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Methodology & Resources: New Findings from the National Gallery of Art
E. Melanie Gifford, Kathryn A. Dooley, John K. Delaney
The findings of the recent comprehensive technical study (2020–2022) of all four works by or attributed to Vermeer at the National Gallery of Art, Washington, are presented in three articles in this issue. This section offers guidance on using the JHNA image viewers and expands on the brief technical overviews in the articles with additional detail on the analytical methods used. For those who have not previously used such documents, we offer suggestions on how to interpret technical evidence. For those who regularly use such evidence in their research, the specific operating parameters of each method can be found in the endnotes of each section below. Whereas prior studies mainly relied on microanalysis of paint samples and magnified examination of the painted surface with a stereomicroscope, this study also used extensive analysis based on non-invasive chemical imaging spectroscopy, the results of which are presented in the form of images and maps, rather than graphs, making them accessible to a wider audience. Each of these methods are discussed below.
The JHNA Image Viewers
Interpreting Technical Evidence
Reflectance Imaging Spectroscopy
X-ray Fluorescence Imaging Spectroscopy
Paint Cross Sections
Polarized Light Microscopy
Point chemical spectroscopic methods
The Multi-Mode Viewer
Fig. a Screenshot of JHNA IIIF multi-mode viewer with visible, false-color IRR, and XRF (Copper) images. The IIIF multi-mode viewer allows for study of high-resolution images registered to IIIF standards. Use the mouse to select up to three images from the toolbar icons, pull these layered images aside horizontally or vertically, and zoom in for a highly magnified view. Click on this image to compare any area of the painting's surface to the same area in the false-color infrared reflectogram or the XRF map. [IIIF multi-mode viewer]
In the multi-mode viewer, using IIIF (International Image Interoperability Framework) images, the surface of the painting can be compared to the technical images, and each can be studied at increasing magnification (at times, up to a microscopic level) in "layer mode" or "side-by-side mode" (fig. a). Using this viewer, it is also possible to correlate the partially overlapped layering of brushstrokes visible on the painting's surface to the layers of the painting (also seen in paint cross sections).
Johannes Vermeer, A Lady Writing, ca. 1665, oil on canvas, National Gallery of Art, Washington
Fig. 1 Johannes Vermeer, A Lady Writing, ca. 1665, oil on canvas, 45 x 39.9 cm. National Gallery of Art, Washington, DC, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer, inv. 1962.10.1 (artwork in the public domain) Click on the image to compare images (visible light, false-color IRR, XRF copper map). [IIIF multi-mode viewer]
Johannes Vermeer, Woman Holding a Balance, ca. 1664, oil on canvas, National Gallery of Art, Washington
Fig. 2 Johannes Vermeer, Woman Holding a Balance, ca. 1664, oil on canvas, 39.7 x 35.5 cm. National Gallery of Art, Washington, DC, Widener Collection, inv. 1942.9.97 (artwork in the public domain) Click on the image to compare images (visible light, false-color IRR, XRF copper map). [IIIF multi-mode viewer]
Johannes Vermeer, Girl with the Red Hat, ca. 1669, oil on panel, National Gallery of Art, Washington
Fig. 3 Johannes Vermeer, Girl with the Red Hat, ca. 1669, oil on panel, 22.8 x 18 cm. National Gallery of Art, Washington, DC, Andrew W. Mellon Collection, inv. 1937.1.53 (artwork in the public domain) Click on the image to compare images (visible light, false-color IRR, XRF copper map). [IIIF multi-mode viewer]
Studio of Johannes Vermeer, Girl with a Flute, ca. 1669/1675, oil on panel, National Gallery of Art, Washington
Fig. 4 Studio of Johannes Vermeer, Girl with a Flute, ca. 1669/1675, oil on panel, 20 x 17.8 cm. National Gallery of Art, Washington, DC, Widener Collection, inv. 1942.9.98 (artwork in the public domain) Click on the image to compare images (visible light, false-color IRR, XRF copper map). [IIIF multi-mode viewer]
Thanks to the generosity of the University of Heidelberg's heidICON in hosting IIIF images, all IIIF images of the National Gallery of Art Vermeer paintings can be seen in the following IIIF Manifests, and be re-used in separate image comparison in other IIIF-compatible viewers.
Fig. 1 Johannes Vermeer, Girl with the Red Hat, ca. 1669, oil on panel, 22.8 x 18 cm. National Gallery of Art, Washington, DC, Andrew W. Mellon Collection, inv. 1937.1.53 (artwork in the public domain): https://heidicon.ub.uni-heidelberg.de/manifest/iiif/1698153/manifest.json
Fig. 2 Johannes Vermeer, Woman Holding a Balance, ca. 1664, oil on canvas, 39.7 x 35.5 cm. National Gallery of Art, Washington, DC, Widener Collection, inv. 1942.9.97 (artwork in the public domain): https://heidicon.ub.uni-heidelberg.de/manifest/iiif/1698157/manifest.json
Fig. 3 Johannes Vermeer, A Lady Writing, ca. 1665, oil on canvas, 45 x 39.9 cm. National Gallery of Art, Washington, DC, Gift of Harry Waldron Havemeyer and Horace Havemeyer Jr., in memory of their father, Horace Havemeyer, inv. 1962.10.1 (artwork in the public domain): https://heidicon.ub.uni-heidelberg.de/manifest/iiif/1698155/manifest.json
Fig. 4 Studio of Johannes Vermeer, Girl with a Flute, probably 1669/1675, oil on panel, 20 x 17.8 cm. National Gallery of Art, Washington, DC, Widener Collection, inv. 1942.9.98 (artwork in the public domain): https://heidicon.ub.uni-heidelberg.de/manifest/iiif/1698151/manifest.json
The Side-by-Side Viewer
Fig. b Screenshot of the JHNA side-by-side viewer [side-by-side viewer]
Using the side-by-side viewer, the reader can juxtapose any two works of art illustrated in each article, zooming in to make detailed comparisons (fig. b). Click on any of the images in the slide show below (figs. 5–27) to access this viewer. Use the icons in the toolbar to toggle between the single image viewer and the side-by-side viewer. Use the drop-down menu to compare that image to any other work of art illustrated in this article.
Frans van Mieris, Brothel Scene, ca. 1658–1659, oil on panel, Mauritshuis, The Hague
Fig. 5 Frans van Mieris, Brothel Scene, ca. 1658–1659, oil on panel, 42.5 x 33.3 cm. Mauritshuis, The Hague, inv. 860 (artwork in the public domain) [side-by-side viewer]
Gabriel Metsu, The Intruder, ca. 1660, oil on panel, National Gallery of Art, Washington
Fig. 6 Gabriel Metsu, The Intruder, ca. 1660, oil on panel, 66.6 x 59.4 cm. National Gallery of Art, Washington, DC, Andrew W. Mellon Collection, inv. 1937.1.57 (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, The Milkmaid, ca. 1660, oil on canvas, Rijksmuseum, Amsterdam
Fig. 7 Johannes Vermeer, The Milkmaid, ca. 1660, oil on canvas, 45.5 x 41 cm. Rijksmuseum, Amsterdam, inv. SK-A-2344 (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, Woman Writing a Letter, with her Maid, ca. 1670, oil on canvas, National Gallery of Ireland, Dublin
Fig. 8 Johannes Vermeer, Woman Writing a Letter, with her Maid, ca. 1670, oil on canvas, 71.1 x 60.5 cm. National Gallery of Ireland, Dublin, Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection), inv. NGI.4535. Photo © National Gallery of Ireland (artwork in the public domain) [side-by-side viewer]
Gabriel Metsu, Woman Reading a Letter, 1664–1666, oil on panel, National Gallery of Ireland, Dublin
Fig. 9 Gabriel Metsu, Woman Reading a Letter, 1664–1666, oil on panel, 52.5 x 40.2 cm. National Gallery of Ireland, Dublin, Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection), inv. NGI.4537. Photo © National Gallery of Ireland (artwork in the public domain) [side-by-side viewer]
Gerard ter Borch, Woman Writing a Letter, 1655, oil on panel, Mauritshuis, The Hague
Fig. 10 Gerard ter Borch, Woman Writing a Letter, 1655, oil on panel, 38.3 x 27.9 cm. Mauritshuis, The Hague, inv. 797 (artwork in the public domain) [side-by-side viewer]
Rembrandt van Rijn, Self-Portrait, ca. 1628, oil on panel, Rijksmuseum, Amsterdam
