This article discusses the techniques that Cornelis Engebrechtsz used to depict gold-brocaded velvets in his paintings and puts them in historical context.

A technical investigation of paintings by Cornelis Engebrechtsz, Lucas van Leyden and Aertgen van Leyden focussing on the visibility of underdrawing, the use of isolation layers and underlayers, unconventional sequence used to apply paint layers, and other effects.

This article argues that images of recently demolished buildings served as collective memories of political and social events associated with their demolition.

The Sentry by Carel Fabritius,  as well as numerous other paintings in the Schwerin collection, all appear in a recently discovered invoice for duke Christian Ludwig, submitted by the Hamburg art dealer Gerhard Morell in August 1755.