1.
Christy Anderson, Anne Dunlop and Pamela H. Smith. Introduction. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:1-17.
2.
Lehman AS. The matter of the medium: some tools for an art-theoretical interpretation of materials. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:21-41. https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099
3.
Caroline, Walker, Bynum. Visual Matter. In: Christian Materiality: An Essay on Religion in Late Medieval Europe. Zone Books; 2011:37-123. https://contentstore.cla.co.uk/secure/link?id=b3ff84dd-109a-e711-80cb-005056af4099
4.
Alexander, Nagel and Christopher, S. Wood. Plural Temporality of the Work of Art. In: Anachronic Renaissance. Zone Books; 2010:7-19. https://contentstore.cla.co.uk/secure/link?id=411eec44-1a9d-e711-80cb-005056af4099
5.
Conforti M. The idealist enterprise and the applied arts. In: A Grand Design: The Art of the Victoria and Albert Museum. V & A with The Baltimore Museum of Art; 1997:23-47. https://contentstore.cla.co.uk/secure/link?id=dc228003-259d-e711-80cb-005056af4099
6.
Patricia Allerston. Consuming problems : worldly goods in Renaissance Venice. In: The Material Renaissance. Vol Studies in design. Manchester University Press; 2007:11-46. https://contentstore.cla.co.uk/secure/link?id=d05e8cb5-edb7-e711-80cb-005056af4099
7.
Belozerskaya M. The powers of gold and precious stones. In: Luxury Arts of the Renaissance. Thames & Hudson; 2005:47-87. https://contentstore.cla.co.uk/secure/link?id=980191b2-1f9d-e711-80cb-005056af4099
8.
Medieval & Renaissance Galleries - Victoria and Albert Museum. http://www.vam.ac.uk/page/m/medieval-and-renaissance-galleries/
9.
Heidi C. Gearhart. Introduction: Theophilus, On Diverse Arts, prologue 1. In: Theophilus and the Theory and Practice of Medieval Art. The Pennsylvania State University Press; 2017:1-13. https://contentstore.cla.co.uk/secure/link?id=51788ec7-03c6-e711-80cd-005056af4099
10.
Cennini C, Broecke L. Cennino Cennini’s Il Libro Dell’arte: A New English Translation and Commentary with Italian Transcription. Archetype Publications Ltd; 2015.
11.
Cennini C, Herringham CJP. The Book of the Art of Cennino Cennini: A Contemporary Practical Treatise on Quattrocento Painting. G. Allen & Unwin; 1899.
12.
Smith, Pamela H. The Body of the Artisan. In: The Body of the Artisan: Art and Experience in the Scientific Revolution. ; 2004:95-128. https://quod.lib.umich.edu/cgi/t/text/pageviewer-idx?c=acls;cc=acls;rgn=full%20text;idno=heb06680.0001.001;didno=heb06680.0001.001;view=image;seq=00000105;node=heb06680.0001.001%3A5.2
13.
Smith PH. The Body of the Artisan: Art and Experience in the Scientific Revolution. University of Chicago Press; 2004.
14.
Smith PH. Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing Project. Art History. 2016;39(2):210-233. doi:10.1111/1467-8365.12235
15.
Bucklow S. Lead white’s mysteries. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:141-159.
16.
Smith PH. The matter of ideas in the working of metals in early modern Europe. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:42-67.
17.
Pamela. H. Smith. What is a Secret? Secrets and Craft Knowledge in Early Modern Europe. In: Secrets and Knowledge in Medicine and Science, 1500-1800. Vol The history of medicine in context. Ashgate; 2011:47-66. https://contentstore.cla.co.uk/secure/link?id=aa77ca73-f9a1-e711-80cb-005056af4099
18.
Nader El-Bizri. Classical optics and the perspectivae traditions leading to the Renaissance. In: Renaissance Theories of Vision. Vol Visual culture in early modernity. Ashgate; 2010:11-30. https://contentstore.cla.co.uk/secure/link?id=4884c8d5-f9a1-e711-80cb-005056af4099
19.
