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Andrea del Verrocchio, Tomb of Cosimo de' Medici (1464–1467, Church of San Lorenzo, Florence)

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Lisha Glinsman, conversation scientist in the scientific research department at the National Gallery of Art, analyzes one of the shields in the floor marker of Andrea del Verrocchio's Tomb of Cosimo de' Medici (1464–1467, Church of San Lorenzo, Florence) using portable x-ray fluorescence spectroscopy (XRF).

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Andrea del Verrocchio, Tomb of Giovanni and Piero de' Medici (c. 1470–1473, Church of San Lorenzo, Florence)

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Dylan Smith, Robert H. Smith research conservator in the department of object conservation (at top on a temporary scaffold), analyzes the grille of Andrea del Verrocchio's Tomb of Giovanni and Piero de' Medici (c. 1470–1473, Church of San Lorenzo, Florence) using portable x-ray fluorescence spectroscopy (XRF).

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Andrea del Verrocchio, Crucifix (c. 1475, Museo Nazionale del Bargello, Florence)

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Lisha Glinsman, conservation scientist in the scientific research department at the National Gallery of Art, and Daphne Barbour, senior conservator of objects at the National Gallery of Art, analyze paint layers on Andrea del Verrocchio's Crucifix (c. 1475, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

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Andrea del Verrocchio, The Resurrection of Christ (c. 1470, Museo Nazionale del Bargello, Florence)

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Dylan Smith, Robert H. Smith research conservator in the department of object conservation at the National Gallery of Art examines the paint layers in the blue background of Andrea del Verrocchio's The Resurrection of Christ (c. 1470, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

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Lisha Glinsman, conservation scientist in the scientific research department at the National Gallery of Art, examines the paint layers on one of the soldiers from Andrea del Verrocchio's The Resurrection of Christ (c. 1470, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

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Lisha Glinsman, conservation scientist in the scientific research department at the National Gallery of Art, analyzes the paint layers on Andrea del Verrocchio's polychrome terracotta Madonna and Child (c. 1475, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

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Dylan Smith, Robert H. Smith Research Conservator in the department of object conservation at the National Gallery of Art visually examines Andrea del Verrocchio's terracotta Madonna and Child (c. 1475, Museo Nazionale del Bargello, Florence).

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Shelley Sturman, head of object conservation at the National Gallery of Art, and Dylan Smith, Robert H. Smith Research Conservator in the department of object conservation at the National Gallery of Art examine the underside of Andrea del Verrocchio's Putto Poised on a Globe (c. 1480, National Gallery of Art, Washington, Andrew W. Mellon Collection) in the object conservation lab.

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Ute Stehr, painting conservator at the Staatliche Museen zu Berlin, Gemäldegalerie inpainting the Madonna and Child (c. 1470/1472, Staatliche Museen zu Berlin, Gemäldegalerie) that is attributed to Andrea del Verrocchio or Pieto Perugino. Photograph by Maria Zielke.

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Diagram of perspective lines in Madonna Adoring the Christ Child (The Ruskin Madonna) (c. 1475/1480, National Galleries of Scotland). Diagram by Elizabeth Walmsley, senior painting conservator, National Gallery of Art.

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Visible reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio's and Leonardo da Vinci's Tobias and the Angel (c. 1470, The National Gallery, London, Bought, 1857).

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Visible reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio and Leonardo da Vinci's Tobias and the Angel (c. 1470, The National Gallery, London, Bought, 1857).

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High-resolution infrared reflectography, using equipment from the National Gallery of Art to study Andrea del Verrocchio and Leonardo da Vinci's Tobias and the Angel (c. 1470 at The National Gallery, London, Bought, 1857).

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High-resolution infrared reflectography, using equipment from the National Gallery of Art to study Andrea del Verrocchio and Leonardo da Vinci's Tobias and the Angel (c. 1470, The National Gallery, London, Bought, 1857).

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(Left) Andrea del Verrocchio's Madonna and Child (c. 1465/1470, Staatliche Museen zu Berlin, Gemäldegalerie © bpk Bildagentur / Staatliche Museen, Berlin / Jörg P. Anders./ Art Resource, NY). (Right) Map of lead white associated with the dark green mantle from analysis of the infrared reflectance image cube. Fiber optic reflectance spectra from sites in the area defined by the map found evidence that the mantle was painted with a drying oil.

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(Left) Detail of Andrea del Verrocchio's Madonna and Child (c. 1465/1470, Staatliche Museen zu Berlin, Gemäldegalerie, © bpk Bildagentur / Staatliche Museen, Berlin / Jörg P. Anders./ Art Resource, NY). (Right) The false-color composite image of the painting obtained with the Gallery's infrared reflectance imaging camera.

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(Left) Domenico Ghirlandaio's Madonna and Child (c. 1475, National Gallery of Art, Washington, Samuel H. Kress Collection) undergoing elemental mapping. (Middle) Detail of brocade on the Virgin's sleeve. (Right) Element maps showing the use of mosaic gold paint (inferred from tin, Sn), lead tin yellow paint (co-localization of Sn and lead, Pb), and metallic gold leaf (Au).

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Infrared reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

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Infrared reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

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(Left) Color detail of the foot of Christ in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence). (Right) Infrared false-color composite image of the foot of Christ in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence) showing the sculptural quality of the modeling underlayers.

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(Left) Color detail of the head of John the Baptist in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence). (Right) Infrared false-color composite image of the head of John the Baptist in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

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(Left) Color detail of the two angels in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence). (Right) Infrared false-color composite image of the two angels in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

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Groundbreaking Scientific Research and Technical Study of Verrocchio's Masterpieces Revealed in Newly Published Exhibition Catalog

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