Fig. 11 Rembrandt van Rijn, Self-Portrait, ca. 1628, oil on panel, 22.6 cm x 18.7 cm. Rijksmuseum, Amsterdam, inv. SK-A-4691 (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, Girl with a Pearl Earring, ca. 1665, oil on canvas, Mauritshuis, The Hague
Fig. 12 Johannes Vermeer, Girl with a Pearl Earring, ca. 1665, oil on canvas, 44.5 x 39 cm. Mauritshuis, The Hague, inv. 670 (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, Study of a Young Woman, ca. 1665−67, oil on canvas, The Metropolitan Museum of Art, New York
Fig. 13 Johannes Vermeer, Study of a Young Woman, ca. 1665−67, oil on canvas, 44.5 x 40 cm. The Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Charles Wrightsman, in memory of Theodore Rousseau Jr., inv. 1979.396.1.(artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, A Maid Asleep, ca. 1656–57, oil on canvas, The Metropolitan Museum of Art, New York
Fig. 14 Johannes Vermeer, A Maid Asleep, ca. 1656–57, oil on canvas, 87.6 x 76.5 cm. The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913, inv. 14.40.611 (artwork in the public domain) [side-by-side viewer]
Michiel Sweerts, A Young Maidservant, ca. 1660, oil on canvas, The Kremer Collection
Fig. 15 Michiel Sweerts, A Young Maidservant, ca. 1660, oil on canvas, 61 x 53.5 cm. The Kremer Collection [side-by-side viewer]
Michiel Sweerts, Boy in a Turban Holding a Nosegay, ca. 1658–1661, oil on canvas, Museo Nacional Thyssen-Bornemisza, Madrid
Fig. 16 Michiel Sweerts, Boy in a Turban Holding a Nosegay, ca. 1658–1661, oil on canvas. 76.4 x 61.8 cm. © Museo Nacional Thyssen-Bornemisza, Madrid, inv. 385 (1981.19) [side-by-side viewer]
Johannes Vermeer, The Lacemaker, ca. 1669−1670, oil on canvas (attached to panel),Musée du Louvre, Paris
Fig. 17 Johannes Vermeer, The Lacemaker, ca. 1669−1670, oil on canvas (attached to panel), 23.9 x 20.5 cm. Musée du Louvre, Paris, inv. M.I. 1448. Musée du Louvre, Paris / Art Resource, NY (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, Young Woman Seated at a Virginal, ca. 1670−72, oil on canvas, The Leiden Collection, New York
Fig. 18 Johannes Vermeer, Young Woman Seated at a Virginal, ca. 1670−72, oil on canvas, painted surface measures 24.7 x 19.4 cm (the tacking margins have been removed), The Leiden Collection, New York, inv. JVe-100. Image courtesy of the Leiden Collection, New York (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, Mistress and Maid, ca. 1666−1667, oil on canvas, Frick Collection, New York
Fig. 19 Johannes Vermeer, Mistress and Maid, ca. 1666−1667, oil on canvas, 90.2 x 78.7 cm. Frick Collection, New York, Henry Clay Frick Bequest, inv. 1919.1.126. © The Frick Collection (artwork in the public domain) [side-by-side viewer]
Fig. 20 Johannes Vermeer, Woman Writing a Letter, with her Maid, ca. 1670, oil on canvas, 71.1 x 60.5 cm. National Gallery of Ireland, Dublin, Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection), inv. NGI.4537. Photo © National Gallery of Ireland (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, The Astronomer, 1668, oil on canvas, Musée du Louvre, Paris
Fig. 21 Johannes Vermeer, The Astronomer, 1668, oil on canvas, 51 x 45 cm. Musée du Louvre, Paris, inv. RF 1983 28. Musée du Louvre, Paris / Art Resource, NY (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, The Geographer, 1669, oil on canvas, Städel Museum, Frankfurt am Main
Fig. 22 Johannes Vermeer, The Geographer, 1669, oil on canvas, 51.6 x 45.4 cm. Städel Museum, Frankfurt am Main, inv. 1149 (artwork in the public domain)a [side-by-side viewer]
Imitator of Johannes Vermeer, The Lacemaker, ca. 1925, oil on canvas, National Gallery of Art, Washington
Fig. 23 Imitator of Johannes Vermeer, The Lacemaker, ca. 1925, oil on canvas, 44.5 x 40 cm. National Gallery of Art, Washington, DC, Andrew W. Mellon Collection, inv. 1937.1.54 (artwork in the public domain) [side-by-side viewer]
Imitator of Johannes Vermeer, The Smiling Girl, ca. 1925, oil on canvas, National Gallery of Art, Washington
Fig. 24 Imitator of Johannes Vermeer, The Smiling Girl, ca. 1925, oil on canvas, 41 x 31.8 cm. National Gallery of Art, Washington, DC, Andrew W. Mellon Collection, inv. 1937.1.55 (artwork in the public domain) [side-by-side viewer]
Johannes Vermeer, The Girl with the Wine Glass, 1658/1659, oil on canvas, Herzog Anton Ulrich Museum, Braunschweig
Fig. 25 Johannes Vermeer, The Girl with the Wine Glass, 1658/1659, oil on canvas, 77.5 x 66.7 cm. Herzog Anton Ulrich Museum, Braunschweig, inv. GG 316. Herzog Anton Ulrich Museum, Braunschweig / Art Resources, NY (artwork in the public domain) [side-by-side viewer]
Cornelis de Man, Geographers at Work, ca. 1670, oil on canvas, Hamburger Kunsthalle, Hamburg
Fig. 26 Cornelis de Man, Geographers at Work, ca. 1670, oil on canvas, 81 x 68 cm. Hamburger Kunsthalle, Hamburg, inv. HK-239. bpk bildagentur/Hamburger Kunsthalle/Elke Walford/Art Resource, NY (artwork in the public domain) [side-by-side viewer]
Attributed to Johannes Vermeer, Saint Praxedis, 1655, oil on canvas, National Museum of Western Art, Tokyo
Fig. 27 Attributed to Johannes Vermeer, Saint Praxedis, 1655, oil on canvas, 101.6 x 82.6 cm. National Museum of Western Art, Tokyo, inv. DEP.2014-0001 [side-by-side viewer]
Magnified Examination of the Paint Surface
Fig. c Vermeer, A Lady Writing, detail. By zooming in at high magnification below the face in A Lady Writing, we can see the blended, wet-into-wet handling of the gray ermine spots in the white fur of the jacket. Looking through the gap in the final paint between the woman's chin and the fur, we can see a diagonal stroke of brush-furrowed underpaint below. [IIIF multi-mode viewer]
The information collected through varied analytical methods is interpreted in the context of the paintings themselves, studied at high magnification using a stereomicroscope (fig. c). The JHNA image viewers invite readers to join in this interpretation. Because it is essential to compare paint handling at the same scale, this evidence is presented throughout the articles in close details and even closer photomicrographs with scale bars that indicate the magnification.
By studying the surface of the painting at high magnification, we can see Vermeer at work. Close examination reveals individual brushstrokes and allows us to characterize the handling of paint. We often can deduce the order in which Vermeer painted individual details by looking to see whether brushstrokes lie over earlier paint that had already dried, or whether they blend wet-into-wet with the underlying brushstrokes. Examination through minute gaps in the final brushstrokes gives information on the early stages of the painting process—the ground, painted sketch, and underpaint—that can contribute to the interpretation of the technical images.
Reflectance imaging spectroscopy (RIS) measures the amount of visible and infrared light that is reflected by artists' materials within paint layers. Typical technical images produced from RIS analysis include material maps or false-color reflectance images.1 The articles in this issue show only high spatial resolution false-color reflectance images acquired with a different instrument in the infrared spectral region, here called false-color IRR.2
In this technique, three infrared images are assigned different colors and combined to create a false-color IRR, separating pigments more clearly than is possible with traditional infrared reflectography, which shows one infrared image in grayscale (figs. 28–31).
Vermeer, A Lady Writing, false-color IRR
Fig. 28 Vermeer, A Lady Writing (fig. 1), false-color IRR [IIIF multi-mode viewer]
Vermeer, Woman Holding a Balance, false-color IRR
Fig. 29 Vermeer, Woman Holding a Balance (fig. 2), false-color IRR [IIIF multi-mode viewer]
Vermeer, Girl with the Red Hat, false-color IRR
Fig. 30 Vermeer, Girl with the Red Hat (fig. 3), false-color IRR [IIIF multi-mode viewer]
Vermeer, Girl with a Flute, false-color IRR
Fig. 31 Vermeer, Girl with a Flute (fig. 4), false-color IRR [IIIF multi-mode viewer]
X-ray fluorescence imaging spectroscopy (XRF element mapping) measures the energy distribution of emitted X-ray radiation after excitation of the artist's materials.3 The output technical images are maps of chemical elements, such as iron found in yellow and red ochres and lead found in lead white or lead tin yellow (figs. 32–44).