Walter S. Melion. Introduction: Meditative Images and the Psychology of Soul. In: Image and Imagination of the Religious Self in Late Medieval and Early Modern Europe. Vol Proteus : studies in early-modern identity formation. Brepols; :1-36. https://contentstore.cla.co.uk/secure/link?id=46fd2b57-2800-e811-80cd-005056af4099
20.
Klaus Krüger. Authenticity and Fiction: On the Pictorial Construction of Inner Presence in Early Modern Italy. In: Image and Imagination of the Religious Self in Late Medieval and Early Modern Europe. Vol Proteus : studies in early-modern identity formation. Brepols; :37-69.
21.
Cynthia, Hahn. Visio dei: Changes in Medieval Visuality. In: Visuality before and beyond the Renaissance: Seeing as Others Saw. Vol Cambridge studies in new art history and criticism. Cambridge University Press; 2000:169-196.
22.
Caroline, Walker Bynum. The power of objects. In: Christian Materiality: An Essay on Religion in Late Medieval Europe. Zone Books; 2011:125-176.
23.
Wright A. Tabernacle and Sacrament in fifteenth-century Tuscany. In: Carvings, Casts & Collectors: The Art of Renaissance Sculpture. V&A; 2013:42-57. https://contentstore.cla.co.uk/secure/link?id=fc64b864-faa1-e711-80cb-005056af4099
24.
Faye Tudor. "All in him selfe as in a glass he sees”: Mirrors and vision in the Renaissance. In: Renaissance Theories of Vision. Vol Visual culture in early modernity. Ashgate; 2010:171-186. https://www.taylorfrancis.com/books/e/9781317066408/chapters/10.4324%2F9781315605319-15
25.
Rayna Kalas. The Technology of Reflection: Renaissance Mirrors of Steel and Glass. Journal of Medieval and Early Modern Studies. 2002;32(3):519-542. https://muse.jhu.edu/article/16519
26.
Meiss M. Light as Form and Symbol in Some Fifteenth-Century Paintings. The Art Bulletin. 1945;27(3). doi:10.2307/3047010
27.
Zorach R. The Passionate Triangle. University of Chicago Press; 2011.
28.
Damisch H. The Origin of Perspective. MIT Press; 1994.
29.
Thomas Golsenne. L’Annonciation de Carlo Crivelli et le problème de l’ornement. Studiolo, 1, 2002, p 149-176. http://www.academia.edu/23687905/LAnnonciation_de_Carlo_Crivelli_et_le_probl%C3%A8me_de_lornement
30.
Daniel Arasse. Crivelli. In: L’Annonciation Italienne: Une Histoire de Perspective. Hazan; 1999:188-195.
31.
Daniel Arasse. intarsia Annunciation in the Sacristy of Florence cathedral. In: L’Annonciation Italienne: Une Histoire de Perspective. Hazan; 1999:168-172.
32.
Simons P. Salience and the Snail: Liminality and Incarnation in Francesco del Cossa’s Annunciation (c. 1470). In: Religion, the Supernatural and Visual Culture in Early Modern Europe. Brill; 2015:303-329. doi:10.1163/9789004299016_016
33.
Ilya Kabakov. About Installation. Art Journal. http://www.tandfonline.com/doi/abs/10.1080/00043249.1999.10791966
34.
Elkins J. Curved Foundations: Complexity in Italian Intarsia. In: The Poetics of Perspective. Cornell University Press; 1994:128-133. https://contentstore.cla.co.uk/secure/link?id=fe049748-9ba2-e711-80cb-005056af4099
35.
Margaret, Haines & Giuseppe, Marchini. Archaeology and analysis of the side wall revetments. In: The ‘Sacrestia Delle Messe’ of the Florentine Cathedral. Cassa di Risparmio di Firenze; 1983:81-97.
36.
Sassi L, Shore M. Renaissance Intarsia: Masterpieces of Wood Inlay. First edition. (Trevisan L, ed.). Abbeville Press Publishers; 2012.
37.
Christina, Neilson. The Meaning of Wood in Early Modern European Sculpture. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:223-239.
38.
Rab, Hatfield. The Tree of Life and the Holy Cross: Franciscan Spirituality in the Trecento and the Quattrocento. In: Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento. Syracuse University Press; 1990:132-160.
39.
