The following pigment analysis is based on the technical examination of Velázquez’s paintings in the Museo Prado in Madrid (1).

1 Brown-black upper layer from the background: yellow-brown ochre with small amounts of lead white, calcite, red ochre, red lake, charcoal black, bone black, and maybe azurite.

2 Background upper edge: several layers (from top to ground)

1 one or two grayish layers
2 traces of thin dark brownish layer
3 pale brownish-gray layer: lead white, calcite and ochre
4 white layer: primarily lead white
5 thin  grayish-brown layer
6 orange-red ground: red ochre

3 The red-orange ground left tacking edge: red ochre, with small amounts of lead white, red lake, and charcoal/bone black.

4,5 Red sash, left tacking edge: red lake, red ochre, charcoal/bone black with small amounts of lead white and yellow ochre (probably cochineal).

6 Brown-yellow armor: lead-tin-yellow, tin oxide, calcite with small amounts of lead white and charcoal/bone black).

7 Pale yellow highlight on armor: lead-tin-yellow, calcite, lead white, and possibly yellow ochre.

8 Background, right tacking edge: several layers (from top to ground)

1 dark gray layer: lead white and charcoal black.
2 slightly lighter gray layer: lead white and charcoal black.
3 orange-red ground: red ochre

9 Red sash on Philip’s chest: several layers (from top-down)

1 thin red glaze
2 pink layer: lead white, red lake, and calcite
3 fine-grained brown-black layer with scattered red lake particles
4 white layer: predominantly lead white
5 orange-red ground: red ochre

10 Philip’s neck: several layers (from top-down)

1 white layer: primarily lead white representing flesh color of the later image
2 pink layer: lead white, with scattered red and black particles representing flesh color of an earlier image
3 orange-red ground: red ochre

References

(1) McKim-Smith, G., Andersen-Bergdoll, G., Newman, R.  Examining Velazquez, Yale University Press, 1988, pp 125 – 126.

(2) P.C. Gutiérrez-Neiraa, F. Agulló-Ruedab, A. Climent-Fonta, C. Garrido, Raman spectroscopy analysis of pigments on Diego Velázquez paintings. Vibrational Spectroscopy, 69, 2013, 13– 20.

(3) Alfonso E. Pérez Sánchez, Julián Gállego, Velázquez, Metropolitan Museum of Art, 01.01.1989

(1) McKim-Smith, G., Andersen-Bergdoll, G., Newman, R.  Examining Velazquez, Yale University Press, 1988.

(2) Alfonso E. Pérez Sánchez, Julián Gállego, Velázquez, Metropolitan Museum of Art, 1989.

(3) Jonathan Brown, Enemies of Flattery: Velazquez’ Portraits of Philip IV, The Journal of Interdisciplinary History
Vol. 17, No. 1, The Evidence of Art: Images and Meaning in History (Summer, 1986), pp. 137-154, Published by MIT Press.