fig. 32 NGA Lady Writing C XRF Cu K-gamma adj
Fig. 32 Vermeer, A Lady Writing (fig. 1), in the XRF copper map (Cu K, gamma adjusted), white areas map the presence of copper, which here corresponds to a drier in the underpaint. In Vermeer's first version of the composition, the woman held her pen almost vertically; the XRF copper map confirms this, showing that in the underpaint the background was brushed up to the margins of the vertical quill, leaving a narrow reserve for the original form. (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 33 NGA Lady Writing C XRF Fe K
Fig. 33 Vermeer, A Lady Writing (fig. 1), the XRF iron map (Fe K) helps to visualize the iron-rich ochre underpaint layer. In the underpaint stage, Vermeer dragged a wide brush through the still-wet ochre, wiping away paint to leave a few wide troughs that created just a summary indication of folds. (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 34 NGA Lady Writing C XRF Pb L
Fig. 34 Vermeer, A Lady Writing (fig. 1), the XRF lead map for the L-line energy (Pb L), which corresponds to lead in all layers of the painting, shows the quill held vertically in the underpaint, as well as the relaxed, final position of the pen. (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 35 NGA Lady Writing C XRF Pb M
Fig. 35 Vermeer, A Lady Writing (fig. 1), the XRF lead map for the M-line energy (Pb M) which records lead white pigment mainly in surface paint, shows the smoothly modeled highlights of the final image. (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 36 NGA Lady Writing C XRF Sn L
Fig. 36 Vermeer, A Lady Writing (fig. 1), the XRF map for tin (Sn L) shows the texture of stippled brushmarks where the underpaint of the tablecloth includes highlights based on lead-tin yellow. (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 37 NGA Woman with a Balance C XRF Cu K
Fig. 37 Vermeer, Woman Holding a Balance (fig. 2), in the XRF copper map (Cu K), white areas map the presence of copper—which here corresponds to a drier in the underpaint—while darker or black areas correspond to little or no signal for copper (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 38 NGA Woman with a Balance C XRF Cu K-inverted
Fig. 38 Vermeer, Woman Holding a Balance (fig. 2), XRF copper map (Cu K) is here showninverted so that the darkest areas correspond to the greatest amount of copper, where the copper-containing underpaint must have been most heavily applied (photo: Dooley et al., "Comparing Vermeer's Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 39 NGA Girl with Red Hat C XRF Cu K
Fig. 39 Vermeer, Girl with the Red Hat (fig. 3), in the XRF copper map (Cu K), white areas map the presence of copper—which here corresponds to a drier used in Vermeer's image of the woman and also in the underlying image of a man with a large hat that lies below (photo: Dooley et al., "Documenting the Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 40 NGA Girl with Red Hat C XRF Mn K
Fig. 40 Vermeer, Girl with the Red Hat (fig. 3), the XRF manganese map (Mn K) reveals the use of an umber-based painted sketch that laid out the underlying composition of a man. Many blackish areas in manganese map correspond to dense paints applied in later stages (e.g., the man's face and the yellow highlights of the girl's cloak) that suppress the signal from the manganese-containing paint below. (photo: Dooley et al., "Documenting the Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 41 NGA Girl with Red Hat C XRF Pb L
Fig. 41 Vermeer, Girl with the Red Hat (fig. 3), the XRF lead map for the L-line energy (Pb L), which corresponds to lead in all layers of the painting, shows elements based on lead white in the underlying image (the man's face and collar) as well as in the final image (the face of the girl and highlights on the cloak). (photo: Dooley et al., "Documenting the Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 42 NGA Girl with Red Hat C XRF Sn L
Fig. 42 Vermeer, Girl with the Red Hat (fig. 3), the XRF tin map (Sn L) records the pattern of the yellow highlights on the cloak, which are based on lead-tin yellow pigment. (photo: Dooley et al., "Documenting the Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
Fig. 43 Vermeer, Girl with the Red Hat (fig. 3), the XRF mercury map (Hg) (histogram stretched and gamma adjusted to show low amounts of mercury) corresponds to the red pigment, vermilion. The map shows a fainter mercury signal corresponding to the underpaint, where Vermeer seems to have just roughed out the hat with a few wild brushstrokes that extend beyond the hat's final contours at the upper left. The brightest signal coincides with the finished hat, its outer contour varied by tiny feathery strokes of vermilion. (photo: Dooley et al., "Documenting the Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
fig. 44 NGA Girl with Flute C XRF Cu K
Fig. 44 Vermeer, Girl with a Flute (fig. 4), in the XRF copper map (Cu K), white areas map the presence of copper—which here corresponds to a drier in the underpaint—while darker or black areas correspond to little or no signal for copper (photo: Dooley et al., "Documenting the Painting Techniques," https://heritagesciencejournal.springeropen.com/) [IIIF multi-mode viewer]
Point Analysis
In addition to mapping information across the paintings, detailed information at discrete points on the paintings was gathered through microscopic analysis of minute paint samples and through chemical spectroscopic methods that do not require samples.
When analyzing paint cross-sections (samples that include all layers of the paint stratigraphy), light microscopy reveals the sequence of paint and ground layers corresponding to the different stages of Vermeer's painting process.4The visual characteristics observed in the cross section give information on the pigments present, and scanning electron microscopy with energy dispersive spectroscopy analysis (SEM-EDS) helps to identify further the specific pigments used by showing the distribution of the chemical elements (e.g., calcium, iron, lead, etc.) in the paint layers (figs. 45–47).5
Fig. 45 R733 Writing-visible 20x obj DFwet - Copy
Fig. 45 Vermeer, A Lady Writing, paint cross section taken from tablecloth, with smoothly brushed, dark final paint (3) over a textured lead-tin yellow–rich paint mixture corresponding to a half-light in the underpaint (2) and the ground (1) [IIIF multi-mode viewer]
Fig. 46 Balance tablecloth sample R1965a
Fig. 46 Vermeer, Woman Holding a Balance, paint cross section from the tablecloth shown in autofluorescence (excitation: bandpass filter 355-425 nm; transmission: long pass filter 470 nm). The sample is marked with the diagonal path of a SEM-EDS line scan for copper through three layers: repaint, final paint, and underpaint (the ground is not included in this sample). [IIIF multi-mode viewer]
Fig. 47 Flute R725 50x BF xd polars
Fig. 47 Vermeer, Girl with a Flute, paint cross section taken from a loss in the face (exposed during treatment in 1994). Vermilion particles, visible throughout both paint layers, measure up to 4 µm in the final paint (4), and under 2 µm in the underpaint (3). The paint layers lie over the upper ground (2) and a trace of the lower ground (1). [IIIF multi-mode viewer]
These microscopic samples are removed, using eye-surgery scalpels, only from areas of existing damage; they are then mounted to show the paint layers in cross section and examined with a light microscope at up to 500x. In each sample image, the length of the scale bar (units of the numerical length) is given in micrometers (µ): one micrometer equals one thousandth of a millimeter.
Polarized light microscopy (PLM) gives detailed information on individual paint layers by identifying single pigment particles and characterizing pigment mixtures.6 Dispersed pigment samples consist of a few grains of paint collected from the paint surface without leaving a visually perceptible loss. Identifications are made by observing particles' interactions with light in various orientations.
Fig. 48 cropped NGA Writing painted sketch PLM T1138_50x_slly unxd pol-adj.
Fig. 48 Vermeer, Woman Holding a Balance, dispersed pigment sample of the brown painted sketch (photographed with slightly uncrossed polars). The sample includes isotropic dark brown particles consistent with umber, and almost no black pigment, as well as fragments of the ground, in which lead white and calcium carbonate appear as brightly lit (birefringent) particles. [IIIF multi-mode viewer]
Fig. 49 PLM T1195 Writing underpaint cropped
Fig. 49 Vermeer, A Lady Writing, dispersed pigment sample showing coarsely ground lead-tin yellow pigment in the underpaint of the lighted tablecloth (photographed with slightly uncrossed polars). The sample also includes smaller amounts of ultramarine blue, lead white and calcium carbonate. [IIIF multi-mode viewer]
Fig. 50 PLM T1206 Writing final paint cropped
Fig. 50 Vermeer, A Lady Writing, dispersed pigment sample showing more finely ground lead-tin yellow pigment in the final paint of a midtone highlight on the yellow jacket (photographed with slightly uncrossed polars). The sample also includes calcium carbonate and a small amount of isotropic brown earth. [IIIF multi-mode viewer]
Fig. 51 Red Hat T1173 slly unxd pol
Fig. 51 Vermeer, Girl with the Red Hat, dispersed pigment sample of greenish shadow from the face that includes yellow earth and isotropic brown earth with large, deep blue-green particles of green earth (white arrow) (photographed with slightly uncrossed polars). The sample also includes minor amounts of minor amounts of white lead, vermilion, and traces of black and red lake. [IIIF multi-mode viewer]
Fig. 52 Flute T1183 slly unxd pol
Fig. 52 Vermeer, Girl with a Flute, dispersed pigment sample of greenish shadow from the face, with small, pale pigment particles of green earth (white arrows) and a substantial proportion of large, glassy particles (black arrows) (photographed with slightly uncrossed polars). The sample also includes yellow earth, brown earth, a minor amount of black, and traces of white lead and vermilion. [IIIF multi-mode viewer]
Reflectance imaging spectroscopy (RIS) can be implemented as a point measurement (gathering information from a single point on the painting). A method commonly referred to as fiber-optic reflectance spectroscopy (FORS) uses a fiber-optic probe to collect the reflected light. When X-ray fluorescence imaging spectroscopy is implemented as a point measurement, the technique is commonly referred to as X-ray fluorescence (XRF) analysis.