Thompson NM. The Franciscans and the True Cross: The Decoration of the Cappella Maggiore of Santa Croce in Florence. Gesta. 2004;43(1):61-79. http://www.jstor.org/stable/25067092
40.
Taking the Measure of Relics of the True Cross. http://www.catholiceducation.org/en/controversy/common-misconceptions/taking-the-measure-of-relics-of-the-true-cross.html
41.
Anne-Sophie Lehman. The matter of medium: some tools for an art-theoretical interpretation of materials. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:21-41. https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099
42.
Roy A, White R. Van Eyck’s technique: The myth and the reality, I and II. In: Investigating Jan van Eyck. Brepols; 2000:97-105. https://contentstore.cla.co.uk/secure/link?id=7ab5ef4a-df56-e911-80cd-005056af4099
43.
Jill, Dunkerton. North and South: Painting Techniques in Renaissance Venice. In: Renaissance Venice and the North: Crosscurrents in the Time of Dürer, Bellini and Titian. Thames & Hudson; 1999:92-103. https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099
44.
Lorenzo, Lazzarini. The Use of Color by Venetian Painters, 1488-1580: Materials and Technique. In: Color and Technique in Renaissance Painting: Italy and the North. Augustin; 1987:115-136.
45.
The National Gallery, London. https://www.nationalgallery.org.uk/
46.
Anne-Sophie Lehman. The matter of medium: some tools for an art-theoretical interpretation of materials. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:21-41. https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099
47.
Roy A, White R. Van Eyck’s technique: The myth and the reality, I and II. In: Investigating Jan van Eyck. Brepols; 2000:97-105. https://contentstore.cla.co.uk/secure/link?id=7ab5ef4a-df56-e911-80cd-005056af4099
48.
Jill, Dunkerton. North and South: Painting Techniques in Renaissance Venice. In: Renaissance Venice and the North: Crosscurrents in the Time of Dürer, Bellini and Titian. Thames & Hudson; 1999:92-103. https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099
49.
Lorenzo, Lazzarini. The Use of Color by Venetian Painters, 1488-1580: Materials and Technique. In: Color and Technique in Renaissance Painting: Italy and the North. Augustin; 1987:115-136.
50.
Arthur Lucas and Joyce Plesters. Titian’s ‘Bacchus and Ariadne’. National Gallery Technical Bulletin. 1978;2:25-47. http://www.jstor.org/stable/42616250
51.
Philip, Ball. Time as Painter: The Ever-changing canvas. In: Bright Earth: The Invention of Colour. Vintage; 2008:283-305. https://contentstore.cla.co.uk/secure/link?id=560dd6e5-a7a2-e711-80cb-005056af4099
52.
The National Gallery, London. https://www.nationalgallery.org.uk/
53.
Colonna F, Godwin J. Hypnerotomachia Poliphili: The Strife of Love in a Dream. [2nd ed.]. Thames & Hudson; 2005.
54.
Hills P. Venetian Colour: Marble, Mosaic, Painting and Glass, 1250-1550. Yale University Press; 1999.
55.
John G. Hawthorne, Cyril Stanley Smith. The Second Book: The Art of the Worker in Glass. In: On Divers Arts: The Foremost Medieval Treatise on Painting, Glassmaking and Metalwork. Dover; 1979:45-74.
56.
Ruskin J, Morris J. The Stones of Venice. Faber; 1981.
57.
Pentcheva BV. The Sensual Icon: Space, Ritual, and the Senses in Byzantium. Pennsylvania State University Press; 2010.
58.
Virma, Passeri. Gold coins and gold leaf in early Italian Paintings. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:97-115.
59.
History of Art Portal. https://hoaportal.york.ac.uk/hoaportal/medievalToModern.jsp
60.
The National Gallery, London. https://www.nationalgallery.org.uk/
61.
Rebecca Zorach. Everything Swims with Excess: Gold and Its Fashioning in Sixteenth-Century France. RES: Anthropology and Aesthetics. 1999;(36):125-137. http://www.jstor.org/stable/20167479
62.
