The Goldfinch () is a painting by the Dutch Golden Age artist Carel Fabritius of a life-sized chained goldfinch. Signed and dated 1654, it is now in the collection of the Mauritshuis in The Hague, Netherlands. The work is a trompe-l'œil oil on panel measuring that was once part of a larger structure, perhaps a window jamb or a protective cover. It is possible that the painting was in its creator's workshop in Delft at the time of the gunpowder explosion that killed him and destroyed much of the city. A common and colourful bird with a pleasant song, the goldfinch was a popular pet, and could be taught simple tricks including lifting a thimble-sized bucket of water. It was reputedly a bringer of good health, and was used in Italian Renaissance painting as a symbol of Christian redemption and the Passion of Jesus. The Goldfinch is unusual for the Dutch Golden Age painting period in the simplicity of its composition and use of illusionary techniques. Following the death of its creator, it was lost for more than two centuries before its rediscovery in Brussels. It plays a central role in the Pulitzer Prize–winning novel The Goldfinch by Donna Tartt and its film adaptation. Description The Goldfinch is an oil painting on panel measuring , now in the collection of the Mauritshuis in The Hague, Netherlands. Details of its physical structure emerged when it was restored in 2003. Because the lead-based paint limited the effectiveness of traditional X-rays and infrared, chief conservator Jorgen Wadum used a CT scanner to digitally eliminate the paint layer and see what was underneath. The panel on which it is painted is thick, which is atypically deep for a small painting, and indicates that it may have formerly been part of a larger piece of wood. Evidence for this is the remains of a wooden pin, suggesting the original boards had been joined with dowels and glue. Before it was framed, the painting had a black border onto which a gilded frame was later fixed with ten equally spaced nails. The nails did not reach the back of the panel so there is no evidence of a backing to the picture. The frame was subsequently removed leaving only a residual line of a greenish copper compound. Fabritius then extended the white background pigment to the right edge, repainted his signature, and added the lower perch.