الصلب ويوم الحشر

33.92a

33.92b

Fig. 4. Infrared reflectography (IRR) of the underdrawing in "The Crucifixion"

Fig. 5. Infrared reflectography (IRR) of the underdrawing in "The Last Judgment"

Fig. 6. Infrared reflectography (IRR) detail of the underdrawing in "The Last Judgment" showing the crown on the Virgin’s head

Fig. 8. Infrared reflectography (IRR) detail of the proposed portraits of Cardinal Albergati and Philip of Burgundy in "The Crucifixion"

Fig. 9. Painted detail of the proposed portraits of Cardinal Albergati and Philip of Burgundy in "The Crucifixion"

Fig. 13. Reverse of 33.92ab showing inscriptions on the transfer canvases

Fig. 14. Inner sides of frames, oriented reverse to reverse, showing recesses for hinges

Fig. 15. Detail of outer sides of frames, oriented face to face, holes left by latching hardware indicated with arrows

Fig. 16. Details of x-radiographs with arrows showing cavities associated with hardware from triptych arrangement, above a similarly positioned latch ©Verougstraete 2015, p.109, fig. b.

Fig. 17. Detail from "Tthe Crucifixion" in normal light and infrared reflectograms; yellow arrows indicate the bold underdrawing, while white arrows indicate the finer underdrawn lines

Fig. 18. Detail from "Tthe Crucifixion" in normal light and infrared reflectograms; yellow arrows indicate the bold underdrawing, while white arrows indicate the finer underdrawn lines

Fig. 19. Detail from "The Last Judgment" ©The Met, Juan Trujillo, in collaboration with KIK-IRPA, Brussels

Fig. 20. Detail from “The Crucifixion” ©The Met, Juan Trujillo, in collaboration with KIK-IRPA, Brussels

Fig. 21. The lower member of “The Last Judgment” frame shown in: A. Before treatment photography B. X-radiography C. Lead distribution map obtained by macro X-ray fluorescence (MA-XRF) D. After treatment photography. ©The Met, Departments of Paintings Conservation and Scientific Research