E. Melanie Gifford currently holds a J. Clawson Mills Scholarship at the Metropolitan Museum of Art and is writing a book on visual strategies of seventeenth-century Dutch naturalistic landscape. Previously, she held positions in scientific research at the National Gallery of Art and in painting conservation at the Walters Art Museum. Recent publications explored Rubens's The Fall of Phaeton (JHNA 2019) and high-life genre specialists (with Lisha Deming Glinsman, in Vermeer and the Masters of Genre Painting: Inspiration and Rivalry, 2017).
e.melanie.gifford@gmail.com
Kathryn A. Dooley is an imaging scientist in the scientific research department at the National Gallery of Art. Her research focuses on spectroscopic techniques that allow for the identification and mapping of many artists' materials without requiring a sample. She was part of an in-depth study on Vermeer's Girl with a Pearl Earring that resulted in a series of articles about his painted underlayers and pigment distributions (Heritage Science 2019 and 2020).
k-dooley@nga.gov
John K. Delaney is a senior imaging scientist and supervisor in the scientific research department at the National Gallery of Art. His research focuses on the adaptation of remote sensors and processing methods to study of works of art. He is an affiliated faculty member in the Center for Imaging Science at Rochester Institute of Technology and an associate editor for the American Association for the Advancement of Science journal Science Advances. He was part of an in-depth study on Vermeer's Girl with a Pearl Earring that resulted in a series of articles in Heritage Science in 2019 and 2020.
j-delaney@nga.gov
1. Two hyperspectral reflectance imaging instruments were used, one sensitive from 400 to 950 nm (2.5 nm spectral sampling) and the other from 1000 to 2450 nm (2.8 nm sampling). In each case, the spatial sampling at the paintings was 0.2 mm per pixel. The analysis of the RIS image cubes was done using ENVI (L3 Harris) after mosaicking and image registration to a reference color image using in-house software tools.
2. Multispectral infrared reflectance images were collected with a custom infrared camera consisting of a cooled infrared detector array (indium antimonide, 1280 x 1024 detectors, IRCameras), a custom infrared lens (Stingray Optics), and one of three possible spectral filters (1100 to 1400 nm, 1500 to 1800 nm, or 2100 to 2450 nm). The spatial sampling at the painting was 0.045 mm per pixel. The resulting images were mosaicked and registered to a reference color image using in-house software tools.
3. A custom XRF instrument was used consisting of a rhodium source with a converging capillary optic (XOS) operated at 50kV and 0.75 mA. The resulting X-ray emission was measured using a silicon drift detector (XG-Labs) with an effective detector area of 50mm2 and a digital pulse processor. The collection conditions were a 0.25 mm spot size at the painting, a pixel dwell time of 0.05 sec, and a scan speed of 5 mm per second. Image registration of the XRF image cube to a reference color image was done using in-house software tools. The chemical element maps were generated by fitting the registered XRF image cube using Pymca software (European Synchrotron Radiation Facility).
4. Paint cross section samples were mounted in polyester resin and then ground and polished to expose the layers. Mounted samples were examined using a Leica DMRX research microscope with incident illumination using both visible light and autofluorescence at magnifications up to 500x.
5. Uncoated samples were examined using a Hitachi S-3400N scanning electron microscope with tungsten filament operating at 20 kV in variable pressure mode at 30 to 40 Pa at a distance of 10 mm from sample to detector. Elemental data was acquired using an Oxford Instruments 80mm2 SSD detector and Aztec 300 spectrometer and software package. Elemental data was corroborated by visual characteristics observed in the cross section.
6. Dispersed pigment samples were mounted in Cargille Meltmount (n=1.66) for microscopic examination in transmitted light. Mounted slides were examined using a Leica DMRX polarizing light research microscope at up to 500x magnification.
Author: E. Melanie Gifford, Kathryn A. Dooley, John K. Delaney
Publication Date: Summer 2022
E. Melanie Gifford, Kathryn A. Dooley, John K. Delaney, "Methodology & Resources: New Findings from the National Gallery of Art," Journal of Historians of Netherlandish Art 14:2 (Summer 2022) DOI: 10.5092/jhna.2022.14.2.4
digital art history, IIIF, painting technique, pigments, technical art history, technical examination, technical investigation, technical studies
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Can use minced chicken or any other vegetable instead minced mutton.
Can add green chilies as per your taste.
You can freeze the samosas or keep in the fridge if you are using them later.
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Can add corn flour to make the gravy thick and to prevent it from having any water content. If the gravy is already thick without adding corn flour then avoid step 9.
Sieve all purpose flour with salt. Add oil and sufficient water and knead for 5-7 mints into a stiff yet smooth dough. Keep covered with a wet cloth / closed container for half an hour.
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Now it's time to add cleaned mutton keema and little water. Fry for some time.
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Heat sufficient oil in a pan / Kadai and fry samosas till golden crisp.
Drain onto an absorbent paper and serve hot with mint chutney or ketchup.


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text:
Keyhaven
Keyhaven is situated immediately within the Western Solent to the north of Hurst Point off the south coast of England. Located behind a protective shingle bar, it is a nature reserve of saltings and mudflats that dries to channels at low water. These host lines of private moorings that, if unattended, may be picked up by visiting boats. It is also possible to anchor just inside the entrance, and moderate draft vessels can take to the hard alongside the quay.
Keyhaven's small and well enclosed channels provide very good seaway protection but little air protection. Access is over a bar that almost dries at LWS and although marked the haven requires attentive navigation as it can be difficult to identify its marks from seaward and there is no room for error.
Keyhaven is more suited to medium sized yachts of a moderate draft. However, with the guidance of the River Wardens, larger vessels may be accommodated.
Keyfacts for Keyhaven
Protected sectors
Suggest a correction?
1 metres (3.28 feet).
Summary* Restrictions apply
A good location with attentive navigation required for access.
Enquiries +44 1590 645695 [River Warden] Ch.37 [River Warden]
Position and approaches
Expand to new tab or fullscreen
Haven position
50° 42.720' N, 001° 33.297' W
This is the first of the deeper water moorings within the entrance.
What is the initial fix?
The following Keyhaven Initial fix will set up a final approach:
This is the position of the Yellow race mark (March - November) situated off Pennington Spit.
Calculate future tides
This tool can be used to estimate future costal tidal streams for this area. All that is required are two simple steps:
Step 1: What is the Dover High Water for the target date?
Use a current Dover Tide Table to find Dover High Water for the target date. The National Oceanography Centre offers online tidal predictions for up to 28 days from today. Click here to open their tide table for Dover
Step 2: Input the target date's Dover High Water
Hour: -- 000102030405060708091011121314151617181920212223	 Minute:	 -- 0001020304050607080910111213141516171819202122232425262728293031323334353637383940414243444546474849505152535455565758
Taking a mean tidal offset from Dover's tide, we expect your targetted date's associated local tide at Keyhaven to be:
High waters: Low waters:
Data based on an average tide is only accurate to within one hour, if you more precise times are required use the ISA tidal predictions, with Hurst Point offset -01:00.
For planning purposes only, not for navigation. Please see our terms and conditions.
What are the key points of the approach?
The entry and the run-up thorough The Solent and Southampton Water are covered in
The Solent and Isle of Wight coastal description.
Time the approach, typically 2 hours each side of HW, to attain a sufficient rise to cross Keyhaven's sandbar.
Approaches should be outside the yellow race buoy to avoid the shallows extending out from Pennington Spit.
Identify the entrance's small port and starboard marks and align a course of 309°T until this alinement can be picked out by its narrow leading marks.
Pass between the port and starboard buoys then swing hard to port around a second port buoy situated off North Point.
Follow the starboard channel marker buoys immediately inside the entrance and then the lines of moorings buoys further within.
Anchor immediately within the entrance, pick up a mooring or continue in at high water to dry out at the quay.
Not what you need?
Click the 'Next' and 'Previous' buttons to progress through neighbouring havens in a coastal 'clockwise' or 'anti-clockwise' sequence. Below are the ten nearest havens to Keyhaven for your convenience.
Ten nearest havens by straight line charted distance and bearing:
Hurst Road - 0.2 miles SE
Totland Bay - 1.2 miles S
Yarmouth - 1.3 miles E
Lymington Yacht Haven - 1.7 miles NNE
Lymington - 1.7 miles NNE
Alum Bay - 1.7 miles SSW
Berthon Lymington Marina - 1.8 miles NNE
Freshwater Bay - 2 miles SSE
Scratchell's Bay - 2 miles SSW
Newtown River Entrance - 3.4 miles E
These havens are ordered by straight line charted distance and bearing, and can be reordered by compass direction or coastal sequence:
To find locations with the specific attributes you need try:
Northward
Southward
Alternatively the above can be ordered by straight line distance or coastal sequence
Previous coastal anti-clockwise:
Gull Island - 4.6 miles ENE
Gins Farm - 4.3 miles NE
Next coastal clockwise:
Christchurch Bay - 4.1 miles W
Christchurch Harbour - 5.2 miles W
Salterns Marina - 9.4 miles W
Parkstone Yacht Club - 9.5 miles W
Alternatively the above can be ordered by straight line distance or compass direction
Please use our integrated Navionics chart to appraise the haven and its approaches. Navionics charts feature in premier plotters from B&G, Raymarine, Magellan and are also available on tablets. Open the chart in a larger viewing area by clicking the expand to 'new tab' or the 'full screen' option.
