Artists, including Vermeer, deliberately created 3D textural effects on the surface.

This effect can be intentional-using the paint to create a 3D effect-or the consequence of drying, hardening, or degradation. The substrate is rarely completely flat, and subsequent paint and varnish layers also influence the surface topography. Paintings are generally considered in terms of their (2D) depiction, but the physical artwork also has a third dimension. The three-dimensional landscape of paintings These scans were carried out as part of the research project ‘The Girl in the Spotlight’. Furthermore, the data sets provide a starting point for future documentation and monitoring of the surface topology changes over time. For Girl with a Pearl Earring we find that the 3D data provides an unparalleled insight into the surface features of this painting, specifically related to ‘moating’ around impasto, the effects of paint consolidation in earlier restoration campaigns and aging, through visualisation of the crack pattern.

However, the small field-of-view of these techniques, makes them relatively slow and thereby less viable solutions for capturing larger (areas of) paintings. We find that the 3D digital microscopy and the multi-scale optical coherence tomography offer the highest measurement accuracy and precision. Also the merits and limitations for the individual imaging techniques are discussed in-depth. The 3D data sets were aligned using a scale-invariant template matching algorithm, and compared on their ability to visualise topographical details of interest. Additionally, scans were made of a reference target and compared to 3D data obtained with white-light confocal profilometry. These three techniques are: multi-scale optical coherence tomography, 3D scanning based on fringe-encoded stereo imaging (at two resolutions), and 3D digital microscopy. 1665): a painting in the collection of the Mauritshuis, the Hague. In this manuscript we compare three 3D scanning techniques, which have been used to capture the surface topology of Girl with a Pearl Earring by Johannes Vermeer (c. New technological advancements in non-invasive imaging allow for the documentation and visualisation of a painting’s 3D shape across larger segments or even the complete surface. Furthermore, the impact of mechanical abrasion, (photo)chemical processes and treatments can affect the topography of the surface and thereby its appearance. Crack formation in the multi-layered stratigraphy of the painting is visible in the surface topology. A viewer’s perception of a work of art can be affected by changes in and damages to these layers. A seventeenth-century canvas painting is usually comprised of varnish and (translucent) paint layers on a substrate.

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