Naples yellow is lead antimoniate, one of the oldest synthetic pigments known. First used in Egyptian glass around 1500 BCE, it shaped painting from the Renaissance to the 19th century.
Walk through the Egyptian galleries of any major museum and you will see fragments of yellow glass that are over 3,500 years old. The color comes from lead antimoniate, a synthetic compound that Egyptian glassmakers were producing as early as the 18th Dynasty, around 1500 BCE. This same compound, known to painters as Naples yellow, would later become one of the most important yellow pigments in European art, used in Renaissance majolica glazes, Baroque oil paintings, and eighteenth-century portraiture. It is, by most accounts, the oldest synthetic pigment still identified by name on a modern paint tube, even though the modern version is usually a mixture of other pigments rather than genuine lead antimoniate.
Naples yellow is a synthetic pigment with the chemical formula Pb2Sb2O7 (lead antimoniate). It ranges in color from a pale lemon yellow to a warm, slightly orange yellow, depending on the manufacturing method and temperature. The pigment was first used in ancient Egypt as a colorant and opacifier in glass, disappeared from European use during the early medieval period, and was reintroduced in the sixteenth century through Venetian glassmakers and Italian majolica potters. Its peak use in European painting ran from approximately 1750 to 1850, after which it was gradually replaced by less toxic alternatives.
This entry covers what Naples yellow is, how it was made, its 3,500-year history of disappearance and rediscovery, which artists used it, and why the name survives today even when the pigment does not.
Naples yellow is lead antimoniate, a synthetic compound produced by calcining a mixture of lead and antimony compounds with various fluxes. The chemical formula is Pb2Sb2O7, and its crystal structure is similar to the naturally occurring mineral bindheimite, though the natural mineral was never used as a pigment. The color depends on the purity of the compound and the firing temperature: pure lead antimoniate produces a lemon yellow, while higher temperatures and impurities shift the color toward orange, pink, or reddish tones.
The earliest published recipes for Naples yellow come from Cipriano Piccolpasso's treatise Le Tre Libri dell'Arte del Vasaio (1556), written in Castel Durante, Italy. Piccolpasso's recipes call for heating a mixture of lead, antimony, lees (residue from wine production), and salt. In 1758, Giambattista Passeri published similar recipes for the pigment he called "giallolino." Scientific studies of these recipes were conducted by Auguste-Denis Fougeroux de Bondaroy in France (1766) and Karl Brunner in Switzerland (1837).
A 2023 study published in the Journal of Cultural Heritage experimentally reworked eight historical recipes from five sixteenth- and seventeenth-century technical texts. The researchers found that the recipes produced a range of compositions, from binary Pb-Sb pigments to ternary variants modified with zinc or tin (called "tutty" in historical sources). The Pb-Zn-Sb variant appears predominantly in Spanish and Portuguese ceramics, while the Pb-Sn-Sb variant is more common and has been found in both paintings and maiolica across Europe. Read the study at ScienceDirect.
Naples yellow is among the oldest synthetic pigments known. It was first used in the Late Bronze Age, around 1500 BCE, by Egyptian glassmakers who added lead antimoniate to glass to produce an opaque yellow color. The pigment was also known in Mesopotamian, Babylonian, Greek, and Roman cultures, where it served as a colorant for glass, glazed bricks, and ceramic tiles. The Romans used it for yellow glass around the first and second centuries BCE.
By the end of the fourth century CE, the use of lead antimoniate declined in Europe. Tin replaced antimony as the primary glass opacifier, and the knowledge of how to produce lead antimoniate yellow was lost in Western Europe. The pigment survived in limited use in the Slavonic, Islamic, and Byzantine worlds, as evidenced by late Byzantine glazed pottery from Turkey and the Balkans.
Naples yellow reappeared in Western Europe around 1500, most likely introduced by glassmakers from the Eastern Mediterranean who migrated to Venice after the fall of Damascus (c. 1400) and Constantinople (1453). These glassworkers brought the knowledge of lead antimoniate production to Venetian glass workshops, from which it spread to Italian majolica potters and eventually to painters.