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How to get in?
Keyhaven is a tiny hamlet with a small quay from which a handful of fishing boats operate. It lies within the borders of the New Forest National Park and is fronted by Keyhaven Lake a 2,000 acre reserve of saltings and mudflats. Although the creek presents a large body of water at high tide it dries to channels congested with private moorings at low water. Visitors should expect space to be very tight and to have little in the way of air cover.
The primary focus of navigation for accessing Keyhaven Lake is to attain sufficient draft to cross its sandbar. The bar is situated close inside its North Point entrance and is marked by small and unlit port and starboard entrance buoys. The depth on the bar can be taken to be chart datum so tidal heights provided by standard tide tables will represent the actual depth that can be expected over the bar.
Entry is normally restricted to 2 hours each side of HW. However deeper vessels operating on the margins should come in on the rise and especially so on Springs. Keyhaven benefits from a double high water and a long four hour stand on or around Springs. However, during these times, the ebb whistles out of the haven in a shortened amount of time. As such, in the event of any grounding, a vessel will have a maximum of 5 minutes to get off so there is little room for error. It is therefore essential to have no confusion about the tides. Those planning a visit here should make certain the predictions relied upon are for 'high water' and not the 'middle of the stand'.
The sweetspot vessel size for Keyhaven is 10 m / 32 ft. and 1.2 metres draft, bilge or lifting keel even better. Vessels of this size and draft, or less, can freely come in on the appropriate rise and pick up moorings. Anything larger or deeper would benefit from the advice of the Keyhaven River Warden VHF 37/M1 or P1 or P: +44 1590 645 695 to see if accommodation can be made.
Do not however be put off if a vessel is larger than the sweetspot size as it is well worth making enquires with the River Warden. They could not be more helpful and they made light work of our survey vessel. At 14 m / 46 ft. LOA 1.8 draft this was at the top end of Keyhaven's capability. However they accommodated it rafted up alongside a vessel on the second mooring inside, immediately within the entrance, and just above the first bend.
Newcomers should entirely avoid approaching Keyhaven in any developed easterly conditions. The creek is one of a very few private rivers in the world and charges will be applied in all cases, either anchored or moored up. As the channels are narrow and it has little air protection it is advisable to make use of a mooring.
Keyhaven channels are constantly changing and any chart earlier than 2012 will be out of date and can only be relied upon for indicative purposes.
The Solent and Isle of Wight coastal description provides approach details from seaward.
Vessels approaching from the east should not let Hurst Point light bear less than 230° T. This is to avoid the Pennington Marsh shallows. These are located in the area between the entrance to Lymington and Hurst Point and their shallow waters extend out ¾ of a mile from the shore.
From the initial fix the entrance is half a mile east-by-northeast. With a sufficient rise of tide, and a keen eye on the sounder, proceed westward from here, searching for Keyhaven's low-lying entrance that can be difficult to identify.
Ignore a line of boats that will be seen a third of a mile to the northeast. These are vessels moored in Hawkers Lake that are often mistaken for the entrance channel to Keyhaven.
The entrance lies at the head of a shingle bank that extends about half a mile northwest of the conspicuous Hurst Point light. Although the entrance has leading marks they are difficult to see. Positioned on the mudflats, close inside the entrance, the very narrow marks are difficult to pick out from the buildings and yacht rigs in the backdrop.
The entrance's small port and starboard marks, although small, will most likely show themselves long before the leading marks. Once they have been identified continue westward until their centre point bears 309°T then steer for the entrance between them. Closer in, then the two leading red and white striped alignment posts will be seen marking the transit of 309°T.
Many charts show this transit at its older 304°T alignment that is now out of date.
Once they are identified, keep in transit and proceed to the buoys marking the entrance between North Point's low shingle bank and mudflats to the north. The low sand and shingle promontory leading out to North Point should now be seen to stand out against the background of yachts within the haven. On final approaches, the helmsman should prepare for strong tides across entrance, particularly on the ebb.
Once through the buoys slowly continue until a second port hand red buoy, Keyhaven's only illuminated mark Fl(3) 9s, off North Point is abeam to port. Then turn hard to port circling half a boat length around this buoy until steering south-westward and passing along inside face of the shingle spit. The channel within the entrance has pools with depths of 4.1 to 2.3 metres with depths gradually decreasing to the quay at Keyhaven which only remains accessible by tenders at low water.
The best water within the entrance will be found passing close to starboard of the three small green buoys immediately within the entrance. These lead to the start of a chain of mooring buoys that best describe the centre-lines of Keyhaven's channels beyond. There is a 4 knot speed limit inside the haven.
From this point on, after starboard marks No. 5 to 6, it is best to steer along the lines of private mooring buoys. Keyhaven's starboard channel marks are set on the edges of the channel and often catch out vessels on bends where the shallows can curve out beyond a straight line described by a pair of starboard marks.
By contrast, the mooring buoys are set centre-channel with short chains thereby describing the deep waters of the channel. It is, however, essential to pass the heads of the moored boats and never to pass astern. Keyhaven's channels can be as narrow as 10 metres wide, especially in Mount Lake, and passing astern of a boat could place a vessel on the outside margin of the channel.
The mooring buoys also indicate the depth that can be expected within the channels. Mount Lake and the long Reach's orange 'hippo' buoys indicate at least a metre LWS. The 'pull up' moorings in the 'short reach' and beyond mark the transition to shallower waters.
The only anchorage in Keyhaven is immediately inside the entrance. It is situated in a very small pool located between North Point and the first set of moorings, close to the spit on the port side. After this, it is a matter of picking up moorings or rafting up as directed by the River Wardens.
Keyhaven has no dedicated visitor moorings. Vessels up to 10 m / 32 ft. and 1.1 metres or less draft, can freely pick up unattended private moorings provided there is tender attached and it is an unlikely time for the owner to return. Large vessels should berth as directed by the River Warden who will most likely come out to assist.
1.8 metres can be had all the way up to the Quay at high water. The Quay's southeast corner is for loading and unloading with a 20-30 minute time restriction. Vessels of 10 m / 30 ft. or less are welcome to come alongside the quays northern face and dry out for the night. The southern face is for scrubbing.
As Keyhaven is a private river, charges will be made for all berthing arrangements, be they alongside, on a mooring or on anchor within the entrance.
Landings can be made at the Quay that is accessible by tender at all stages of the tide. On the south side of the inlet, land on the shingle beach leading out to North Point. English Heritage does not allow the 'Camber' channel nor its jetty to be used by boatmen as this interrupts their ferry service. Those intending to visit Hurst Castle should land on the shingle beach and walk down the shoreline.
Hurst Castle ferries will act as a tender and pick up boatmen and land them either at the castle or at the quay as required for a fee. They can be reached on VHF Ch 74.
Why visit here?
Keyhaven derives its name from Old English words 'cū'plus hæfen. 'cū' in Old English means 'cow' and hæfen 'safety', the origin of 'haven'. The name therefore means 'Harbour where cows are shipped'. It is believed that it was historically a point of transportation for cattle and sheep, to and from, the Isle of Wight.
Keyhaven and the Pennington saltmarsh and mud flats both came into being as a result of the sheltering arm of Hurst Spit. The spit was formed from loose flint pebbles which had been eroded from the cliffs further west. The protection of the natural barrier beach and the marshes behind have led to thousands of years of human activity.
Keyhaven was a port as early as 1206 and a considerable salt industry developed here in the Middle Ages. The valuable salt was made by impounding seawater in shallow lagoons, known as salterns, where it was then left to evaporate. The industry had died out in Keyhaven by the 15th century but was revived in the 17th century when new techniques increased production efficiencies. These included wind pumps that drew off and pumped brine solution into especially constructed boiling houses. Here the brine was heated on large metal pans until the water evaporated and only the salt remained. Alongside the boiler houses were a series of narrow docks constructed in the marshes. These enabled sailing barges to import coal, required to heat the brine, and export the resultant salt. But, by 1865, cheaper mined salt from Cheshire rendered the process uneconomical and salt production finally came to an end in Keyhaven.
Up until recent times Keyhaven was a fishing village but fishing has fallen into gradual decline for a period of years. The village's main draw now is tourism for its history, nature reserve and sailing. Much of the tourism is driven by the unique Hurst Castle that guards the Solent from the southern end of its Hurst Spit.
England was politically isolated in 1538 after Henry VIII's divorce of Catherine of Aragon. The resulting hostility between France and Spain aroused fears of invasion and Henry VIII commenced the construction of the Device Forts to defend England's southern coast. The chain of artillery fortifications, also known as the Henrician Castles, were financed from the proceeds of the dissolution of the monasteries and represented England's largest defence programme since Saxon times. Hurst Castle, that was said to have some of Beaulieu Monasteries' stone, was completed in 1544 and is thought to be the most sophisticated of the chain of coastal fortresses. Not only was the formidable castle perfectly sited on the Solent narrow entrance, three-quarters of a mile wide, but the strong tidal ebb and flow here would put any would-be invader fleet entirely at its mercy.
