The article describes the examination of <i>St. Jerome, c. 1500, ascribed to Gerald David, and <i>Lamentation at the Foot of the Cross, c. 1511, almost certainly by him. The purpose of the investigation was to learn about materials and techniques employed by David to create his visual effects. The examination made use of infrared and ultraviolet photography, x-ray radiography, stereo and polarized-light microscopy, and electronmicroprobe for corroboration of data. Techniques of analysis included pigment identification, examination of the ranges of particle sizes, the proportion of pigments in various tones, and the examination of sectional fragments to study the order of layers. Conclusions reached indicate that the materials and technique of the <i>St. Jerome and <i>Lamentation are similar in the extent of palette, the use of underdrawing, and the manner in which paint layers are sometimes built up. In explaining differences, it is pointed out that the <i>St. Jerome is simpler in technique using a limited number of pigments per tone, thin layers of paint, and few layers of paint in any given area. The <i>Lamentation is more complex, using more pigments per tone, thicker layers of paint, and a greater number of layers of paint in any given area. These differences are related to the different size and function of the two works. -- AATA