IntroductionAshok RoyThe ''Paliotto'' by Guido da Siena from the Pinacoteca Nazionale, SienaMarco Ciatti, Roberto Bellucci, Camilla Fracassi, Cecilia Frosinini, Carlo Lalli, Linda Lucarelli and Luciano SostegniPainting on parchment and panel: an exploration of Pacino di Bonaguida''s techniqueYvonne Szafran, Carole Namowicz, Catherine Schmidt Patterson, Christine Sciacca, Karen Trentelman and Nancy TurnerTechnical similarities between mural painting and panel painting by Giovanni da Milano: Guidalotti-Rinuccini chapel, Santa Croce, FlorenceFabrizio Bandini, Alberto Felici, Cecilia Frosinini, Mariarosa Lanfranchi and Paola Ilaria MariottiNeroccio''s Virgin and Child with Saint Anthony Abbott and Saint Sigismund at the National Gallery of Art, Washington, DCCarol Christensen, Suzanne Quillen Lomax, Michael Palmer and Steve WilcoxA new examination of Giovanni Bellini''s ''Pesaro Altarpiece'': recent findings and comparisons with other works by BelliniGianluca Poldi and Giovanni Carlo Federico VillaExamination of the Uomini Illustri: looking for the origins of the portraits in the Studiolo of the Ducal Palace of Urbino. Part IMichel Menu, Estelle Itie, Elisabeth Ravaud, Myriam Eveno, Elsa Lambert, Eric Laval, Ina Reiche, Rocco Mazzeo, Maria Letizia Amadori, Irene Bonacini, Edith Joseph, Silvia Prati and Giorgia SciuttoExamination of the Uomini Illustri: looking for the origins of the portraits in the Studiolo of the Ducal Palace of Urbino. Part IIRocco Mazzeo, Michel Menu, Maria Letizia Amadori, Irene Bonacini, Estelle Itie, Myriam Eveno, Edith Joseph, Elsa Lambert, Eric Laval, Silvia Prati, Elisabeth Ravaud and Giorgia SciuttoMichelangelo''s ''Doni Tondo'' investigated with non-invasive analytical techniquesEzio Buzzegoli and Roberto BellucciGranacci in The Metropolitan Museum of Art: aspects of evolving workshop practiceCharlotte Hale, Julie Arslanoglu and Silvia A. CentenoLeonardo da Vinci''s The Virgin and Child with Saint Anne (Musee du Louvre, Paris): new infrared reflectographyBruno MottinLeonardo da Vinci''s Virgin of the Rocks: technique and the context of restorationLarry Keith, Ashok Roy and Rachel MorrisonObservations on workshop practice in fifteenth-century Castile: the altarpiece from the cathedral at Ciudad Rodrigo by Fernando Gallego and his workshopClaire BarryStudying the ''Graue Passion'' by Hans Holbein the ElderStephanie Dietz, Henning Autzen, Ursula Baumer, Patrick Dietemann, Irene Fiedler, Christoph Krekel, Anna Schonemann and Amelie StangeAlbrecht Altdorfer''s Crucifixion (Museum of Fine Arts, Budapest)Mark Leonard, Carole Namowicz and Anne WoollettDevelopments in the underdrawing and painting technique of the sixteenth-century Leiden School, in particular the workshops of Cornelis Engebrechtsz and Lucas van LeydenEsther van Duijn, Jan Piet Filedt Kok, Abbie Vandivere, Arie Wallert and Margreet WoltersIn search of the right colour: colour notations in a late sixteenth-century Dutch paintingFriso Lammertse, Arie Wallert and Margreet WoltersCaravaggio''s underdrawing: a ''Quest for the Grail''?Roberto Bellucci, Cecilia Frosinini and Luca PezzatiMultiplicity, authorship and chronology: an integrated evaluation of four images of Saint Francis by El GrecoCynthia Kuniej Berry, Francesca Casadio, Inge Fiedler, Richard Mann, Ana Sanchez-Lassa and Jose Luis GorospeBetween creativity and economy: remarks on the quality of Rubens'' panel supports. A study of paintings in the Royal Museums of Fine Arts of BelgiumHelene Dubois and Pascale FraitureTravels with Rubens'' Last JudgementAndreas Burmester, Nina Schleif and Melanie EiblThe painting techniques of the Rosenborg Series 1618-1624 and painting materials supplied to the Danish court painters at the time of King Christian IVAnne Haack ChristensenNine Muses in the Oranjezaal: the painting methods of Caesar van Everdingen and Jan Lievens confrontedMargriet van Eikema Hommes and Lidwien SpeleersMaterial as metaphor: non-conscious thinking in seventeenth-century painting practiceE. Melanie GiffordMurillo''s Christ Healing the Paralytic at the Pool of Bethesda: an introduction to the artist''s late painting techniqueHayley Tomlinson, Helen Howard, David Peggie, Paul Ackroyd and Dawson CarrAbout skin: technical examination of paintings by Adriaen van der WerffArie Wallert and Willem de RidderTwo ''mechanical'' oil paintings after de Loutherbourg: history and techniqueDavid Saunders and Antony GriffithsA lost early conversation piece by Thomas GainsboroughRica Jones, Joyce H. Townsend, Elizabeth Einberg and Hugh Belsey''I can see no vermilion in flesh'': Sir Joshua Reynolds'' portraits of Francis Beckford and Suzanna Beckford, 1755-1756Helen Brett, Joyce H. Townsend, Rica Jones, Jaap Boon and Katrien KeuneBenjamin West and the Venetian SecretMark Aronson, Helen A.
Cooper and Angus TrumbleAspects of Christen Kobke''s painting technique: from drawing via oil sketch to the final paintingJorgen Wadum, Kasper Monrad and Mikkel ScharffAction speaks louder than words: Thomas Couture as a teacherJane Munro and Marie Louise SauerbergJames McNeill Whistler: fluidity, finish and experimentErma Hermens and Arie WallertA comparative study of Vincent van Gogh''s Bedroom seriesElla Hendriks, Leo Jansen, Johanna Salvant, Elisabeth Ravaud, Myriam Eveno, Michel Menu, Inge Fiedler, Muriel Geldof, Luc Megens, Maarten van Bommel, C. Richard Johnson Jr and Don. H. JohnsonThe Scream by Edvard Munch: painting techniques and colouring materialsUnn Plahter and Biljana Topalova-CasadiegoWood species in Italian panel paintings of the fifteenth and sixteenth centuries: historical investigation and microscopical wood identificationRaffaella Bruzzone and Maria Clelia GalassiThe use of blue and green verditer in green colours in the mid-seventeenth-century paintings of the Oranjezaal, The HagueAnnelies van Loon and Lidwien SpeleersThe rediscovery of sublimed arsenic sulphide pigments in painting and polychromy: applications of Raman microspectroscopyGunter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege and Christoph HaischIn quest of vermilion: production, commerce and use of the pigment in eighteenth-century SpainStefanos Kroustallis, Rocio Bruquetas and Marisa Gomez''The heaviest and the whitest'': lead white quality in north western European documentary sources, 1400-1900Maartje Stols-WitloxLead white from Venice: a whiter shade of pale?Barbara Berrie and Louisa Matthew".