The fortunes of the castle varied thereafter according to the difficulties of the times. It was modernised during the Napoleonic wars and again in the 1870s when the enormous wing batteries were added to house 30 heavy guns. In 1873 a new east wing was built, and a new entrance to the castle. In 1889 the magazine roof, staircases, tower and rooms within were rebuilt, reinforced and adapted for modern gun mountings. A further coastal battery was then added in 1893.
All these adaptations and extensions have made it the largest coastal fort in the world. During the Second World War it took on quick-firing gun batteries and searchlights. However, after World War II, Hurst Castle was finally decommissioned. This finally brought to an end 412 years of continuous military use. During this entire period, akin to all The Solent's mighty eighteenth century fortress, Hurst was never put to the test.
During this time it housed some unusual prisoners, two of which are particularly noteworthy. Charles I was brought here on the last day of November 1648. He was held as its prisoner whilst in transit from Newport to Windsor prior to his trial and execution. In 1700 the Privy Council ordered that Hurst Castle be used as a prison for priests convicted of fostering the growth of Catholicism; known then as 'popery'. An unfortunate Franciscan, Father Paul Atkinson, was quickly convicted and sentenced to 'perpetual imprisonment' at Hurst. He remained prisoner here for nearly 30 years, sleeping on a slab of slate, before dying in 1729.
Hurst Castle is now an English Heritage site open to the public. Two of the huge 38-ton guns installed in the 1870s can be viewed in their casemants together with early cannon and other weapons. Hurst Castle also carried several lighthouses with the first one erected here as far back as 1786. Today this tradition is carried on by a lighthouse museum that can be visited within its western wing.
From a sailing perspective Keyhaven is more suited to medium sized and draft vessels working a visit in around the tides. However larger boats can be accommodated with some diligence and the assistance of the river wardens. The remarkable Hurst Castle itself makes it a worthwhile destination, and the pretty little Hamlet of Keyhaven should not be overlooked. The large body of enclosed water makes it an ideal location to let youngsters off sailing, canoeing and exploring.
What facilities are available?
Water is available from the tap at the back of the quay. Public toilets are available at the carpark beyond. Keyhaven Yacht Club reciprocates visitors from other clubs allowing them the use of their showers and bar which overlooks the haven. A local boatyard focuses on providing owners of leisure craft with a comprehensive and reliable set of boating services. It has a mobile crane for lifting craft ashore up to 40' LOA and 9 tons weight, and offers winter lay-up facilities for approximately 120 yachts. Their slipway caters for vessels up to 45' LOA and 20 tons weight. The local pub provides very good hot meals.
Provisions, and fuel by jerry can, are available at Milford-on-Sea a mile or 30 minutes walk away. It also has more dining opportunities, a post office, a chemist and a bank that provides a cashpoint.
Keyhaven has no public transport services. The nearest bus services and train station is at Lymington.
Any security concerns?
Never an issue known to have occurred to a vessel visiting Keyhaven.
Roy Plummer and Steve Wood Keyhaven River Wardens. Photography Michael Harpur.
About Keyhaven
Other options in this area
Click the 'Next' and 'Previous' buttons to progress through neighbouring havens in a coastal 'clockwise' or 'anti-clockwise' sequence. Alternatively here are the ten nearest havens available in picture view:
Coastal clockwise:
Coastal anti-clockwise:
Navigational pictures
These additional images feature in the 'How to get in' section of our detailed view for Keyhaven.
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A photograph is worth a thousand words. We are always looking for bright sunny photographs that show this haven and its identifiable features at its best. If you have some images that we could use please upload them here. All we need to know is how you would like to be credited for your work and a brief description of the image if it is not readily apparent. If you would like us to add a hyperlink from the image that goes back to your site please include the desired link and we will be delighted to that for you.
Please log in to leave a review of this haven.
Please note eOceanic makes no guarantee of the validity of this information, we have not visited this haven and do not have first-hand experience to qualify the data. Although the contributors are vetted by peer review as practised authorities, they are in no way, whatsoever, responsible for the accuracy of their contributions. It is essential that you thoroughly check the accuracy and suitability for your vessel of any waypoints offered in any context plus the precision of your GPS. Any data provided on this page is entirely used at your own risk and you must read our legal page if you view data on this site. Free to use sea charts courtesy of Navionics.

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A 148 Gallia a Naprendszer kisbolygóövében található aszteroida. Prosper-Mathieu Henry fedezte fel 1875. augusztus 7-én.

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My sister is a student and she is pursuing her Bachelor's degree. She is currently living in Solapur. We come from a middle class, joint family background with moderate values.


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Nice airy modern hotel which offers a comfortable stay.
Lots of hot water and a great power shower. Inspiring use of art work from local college students. Reasonable breakfast but rather expensive for what was on offer.
Gripes. Mean with the tea making supplies, only 1 hand and bath towel (more supplied on request next day). Soft furnishings and carpet rather grubby which spoilt the overall appearance of the room.
The whole experience was very good from arrival to departure.
Will definitely stay there again. Managed to create a calm relaxing atmosphere in an area that is a bit of a concrete jungle!
I arrived late and although kitchen was about to close they were more than happy to provide me with something to eat.
The wardrobe doors were ill fitting, wouldn't close properly and scraped on the skirting board.
There was no heated towel rail in the bathroom. The bedside tables had no drawers in them.The TV, whilst a pleasant change to have Sky Sports channels, had not been programmed so no channel or programme information was available. All the above may seem like minimal inconveniences, but put together - and considering the price of the room - let it down. It obviously markets itself as an upmarket hotel - attention to detail is important in this regard!
Aside from the small issue of one of the bathrooms being a bit unclean the overall experience, professionalism of the staff, overall standard of the rooms; high quality food and general atmosphere made this a great weekend place to stay.
Near the main road but you would not notice once inside.
I stayed at this hotel for 5 weeks and would highly recommend.
Accomodation, clean, modern and spacious. Food in restaurant excellent. Staff in restaurant really helpful and friendly. Any issues dealt with promptly. Would highly recommend.
The receptionist spoke very poor Englist - never a good start.
The pillows were as flat as pancakes - very poor. The icing on the cake was the fire alarm going off at 3.30am. Not the best experience I've had - not far off the worst though. Not recommended.
A very good deal in a smart and friendly hotel.
I'm happy to recommend it.
staff very pleasent the room was to a good standard and very clean did'nt try the food but spoke to another guest who said the food was good.
when i stay next time i will try the restarant.


'S e siorramachd (Gaeilge: Contae) ann am Poblachd na h-Èireann a tha ann an Contae Lú (Laideann: Comitatus Ludensis). Tha e suidhichte ann an àirde an ear na dùthcha, ann an Còigeamh Laighean. Tha 122,897 duine a' fuireach san t-siorramachd fad 823km², an siorramachd as lugha na dùthcha a thaobh fharsaingeachd agus an 19mh a thaobh àireamh-sluaigh. Tha crìochan aig Contae Lú le Ard Mhacha, An Dún, an Mhí agus Muineachán. Bha 111,979 nan tàmh sa chontae ann an 1841, ron a' Ghorta Mhòir. 'S e Sliabh Feá (589m) a th'ann a' beinn as àirde na siorramachd. Chaidh Contae Lú a chruthachadh ann an 1233.
Tha sia baranachdan (Gaeilge: barúntacht) am broinn Lú: Baile Átha Fhirdhia, Droichead Átha, Dún Dealgan Íochtarach, Dún Dealgan Uachtarach, Fir Arda agus Lú fhèin. A bharrachd air sin, tha 63 parraistean (anns an sgìreachd-easpaig Ard Mhacha) agus 676 bailtean fearainn sa chontae.
Air a tharraing à "https://gd.wikipedia.org/w/index.php?title=Contae_Lú&oldid=470723"


Brooklyn Public Library (BPL) has commissioned Edwidge Danticat, the celebrated Haitian-American author and champion of immigrant voices in literature and public discourse, to deliver its biannual Message from the Library lecture on Sunday, June 17 at 7 p.m. Speaking from BPL's historic Central Library lobby in Grand Army Plaza, Danticat will discuss the uncertainty of our rapidly changing world and how we can protect our physical and spiritual integrity in an increasingly aggressive society plagued by mass shootings.
Inaugurated in the fall of 2017, Message from the Library invites leading cultural figures to reflect on the most critical issues facing local Brooklyn and global communities. The series is part of BPL's mission to convene diverse voices in the Library's safe space to have meaningful dialogue about the political, economic, social, and cultural issues of the day as well as to reflect on the crucial role libraries play within their communities in the 21st century. Following the lecture, audience members are invited to reflect on and engage with one another on the topics from Danticat's lecture in breakout conversations.
Edwidge Danticat is the author of several books, including Breath, Eyes, Memory, an Oprah Book Club selection, Krik? Krak!, a National Book Award finalist, and The Farming of Bones, an American Book Award winner, and the novels-in-stories, The Dew Breaker and Claire of the Sea Light. She is also the editor of The Butterfly's Way: Voices from the Haitian Dyaspora in the United States, The Beacon Best of 2000, Haiti Noir, Haiti Noir 2, and Best American Essays 2011. She has written six books for young adults and children, Anacaona Golden Flower, Behind the Mountains, Eight Days, The Last Mapou, Mama's Nightingale, and Untwine, as well as a travel narrative, After the Dance, A Walk Through Carnival in Jacmel, and a collection of essays, Create Dangerously. Her memoir, Brother, I'm Dying, was a 2007 finalist for the National Book Award and a 2008 winner of the National Book Critics Circle Award for autobiography. Her most recent book is The Art of Death, Writing the Final Story (Graywolf Press, 2017). She is a 2009 MacArthur Fellow.
