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Fig. 1. X-radiograph of 1974.109; in this image, cusping (or scalloping) of the canvas is visible along all four edges.
Fig. 2. The gray/brown ground is the bottom layer of this microscopic paint sample. In this layer, coarse-grained particles, identified as lead white and quartz, can be seen, as well as black, brown, red, and yellow particles.
Fig. 3. The distribution map for the element calcium, made using an X-ray fluorescence (XRF) scanner, reveals that calcium is closely associated with the brushwork in the foliage. This suggests that chalk (calcite), a calcium-containing material, was used as a substrate for the organic yellow lake pigment in the foliage.
Fig. 4. The blue pigment smalt, which contains the element cobalt, was used only in the small patch of sky at the top of the painting, as seen here in the distribution map for the element.
Fig. 5. The distribution map for mercury reveals that Schalcken used vermilion, a mercury-containing pigment, in passages of Procris’ red dress and the blood in her wound, as well as in the highlights of the brown fabric wrapped around Procris.
Fig. 6. Schalcken used an iron-based red earth pigment, which is more subdued than vermilion, for the bloodied spear tip and in the shadows of the red dress, as seen in the distribution map for iron. He also used brown and yellow iron-containing earth pigments extensively in the wooded background.
Fig. 8. The top blue layer in this microscopic paint sample, which comes from an unusually blue leaf of a tree, contains ultramarine blue pigment particles, but the yellow particles all appear to have faded. The yellowish layer just below contains discolored smalt particles, which are characteristically angular in shape.