograph assembly of the paired horses at the far right of Fig.1 with nine or ten legs between them.
Attributed works:
18. Detail of Fig.1. The foliage is built up with a number of paint layers. The lower layers dark and thin, the highlights in brighter, thicker paint. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
19. Detail of Fig.1, foliage just above the river. The large oak leaves are painted in a semi-transparent brown glaze.[Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
20. Detail of Fig.1, where highlights in the painting of the foliage are accentuated with hollowed out clusters of leaves.
Attributed works:
21. Macrophotograph of a fragmentary leaf painted in gold in the foliage, a detail from the top left of Fig.1.
Attributed works:
22. Copy of a section of Hunt in the forest, by Paolo Uccello. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
23. Diagram Fig. 22. Letters A-E correspond to the following sequence. The copy was carried out following the method of construction, materials and techniques of the original as closely as possible. It shows the extent of change due to the natural ageing processes of the materials used, and gives an indication of how the original might have looked when first completed. A Pieces of canvas were glued over knots and surface defects. B The gesso was made from calcium sulphate and rabbitskin glue. The first two gesso layers were stippled on to ensure good adhesion. C The perspective lines and outlines of the figures were drawn in charcoal. D The predominately carbon black underlayer in a glue medium was applied over the foreground and foliage areas, leaving the figures as silhouettes. A grey layer was applied beneath the sky. Incisions were made to determine the position of the trees, logs and horizon line. E Main areas were painted in egg-tempera medium: the foreground green, the darkest green foliage, the sky and the body colours of the figures. F Modelling layers in the figures and trees followed. Oak leaves and plants were painted, with further layers superimposed. G Final details included the modification of contours and the painting of facial features. A copper-resinate glaze was applied over the foreground. H Leaf shapes were scraped out in the foliage and gold leaf was applied in the hollows. Additional gold leaves were applied directly onto the paint layers.
Attributed works:
24. Transcription of the sinopia underdrawing of the Nativity, by Paolo Uccello (formerly S. Martino alla Scala, Florence). V: 'centric' or 'vanishing point' $Z^1,>Z^2$: lateral or 'distance' points
Attributed works:
25. Pawning of the Host, detail of the predella of the Profanation of the Host, by Paolo Uccello. Panel, 42 cm. high. (Galleria Nazionale delle Marche, Urbino).
Attributed works:
26. Analysis of the perspectival underdrawing in Fig.1 as detected by infra-red reflectography. HH horizon line PQ intermediate horizontal GV, AV, EV, BV orthogonals discernable by infrared reflectography JV, KV, IV inferred orthogonals
Attributed works:
27. Analysis of the construction of the perspectival underdrawing in Fig. 1. ABCD presumed square $X^1,>X^2$ 'distance points' if ABCD is a square $Z^1,>Z^2$ 'distance points' if ABON is a square LM inferred additional horizontal
Attributed works:
28. Analysis of the perspective of Fig. 1 by E. Sindona.[Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
29. Detail of Fig.1, the rider on the white horse. The saddle cloth is glazed in red lake; the orange highlight on the garter resembles red lead. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
3. The conversion of St Eustace, by Pisanello. Panel, 54.5 by 65.5 cm. (National Gallery, London).
Attributed works:
30. Cross-section of paint sample from the sword in Fig. 29. Finely ground vermilion with a very little organic red and black (d), is painted on top of the saddle cloth, organic red with a small proportion of lead white (c). The white horse, mainly lead white (b), is on top of the gesso (a).
Attributed works:
31. Detail of Fig.1, the 'princely rider' second on the right. The copper-resinate glazes on his sleeve contrast with the red tunic. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
32. Cross-section of paint sample from the tunic in Fig.31. The tunic is painted in vermilion with a little organic red (b) and with organic red glazes (c). The underlayers are not complete in this cross section. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
33. Detail of Fig.1, just above the three running dogs. Coarse particles of malachite are clearly visible on the surface of the painting. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
34. Cross-section of paint sample from foliage top left. As in the foreground greens, the large rounded particles characteristic of artificial malachite are clearly seen in the upper layers (c). Underneath is the layer of black (b) and the stained gesso (a).
Attributed works:
35. The face of the 'running hunter' was damaged by a wood worm channel. After cleaning, before restoration. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
36. Cross-section of paint sample from hunter's face in Fig. 35. The thickness of the gesso layer (a) contrasts with the thinner paint layer of the hunter's face, lead white mixed with vermilion (c). Black particles may be underdrawing (b). [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
37. X-radiograph assembly of Fig.1. Due to the thickness of the panel, the grain of the wood and the irregularities of the panel show more clearly than the paint layer. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
4. Detail of Fig. 1, huntsman on horseback, left side. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
5. Detail of Fig. 1, hunstman in centre holding the dog on a lead. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
6. Detail of Fig. 1, huntsman's dagger. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
7. Detail of Fig. 1, the dappled-grey horse's tail, far right. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
8. Detail of Fig. 1, the left-hand side of the hunter holding the dog on a lead, showing incision lines of the spear and dog lead. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Attributed works:
9. Detail of Fig. 1, reeds along the river bank painted with copper-resinate glazes. [Hunt in the forest, by Paolo Uccello. Panel, 73.3 by 177 cm. (Ashmolean Museum, Oxford).]
Western art unattributed:
2. The pursuit of fidelity. Upper Rhenish (?), late fifteenth-century. Tapestry. (Burrell Collection, Glasgow).