Danticat joins a canon of celebrated writers, artists, critics, and intellectuals engaged in BPL's 2018 spring season, including Arundhati Roy, Cecile Richards, Mitch Landrieu, and Adam Michnik, and Syria in Ink, the exhibition collaboration between Syrian journalist Marwan Hisham and illustrator Molly Crabapple, on view through June 30 at BPL's Central Branch, among others. With a branch library within a half-mile of nearly all of Brooklyn's 2.6 million residents, BPL provides a democratic space where patrons of all economic standings can avail themselves and their children of cultural and educational programs in a broad range of disciplines.
Message from the Library is made possible through support from the Stavros Niarchos Foundation. Open Captioning service is being provided, in part, by a grant from New York State Council on the Arts/TDF TAP Plus.


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Home>Sketches of Portraits: The Fantasy Figures Identified>Young Girl Reading: A Hidden Portrait Revealed
Young Girl Reading: A Hidden Portrait Revealed
A question long posed of this painting has been, "Does it represent one of Fragonard's fantasy figures?" Its dimensions, palette, and energetic brushwork conform to those of the known works in the group, as does the girl's pseudo-Spanish costume with its elaborate ruff collar. Yet the other fantasy figures assume dramatic poses and turn their faces to meet the viewer's gaze, whereas the girl in the Gallery's painting is shown in quiet repose, turned in profile, enraptured by her book, oblivious to viewers. Recent technical studies and the discovery of the related drawing provide some answers.
Jean Honoré Fragonard, Young Girl Reading, c. 1769, oil on canvas, Gift of Mrs. Mellon Bruce in memory of her father, Andrew W. Mellon, 1961.16.1
In 1985 Gallery conservators x-rayedX-radiography
A photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types. the painting to peer beneath its current surface. They discovered that Fragonard had painted the head of Young Girl Reading over a preexisting portrait, possibly representing a man whose face is in three-quarter view, looking out to the viewer.
Fragonard's Sketches of Portraits includes a drawing that closely resembles Young Girl Reading, suggesting that the painting once depicted a fantasy figure. As in the painting, the girl in the sketch is seated by a window, indicated by the railing on which she rests her elbow, and leans against a large pillow while holding up a book in her right hand. In the sketch, however, her head is turned toward the viewer, showing that the drawing relates not to the current portrait, in which the girl appears in profile, but to the underlying portrait seen in the x-radiograph, now understood to represent a woman rather than a man.
Jean-Honoré Fragonard, Sketches of Portraits (detail), c. 1769, pen and ink, Private collection
In 2012–2013 a team of researchers at the Gallery used more sophisticated imaging techniques to gain a clearer view of the underlying portrait. This x-ray fluorescence (XRF) image reveals that it indeed depicted a woman. In addition, it became clear that this former figure wore a large feathered headdress. The solid black lines indicate tears in the canvas that were repaired at an unknown date.
This overlay of details from an x-radiograph and a hyperspectral infrared reflectogramInfrared Reflectography
A photographic or digital image analysis method which captures the absorption/emission characteristics of reflected infrared radiation. The absorption of infrared wavelengths varies for different pigments, so the resultant image can help distinguish the pigments that have been used in the painting or underdrawing. shows more clearly the two faces superimposed.
Why did Fragonard repaint this portrait? On Sketches of Portraits, the artist inscribed names below every portrait except this one. Perhaps the sitter or patron rejected the painting and Fragonard repainted it for the art market, turning a portrait of a specific individual into a general scene from daily life that might appeal to any prospective buyer.
Sketches of Portraits: The Fantasy Figures Identified
Mapping the Fantasy Figures
Related Exhibition
Fragonard: The Fantasy Figures
October 8 – December 3, 2017
Fragonard, Jean Honoré
French, 1732 - 1806


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Lactate clearance as a predictor of mortality in trauma patients
J Trauma Acute Care Surg. 2013 Apr;74(4):999-1004. doi: 10.1097/TA.0b013e3182858a3e.
Stephen R Odom 1 , Michael D Howell, George S Silva, Victoria M Nielsen, Alok Gupta, Nathan I Shapiro, Daniel Talmor
1 Division of Acute Care Surgery, Trauma and Surgical Critical Care, Department of Surgery, Beth Israel Deaconess Medical Center, Harvard Medical School, Boston, MA 02215, USA. sodom@bidmc.harvard.edu
DOI: 10.1097/TA.0b013e3182858a3e
Background: Initial serum lactate has been associated with mortality in trauma patients. It is not known if lactate clearance is predictive of death in a broad cohort of trauma patients.
Methods: We enrolled 4,742 trauma patients who had an initial lactate measured during a 10-year period. Patients were identified via the trauma registry. Lactate clearance was calculated at 6 hours. Multivariable logistic regression was used to identify the independent contribution of both initial lactate and lactate clearance with mortality, after adjustment for severity of injury.
Results: Initial lactate level was strongly correlated with mortality: when lactate was less than 2.5 mg/dL, 5.4% (95% confidence interval [CI], 4.5-6.2%) of patients died; with lactate 2.5 mg/dL to 4.0 mg/dL, mortality was 6.4% (95% CI, 5.1-7.8%); with lactate 4.0 mg/dL or greater, mortality was 18.8% (95% CI, 15.7-21.9%). After adjustment for age, Injury Severity Score (ISS), Glasgow Coma Scale (GCS) score, heart rate, and blood pressure, initial lactate remained independently associated with increased mortality, with adjusted odds ratios of 1.0, 1.5 (95% CI, 1.1-2.0) and 3.8 (95% CI, 2.8-5.3), for lactate less than 2.5 mg/dL, 2.5 mg/dL to 4.0 mg/dL, and 4.0 mg/dL or greater, respectively. Among patients with an initially elevated lactate (≥4.0 mg/dL), lower lactate clearance at 6 hours strongly and independently predicted an increased risk of death. For lactate clearances of 60% or greater, 30% to 59%, and less than 30%, the adjusted odds ratio for death were 1.0, 3.5 (95% CI 1.2-10.4), and 4.3 (95% CI, 1.5-12.6), respectively.
Conclusion: Both initial lactate and lactate clearance at 6 hours independently predict death in trauma patients.
Level of evidence: Prognostic study, level III.
Biomarkers / blood
Glasgow Coma Scale
Lactic Acid / blood*
Massachusetts / epidemiology
Odds Ratio
Trauma Centers*
Wounds and Injuries / blood
Wounds and Injuries / mortality*


text:
Flight history for HiSky Europe flight H4255
FROM Bucharest (OTP)
TO Timisoara (TSR)
03 Feb 2023 Bucharest (OTP) Timisoara (TSR) 320 — 16:00 — 16:50
31 Jan 2023 Bucharest (OTP) Timisoara (TSR) 320 — 16:00 — 16:50
YR-BEE
27 Jan 2023 Bucharest (OTP) Timisoara (TSR) A320 (YR-BEE) 0:39 16:00 16:15 16:50
YR-SUN
26 Jan 2023 Bucharest (OTP) Timisoara (TSR) A320 (YR-SUN) 0:40 14:30 14:34 15:20
More than 7 days of H4255 history is available with an upgrade to a Silver (90 days), Gold (1 year), or Business (3 years) subscription.


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Alright, I must have been a VERY good girl to deserve the movie "Outbreak."
Now, I haven't watched it yet...but Kevin Spacey AND Dustin Hoffman? The loves of my life...seriously. Age and possibly homosexuality aside, they are my two favorite actors EVER.
AND! I haven't seen him yet, but the credits say that Patrick Dempsey is in this too.
It makes up for the fact that tonight, The Office, Grey's Anatomy, and CSI are ALL reruns. What the hell is up with that, I ask.


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Concerns have been raised by Eastcott residents and a local Councillor, Paul Dixon, regarding the demolition of the old Clifton Street School. Despite no planning permission being given, the developer of the building is currently undergoing the demolition of some or all of the historic building.
To date the only planning permission given for the site is for the conversion of the offices in the building in to 17 flats, however there has been no statement of intent to demolish any or all of the building.
Eastcott Councillor, Paul Dixon, said:
"A resident got in touch with me and the other Eastcott Councillors late last week concerning the potential demolition of the old Clifton Street School. There is no planning approval for such a demolition and given the building is a piece of local heritage, it would be terrible for it to be lost without even needing planning permission. At the moment the only permission that has been given for this building is the conversion of the offices in the building in to flats.
Since getting in touch with planning enforcement officers at the Council they have told me that they are currently of the opinion that planning permission is required to demolish the building but they will have to liaise with the Council's Building Control Team after claims of building instability.
