keeping with their conservative handling of Leonardo's works, the Louvre version has not undergone significant restoration or cleaning. The Louvre painting remains much as it was in 1939 when Kenneth Clark lamented that "We can form no real conception of the colour, the values, or the general tone of the original, buried as it is under layer upon layer of thick yellow varnish. In the darks some mixture of bitumen has made the surface cake and crack like mud, and there are innumerable patches of old repaint all over the picture. All this must be borne in mind before we say that at this date Leonardo was a dark painter and an uninteresting colourist." Another difference is in the colouring of the robes, particularly those of the angel. The London painting contains no red, while in the Louvre painting, the angel is robed in bright red and green, with the robes arranged differently from those of the angel in London. The London version contains traditional attributes missing from the Louvre version, the haloes and John's traditional cruciform reed staff. Davies says it is "not certain" if these details which are painted in gold are contemporary with the painting or have been added by a later artist. The details of the flowers are also quite different in the two paintings, with those in the Louvre painting being botanically accurate, and those in the London painting being fanciful creations. Angel musicians The two paintings of angels that are associated with the Virgin of the Rocks and are in the National Gallery do not properly fulfil the original commission for two panels each showing four angels, singing on one side and playing musical instruments on the other. There are only two musicians, both turned the same direction and both playing musical instruments. One, in green, plays a vielle, and the other, in red, plays a lute. The positions of the feet and the drapery are similar, indicating that the same design has in part been utilised for both. The angel in red is thought to be the work of Ambrogio de Predis. The angel in green is the work of an unknown associate of Leonardo. The National Gallery suggests that it might be the work of Francesco Napoletano. In both cases the angel is standing in a grey painted niche. A reflectogram of the Angel in green with a Vielle revealed part of