Thank you Jim for explaining your use of Naples Yellow Gen. and your preferences. (Also the info about OH's replication.)
At the Rijksmuseum ( wow, I think I spelled it properly ) Museum researchers at the Molart project ( molecular aspect of aging in art) worked with paint chips from Dutch master paintings. It was determined that generally, after an underpainting of lead white, carbon black and typically some red earth, lead white was then combined with lead tin yellow and depending on the object to be rendered...with one of various lakes or smalt or indigo. ( The true ultramarine was frequently reserved for the final layer and presumably was expensive and rare.) There were from 3 to 6 or 7 layers. It is amazing that they went about their craft with such design: somehow knowing that the final layer would give the appearance of, for instance, a lemon or flower.
It was noted that those artists whose palettes did not include the more expensive colors like Vermilion or Ultramarine ( Lapis Lazuli) used Lead Tin yellow extensively. Presumably it was easier to come by and less expensive.
btw...Lack of access to more expensive pigments did nothing to stop determined artists like Beukelaer:
When you consider works like this one, is it not amazing what can be done with a limited palette of earths ?
Naples yellow seems to be more the choice of painters today and the one from Vasari must be good if its being endorsed by David Leffel.