museums and institutions:
Attributed works:
1. Cosimo I de’ Medici in armour, by Agnolo Bronzino. c.1545. Oil on
poplar panel, 86 by 66.8 cm. (Art Gallery of New South Wales, Sydney;
© Art Gallery of New South Wales, Diana Panuccio).
Attributed works:
10. Detail of the XRF copper map of Fig.1, showing an inscribed horizontal
line on the lower-right side passing through the broncone and the
additional leaves of the side branch. (© Art Gallery of New South Wales).
Attributed works:
11. Detail of the XRF lead map of Fig.1, showing an inscribed horizontal
line on the lower-right side passing through the broncone and the
additional leaves of the side branch. (© Art Gallery of New South Wales).
Attributed works:
12. XRF scan mapping the distribution of arsenic in Fig.1. (© Art Gallery
of New South Wales).
Attributed works:
13. XRF scan mapping the distribution of copper in Fig.1. The black
and white arrows indicate the green copper-based azurite pigment
embedded into the indentation left in the surface after inscribing lines
and the painting out of armour at the waist in preparation for cutting
the panel. (© Art Gallery of New South Wales).
Attributed works:
14. Detail of Fig.8, showing an inscribed horizontal line on the lower-left
side with removal of lead. (© Art Gallery of New South Wales).
Attributed works:
15. Paint cross section outside the inscribed line showing two phases
of blue/green azurite crystals, one circled in white.
Attributed works:
15–17. Paint cross sections and SEM backscattered electron images
of the painting illustrated in Fig.1. Locations of sample sites are
indicated by the white letters in Fig.18.
Attributed works:
16. Paint cross section of the green background inside the inscribed
area showing a single phase of azurite crystals.
Attributed works:
17. Paint cross section on the shoulder showing a thin layer of leadbased
paint from armour with grey/green background from the l
ower painting and a two-phase azurite pigment circled in white.
(© Art Gallery of New South Wales, Paula Dredge).
Attributed works:
18. Purple indicates the areas of copper-based azurite background
containing arsenic (outside the inscribed line and upper shoulder).
Red indicates the area of copper-based azurite background that does
not contain arsenic. Green indicates the area of copper-based azurite
background not containing arsenic but repainted. (© Art Gallery of
New South Wales, Paula Dredge).
Attributed works:
19. Composite XRF scan map of Fig.1 showing mercury (red) and iron
(green). (© Art Gallery of New South Wales).
Attributed works:
2. Cosimo I de’ Medici in armour, by Agnolo Bronzino. 1543.
Oil on panel, 71 by 57 cm. (Galleria degli Uffizi, Florence;
Bridgeman Images).
Attributed works:
20. Red line trace of all features present in the infra-red image and
XRF iron, copper, lead and mercury maps of Fig.1 that are not visible
on the painting. (© Art Gallery of New South Wales, Simon Ives).
Attributed works:
21. Portrait of Cosimo I de’ Medici, half-length, in a black slashed
doublet and a plumed hat, holding a book, by Jacopo Pontormo. c.1537–
38. Oil (or oil and tempera) on panel, 100.6 by 77 cm. (Private collection;
Bridgeman Images).
Attributed works:
22. Head of a man, by Agnolo Bronzino. c.1550–55. Black chalk on paper,
13.8 by 10.3 cm. (J. Paul Getty Museum, Los Angeles).
Attributed works:
23. Fig.22 superimposed on the face of the Sydney lower painting
red line trace in Fig.20. (Photograph © Art Gallery of New South
Wales, Simon Ives).
Attributed works:
24. Portrait of a young man, by Agnolo Bronzino. 1550–55. Oil on
panel, 85.73 by 68.58 cm. (Nelson-Atkins Museum of Art, Kansas City),
and Fig.20 superimposed. (Photograph © Art Gallery of New South
Wales, Simon Ives).
Attributed works:
3. Macro photograph of Fig.1, showing a copying error in which the top
edge of the helmet has been drawn (placement indicated with white
arrows) but mistakenly painted as background. (© Art Gallery of New
South Wales, Diana Panuccio).
Attributed works:
4. Macro photograph of Fig.1, showing the reflection of the red ribbon
on the proper left rondel. The ridges of red lake paint suggest they
were dabbed, leaving the impression of a fingerprint in the paint.
(© Art Gallery of New South Wales, Diana Panuccio).
Attributed works:
5. Digital X-radiograph of Fig.1. (© Art Gallery of New South Wales,
Paula Dredge).
Attributed works:
6. Detail of infra-red reflectogram of Fig.1. (© Art Gallery of New
South Wales, Paula Dredge).
Attributed works:
7. Infra-red reflectogram of Fig.1 with placement of incised lines
indicated with white arrows. (© Art Gallery of New South Wales,
Paula Dredge).
Attributed works:
8. XRF scan mapping the distribution of lead in Fig.1. (© Art Gallery of
New South Wales).
Attributed works:
9. XRF scan mapping the distribution of mercury in Fig.1. (© Art Gallery
of New South Wales).
