This painting is in oil paint on an oak panel measuring 529 x 687 mm (fig.1). Careful study of the X-radiograph (fig.2) reveals that the panel is made up of three horizontal oak boards glued together at butt joins; the quality of the craftsmanship is so high that the joins are barely discernible in normal viewing conditions. The panel is about 10 mm thick, going down to about 7 mm at the bevelled edges. At the top verso is the brand-mark that was made on all the paintings in the collection of Charles I – ‘CR’ beneath a crown (fig.3).
The ground is off-white in colour and is made of marine chalk in a glue medium; it was applied over the front of the panel and also on the thin edges, which made dendrochronological examination impossible.1
The ground is off-white in colour and is made of marine chalk in a glue medium; it was applied over the front of the panel and also on the thin edges, which made dendrochronological examination impossible. The ground is covered with pale grey, oil bound priming (figs.4–5).2
The composition was drawn onto the priming with thin, black lines, which are visible in close examination and with infrared reflectography (figs.6–13). The drawing describes the architectural elements and the bare bones of the landscape but not the figures.
The paint was applied thinly in broad areas at first, after which smaller elements such as figures, trees and patches of blue sky were applied on top (figs.4–5, 8–14).