This work presents spectroscopic (optical microscopy, OM; micro-Raman, Raman; and Fourier-transform adsorption infrared, FT-IR) and gas chromatographic studies of two famous panel paintings from the Gdańsk artists of the 17th century Golden Age, “Servilius Appius” by Isaac van den Blocke and “Allegory of Wealth” probably by Anton M？ller. Application of the aforementioned methods allowed us to identify pigments and binders used in the panel paintings. In particular, it was determined that the yellow pigment used by both artists is lead-tin yellow type I (2PbO·SnO2), the white pigment is lead (II) carbonate hydroxide (2PbCO3 Pb(OH)2), and the ground layer material consist of chalk (CaCO3). The analysis showed also that in the case of “Allegory of Wealth,” the red layer consists not only of cinnabar (HgS) but also of lead-tin yellow type I. 1. Introduction Several documentary sources from the 17th century give recipes on how to paint, prepare grounds, and use colors for particular parts of the painting [1–4]. For example, De Mayerne pronounced that the quality of the materials used is essential not only for the ground layer but also for the paint layer. He recommended putting two different ground layers on the support. The first ground layer consisted of a very thin chalk-glue [CaCO3—a white pigment used as a painting ground since antiquity [5]] that he polished. Then, he applied a second layer of lead (II) carbonate hydroxide [(PbCO3)2 Pb (OH)2—a synthetic pigment produced since antiquity using an acidic organic compound on metallic lead [6, 7] with umber [Fe2O3 H2O + MgO + Al2O3] [1]. Lead (II) carbonate hydroxide, lead-tin yellow [light (type 1)—Pb2SnO4 and dark (type II)—Pb(Sn, Si)O3], yellow ochre [Fe2O3·H2O], vermilion [HgS, a synthetic equivalent of cinnabar [8]], red lead [minimum, Pb3O4], carmine (organic red—carminic acid), iron oxide red [Fe2O3], natural azurite [Cu3(CO3)2(OH)2], smalte [CoO·nK2SiO3], natural malachite [Cu2CO3(OH)2], copper green [Cu(CH3COO)2], and charcoal were the most common pigments used in the 17th century [8]. Massicot [PbO], schüttgelb (yellow lake pigment—organic pigments from many different sources), and orpiment [As2S3] were also mentioned in the documentary sources from this period [1–4]. However, the later literature noted that lead-tin yellow was incorrectly identified as massicot [9, 10]. For example, De Mayerne suggested using massicot (in fact lead-tin yellow), yellow ochre, and schüttgelb to paint lighted and shaded surfaces, as well as transition from light to shade [1–4]. Despite progress in the field of
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