A 2015 study published in Archaeometry examined the "Codice Calabranci," a manuscript from the second half of the fifteenth century discovered at Montelupo near Florence. The recipes in this codex possibly represent the earliest evidence of the reintroduction of Naples yellow in Western Europe. Lead isotope analyses indicated that the lead used to produce the yellow pigments in Montelupo majolica did not come from Tuscan mining districts but was likely imported via Venice from more distant sources in Turkey. Read the study at Wiley.
Naples yellow reached its highest popularity in European painting between approximately 1750 and 1850. During this period, it was the standard warm yellow for oil painters, used for flesh tones, drapery, skies, and architectural details. By the mid-nineteenth century, the pigment began to be replaced by cadmium yellow and chrome yellow, which were brighter, less toxic, and easier to manufacture. Genuine Naples yellow continued to be sold during the twentieth century, but the name "Naples Yellow" increasingly came to indicate a color shade rather than a specific pigment. Modern Naples yellow paint is typically a mixture of cadmium yellow, zinc white, and Venetian red or other pigments.
Lotto was among the earliest Italian painters to use lead antimoniate yellow in oil painting. Technical analyses have identified Naples yellow in several of his works, where it appears in drapery and architectural details. Lotto was working at the moment when the pigment was transitioning from ceramic glazes to painting, and his use suggests an artist experimenting with materials from the pottery tradition.
Raphael used lead antimonate yellow sporadically in his paintings, though he still preferred lead-tin yellow for most of his work. The presence of Naples yellow in Raphael's paintings has been identified through technical analysis, marking the early adoption of the pigment by High Renaissance masters.
Titian used lead antimonate in paintings such as Girl with a Basket of Fruit (c. 1555, Gemaldegalerie, Berlin), where the pigment has been identified in the yellow drapery. Titian's use of Naples yellow reflects the Venetian connection to the glass and ceramic industries that produced the pigment.
Naples yellow was a standard pigment on the palettes of eighteenth-century portrait painters, who used it for flesh tones and the warm yellow highlights of clothing and backgrounds. Thomas Gainsborough, Joshua Reynolds, and Thomas Lawrence all used Naples yellow in their portraits, where its semi-opaque, warm tone was ideal for rendering skin in the artificial lighting of eighteenth-century studios.
Naples yellow is lightfast and chemically stable under normal conditions. It can darken with exposure to high temperatures, iron compounds, or sulfur fumes. In oil paint, it has a semi-opaque covering power and dries relatively quickly due to the lead content, which acts as a siccative. The pigment produces a warm, slightly muted yellow that is less saturated than cadmium yellow but more body and depth than a thin glaze of yellow lake.
The toxicity of lead antimoniate is a significant drawback. Lead pigments are poisonous if ingested or inhaled as dust, and modern paint manufacturers generally avoid producing genuine Naples yellow for health reasons. The few manufacturers who still produce it, such as Kremer Pigmente, sell it as a dry pigment with appropriate safety warnings.
Naples yellow belongs to the family of lead-based yellow pigments, which includes lead-tin yellow (the dominant yellow pigment in European painting from about 1300 to 1750) and the various ternary lead-antimony-tin and lead-antimony-zinc compounds found in Renaissance and post-Renaissance art. The pigment connects to the broader history of underpainting, where warm yellows were used to establish flesh tones, and to imprimatura, the colored ground layer applied before painting. It also relates to gesso, since Naples yellow was sometimes used in the decorative layers above gesso grounds. For broader context on how pigments function in painting, read our post on how to read a painting.
Genuine Naples yellow is visible in paintings from the sixteenth through nineteenth centuries in major European collections. The Gemaldegalerie in Berlin holds Titian's Girl with a Basket of Fruit, where lead antimonate has been identified. The National Gallery in London and the National Gallery of Art in Washington hold eighteenth-century portraits where Naples yellow was used for flesh tones and drapery.
For the pigment's earlier history, the British Museum and the Metropolitan Museum of Art hold Egyptian glass objects colored with lead antimoniate, dating to the 18th Dynasty. The Museo delle Porcellane in Florence and the International Museum of Ceramics in Faenza display Italian majolica with Naples yellow glazes from the sixteenth century. For more on pigments and painting techniques, read our entries on underpainting and imprimatura, or explore our guide on how to read a painting.
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