I hope the confusion and concern over the demolition of the building can now be concluded and this important community heritage asset can be retained".


Product prices and availability are accurate as of 2019-04-23 04:27:15 UTC and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
Once your little one starts walking, child proofing your home is a must. Providing a versatile way to keep your child safe, the Regalo Super Wide Baby Gate and Play Yard offers numerous convenient configurations for around the house. This play yard and safety gate features durable all-steel components and a hardware-mount system ideal for large, angled or uneven openings. The super wide gate can be expanded to fit openings up to 192" and comes with eight, 24" panels. The panels connect to hinged posts that offer an amazing variety of shaping possibilities. Easily mounting to the wall, the convenient gate features a walk-through door designed with a double lock lever handle allowing adults to easily pass through. It is ideal as a play yard, fireplace barrier, at the landing of stairs, or a super gate for very wide openings.
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The Regalo 4-In-1 Metal Play Yard is backed by a manufacturer's limited 90-day warranty.


Mumbai: Actor-turned-author Twinkle Khanna, now 43, who shares her birthday with late father and Bollywood's first 'superstar' Rajesh Khanna, celebrated the day by sharing an old photo of them together.
Mr Khanna, would have been 74 this year. The superstar, who made his debut in the year 1966 with Aakhri Khat died of cancer in July 2012. He also starred in hit films like Aradhana, Anand, Kati Patang and Safar. Mr Khanna married actress Dimple Kapadia in the year 1973. However, they later separated but never divorced. Twinkle is the couple's eldest daughter and is married to actor Akshay Kumar. She quit Bollywood after marriage to become an interior designer. She is also the author of Mrs Funnybones and The Legend of Lakshmi Prasad.
In his entire career, Mr Khanna featured in more than 160 films and has received the Filmfare Best Actor Award three times. He has played the lead in 74 films. He has also been awarded Padma Bhushan posthumously and in 2013. Mr Khanna was officially given the title of 'The First Superstar' of Indian cinema title at Dadasaheb Phalke Academy Awards.
Rajesh Khanna made a comeback in the 1999 film featuring Aishwarya Rai Bachchan and Akshay Khanna Aa Ab Laut Chalen (1999) and Kyaa Dil Ne Kahaa in 2002.
Meanwhile, Twinkle Khanna has starred in films like Barsaat, Mela, Jab Pyaar Kisi Se Hota Hai. She was recently appeared with Akshay Kumar on Karan Johar's chat show Koffee With Karan 5.


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Jason Mackenzie, HTC America President, on Why His Company Is Getting Into Virtual Reality (Q&A)
Re/code talks with HTC America President Jason Mackenzie about the company's new direction.
By Bonnie Cha Mar 3, 2015, 12:17pm EST
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At CES, HTC made it known that it no longer wanted to be just a smartphone company. Its goal, it said, was to become a personal tech company by expanding into new categories like wearables, connected devices and entertainment. The company didn't have any products to show at the time, but they came ready at Mobile World Congress.
In addition to launching the HTC One M9, the company debuted its first wearable, the Grip, in Barcelona this week. And in a surprise move, it also announced the HTC Vive virtual reality headset in partnership with PC gaming company Valve.
To get a better sense of where the company is headed, Re/code spoke with HTC America President Jason Mackenzie about why it's getting into the virtual reality space, how it plans on competing with devices like the new Samsung Galaxy phones and more. The interview that follows has been edited for clarity and length.
Re/code: So, why virtual reality?
Jason Mackenzie: We're always looking for what's new and where's the next opportunity for HTC to go innovate. Similar to where we saw for smartphones back in the late '90s before there was anything called smartphones, we really see this as a huge opportunity and really the future.
I think it will start with gaming being the primary reason people are into it and buying it, and that's why we partnered with Valve. They've got such a strong network with the Steam network and so many consumers who are using their service, so it was a natural fit.
My eyes were really opened [to virtual reality] when I took the first demo. I felt like you could see the future and how everything can change from not just gaming but to real estate to education, so really it was a natural thing.
Can you tell me a little more about your partnership with Valve, and how the HTC Vive will be different from other VR headsets?
I think you've seen other people doing VR, and the experience has been one of you put the mask on, and you can look at an object side to side. The thing you'll notice with ours is what we're calling 360 room scale. If there's an object here, I can actually walk around the whole thing and interact with it.
So, since gaming is what I would say is the beachhead for virtual reality, there's no better partner than Valve. These guys have over 200 million users right now and at any given time, there's nine million people on the Steam network. So, we're using the Steam network for games. We're partnering with them to get development partners going and building games and applications for that. But they're motivated as well to expand into other verticals, so we're doing the hardware. We're really in a partnership to drive performance.
You're now in the virtual reality and health and fitness space. With HTC just getting its footing back in the smartphone market, is it a good idea to expand into so many other categories?
We've accomplished something right now that no other smartphone manufacturer has ever done. Not Motorola. Not BlackBerry. Not Nokia — even after big sugar daddies have bought them. Meaning, every time a smartphone manufacturer has quarter after quarter of negative results, they've never pulled out. Now, in Q4, we've announced our third straight profitable quarter. We reversed literally our trend from 2013, 2014, so we've really gotten our core business of smartphones to stabilize with strong growth. And we did that not through laying off a bunch of people and cost restructuring but through growth. We've expanded our smartphone portfolio and it's paying off.
HTC Grip
Bonnie Cha
We realize that our core strength is product. So our whole thing is how do we get our products in the hands of more customers. And those products are things like virtual realty and the Re camera. But also applications like Zoe, which has over 10 million downloads already on the Google Play store. And it's going to be opening up in the Apple iTunes store this quarter.
We're not trying to build a closed-wall environment like some of our competitors where you have to come into an HTC world and use everything HTC. That's really strategic for us because we believe in our products and we want to get them in more hands, and you may not be willing to give up your iPhone 6 right now because that's a huge decision. But if I can introduce you to HTC through our apps and through some of these other great products, the next time you go in to buy your phone, you're more familiar with my brand now.
On the topic of phones, there's been some criticism that the new One M9 isn't all that different from last year's model. What's your response to that?
First of all, the HTC One M8 got really phenomenal reviews. We won a lot of awards and a lot of publications named us smartphone of the year. We're trying to build a brand in the HTC One, and similar to the way that Porsche, with their 911, has made this timeless design, we want to keep what's good, so there's no reason to overhaul the entire thing. What we try to do is tackle things that our consumers were telling us that we could do a better job of.
I would just encourage people to use it and look at it before making any judgments. It's a beautiful device and unless you've held it and touched it and looked at it, you don't get a full sense of that. We're confident in what we're doing.
Will you be doing a Windows Phone version of One M9 like you did with the One M8?
We continue to partner with Microsoft. We've been together with them a long time. We don't have any news to announce at the show here around what we're doing, but they continue to be a big partner of ours.
What about your Desire phone line? How has that been doing?
The Desire line really fueled a lot of our growth, especially in the U.S in Q4. Our approach is really simple. Look, we're not going to go down and try to compete with the Huawei's and ZTE's of the world. We built our brand on actually bringing out the best of the best products in each category. So what we're doing is taking that approach to the mid-tier and low end. We still want to use premium finishes.
So, if you look at the Desire products, we're using plastic versus metal on the One, but it's a unibody [design]. We don't have part lines, so it's all one and feels strong and has great construction. We take the same user experiences like BoomSound that we have on the One and we take that down into the Desire line and the approach is working really, really well so we have a tremendous amount of traction right now in those tiers.
Consumers know the HTC brand as really the best technology and as premium, so when they see phones down at price tiers of around $100 to $150, we get a lot of credit. Our channel partners are seeing that, so we're starting to see a lot of tremendous growth in retailers like Best Buy and customers like Cricket, Virgin and Boost. We're really optimistic. I think this year you'll see some big things in those tiers as well.
HTC has certainly been known for its premium designs. But now Samsung is coming out with the Galaxy S6 and Galaxy S6 Edge right around the same time as the One, and they've overhauled their design. Will you be doing anything different marketing wise to attract new customers who might be trying to decide between the two phones?
Yeah, we are. We have to market ourselves differently, which is why we're doing things like opening up our apps and stuff to more customers. That's a big part of it. But I think the way we have to market ourselves has to be different as well. I don't have the luxury to go spend an infinite amount of money everywhere, so we're going to be pretty targeted talking to our HTC customers and talking to people that we believe will be interested in HTC products.
I think there's a tremendous opportunity for us to solve real consumer pain points that they're experiencing across whatever phone they have from Apple to HTC. And we've got a program that we're going to be putting in place and going out around this HTC One later this month that I think is going to be eye-opening and also something that our competitors are not going to follow or want to follow.
The interesting thing is [HTC's] problem is a lot different from Samsung's. I need to grow, and they also need to grow. Their share … it's getting tougher, just read the results. I'm coming from a smaller place, so I can be a hell of a lot more aggressive. You're going to see us doing some interesting things that are going to take a premium product and put a premium wrapper around it in the way we support and engage with our customers, so there's infinitely more value in buying an HTC One than there is in buying any other smartphone flagship.