We publish our audit record because accuracy claims should be checkable. Every entry on this site runs through an automated fact-audit pipeline (accuracy audit → source-grounded repair → visual QA); this page is generated from that pipeline's own report, not written by hand.
Last full accuracy audit: 2026-08-27 · 5 entries checked · 5 flagged · 11 issues confirmed · 5 corrected · 6 still open
The Birth of Venus — The claim that 'the painting was finished with a cool gray varnish, likely oil- or resin-based, as egg yolk was not used as a varnish in Renaissance painting' is factually incorrect: egg yolk was indeed used as a medium and sometimes as a varnish component in
The Blue Marble — The claim that the image shows the South Pole facing downwards is incorrect; in the original orientation, the South Pole is at the top.
The Blue Marble — The photographer is listed as 'Disputed; likely Harrison Schmitt'; while Schmitt is often credited, the official NASA credit lists the entire Apollo 17 crew as the photographers, and there is no definitive dispute that Schmitt alone took it.
The Garden of Earthly Delights — The triptych is composed of four panels, not five.
The Garden of Earthly Delights — The left panel does not depict the lion actively killing its prey; it simply carries a carcass.
The Great Wave off Kanagawa — The claim that 'The use of Prussian blue in the print revolutionised Japanese prints' is an overstatement; Prussian blue was already used in Japanese prints before Hokusai, and while influential, it did not single-handedly revolutionize Japanese prints.
The Last Supper (Leonardo) — The medium is described as 'Tempera on gesso, pitch, and mastic' but Leonardo used tempera on gesso with an oil-based medium; pitch and mastic were in the ground/sealant layers, not the paint.
The Last Supper (Leonardo) — The claim that 'the room was not a refectory at the time that Leonardo painted it' is incorrect; the room was indeed the refectory of the convent when Leonardo painted the mural.
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