Alison, Wright. Crivelli’s Divine Materials. In: Campbell SJ, ed. Ornament & Illusion: Carlo Crivelli of Venice. Paul Holberton Publishing; 2015:57-77. https://contentstore.cla.co.uk/secure/link?id=0ff2e0e2-a5a2-e711-80cb-005056af4099
63.
Georges Didi-Huberman. Introduction. In: Fra Angelico: Dissemblance & Figuration. University of Chicago Press; 1995:1-12. https://contentstore.cla.co.uk/secure/link?id=dca97a11-a75a-e811-80cd-005056af4099
64.
Georges Didi-Huberman. The Colours of Mystery. In: Fra Angelico: Dissemblance & Figuration. University of Chicago Press; 1995:13-101.
65.
Anne, Dunlop. On the origins of European painting materials, real and imagined. In: Anderson C, Dunlop A, Smith PH, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Vol Studies in design. Manchester University Press; 2015:68-96.
66.
Alexander, Nagel and Christopher S. Wood. Neo-Cosmatesque. In: Anachronic Renaissance. Zone Books; 2010:185-194. https://www-jstor-org.libproxy.ucl.ac.uk/stable/j.ctv1453n0p
67.
Fabio Barry. Walking on Water: Cosmic Floors in Antiquity and the Middle Ages. The Art Bulletin. 2007;89(4):627-656. http://www.jstor.org/stable/25067354
68.
Amanda, Lillie. Sculpting the Air: Donatello’s Narratives of the Environment. In: Depth of Field: Relief Sculpture in Renaissance Italy. Peter Lang; 2007:97-124. https://contentstore.cla.co.uk/secure/link?id=74cfc804-00c6-e711-80cd-005056af4099
69.
Wright A. ‘Touch the truth’? Desiderio da Settignano, Renaissance relief and the body of Christ. Sculpture Journal. 2012;21(1):7-26. https://search.proquest.com/docview/1027116269/fulltext/E33A5129F2D44C5FPQ/2?accountid=14511
70.
Stokes A. The Image in Form: Selected Writings of Adrian Stokes. Vol Icon editions. First U.S. edition. (Wollheim R, ed.). Harper & Row, Publishers; 1972.
71.
Michael, Podro. Donatello and the Planes of Relief. In: Depiction. Yale University Press; 1998:29-60. https://contentstore.cla.co.uk/secure/link?id=080722e6-37ba-e711-80cb-005056af4099
72.
The Infra-red Reflectograms of Jan van Eyck’s Portrait of Giovanni Arnolfini and his Wife Giovanna Cenami. Technical Bulletin. National Gallery, London. http://www.nationalgallery.org.uk/technical-bulletin/billinge_campbell1995
73.
Campbell L. Rogier van Der Weyden in Context: Papers Presented at the Seventeenth Symposium for the Study of Underdrawing and Technology in Painting, Held in Leuven, 22-24 October 2009. Vol Underdrawing and technology in painting. Peeters; 2012.
74.
Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings | Technical Bulletin Vol 34 | National Gallery, London. https://www.nationalgallery.org.uk/technical-bulletin/vol-34-essay-2-2013
75.
Louis, Marin. Depositing time in Painted Representation. In: On Representation. Vol Meridian. Stanford University Press; 2001:285-308. https://ucl.primo.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=14758592270004761&institutionId=4761&customerId=4760&VE=true
76.
D. Allen. Gold, Silver and the Colors of Bronze: Antico’s Language of Materials in Statuettes and Reliefs. In: Antico: The Golden Age of Renaissance Bronzes. National Gallery of Art; 2011:139-156.
77.
Sebastiano del Piombo’s ‘Raising of Lazarus’: A History of Change | Technical Bulletin | National Gallery, London. http://www.nationalgallery.org.uk/technical-bulletin/dunkerton_howard2009
78.
Baum K, Bayer A, Wagstaff S, eds. Unfinished: Thoughts Left Visible. The Metropolitan Museum of Art; 2016.
79.
Philip, Ball. Time as Painter: The Ever-changing canvas. In: Bright Earth: Art and the Invention of Color. 1st American ed. Farrar, Straus and Giroux; 2002:283-305. https://contentstore.cla.co.uk/secure/link?id=560dd6e5-a7a2-e711-80cb-005056af4099