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. Manchester: Manchester University Press 2015:1–17.
2
Lehman A-S. 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. Manchester: Manchester University Press 2015:21–41.
3
Caroline, Walker, Bynum. Visual Matter. Christian materiality: an essay on religion in late medieval Europe. New York: Zone Books 2011:37–123.
4
Alexander, Nagel and Christopher, S. Wood. Plural Temporality of the Work of Art. Anachronic Renaissance. New York: Zone Books 2010:7–19.
5
Conforti M. The idealist enterprise and the applied arts. A grand design: the art of the Victoria and Albert Museum. London: V & A with The Baltimore Museum of Art 1997:23–47.
6
Patricia Allerston. Consuming problems : worldly goods in Renaissance Venice. The Material Renaissance. Manchester: Manchester University Press 2007:11–46.
7
Belozerskaya M. The powers of gold and precious stones. Luxury arts of the Renaissance. London: Thames & Hudson 2005:47–87.
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. Theophilus and the theory and practice of medieval art. University Park, Pennsylvania: The Pennsylvania State University Press 2017:1–13.
10
Cennini C, Broecke L. Cennino Cennini’s Il libro dell’arte: a new English translation and commentary with Italian transcription. London: Archetype Publications Ltd 2015.
11
Cennini C, Herringham CJP. The book of the art of Cennino Cennini: a contemporary practical treatise on quattrocento painting. London: G. Allen & Unwin 1899.
12
Smith, Pamela H. The Body of the Artisan. The body of the artisan: art and experience in the scientific revolution. 2004:95–128.
13
Smith PH. The body of the artisan: art and experience in the scientific revolution. Chicago: 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;39:210–33. 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. Manchester: Manchester University Press 2015:141–59.
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. Manchester: Manchester University Press 2015:42–67.
17
Pamela. H. Smith. What is a Secret? Secrets and Craft Knowledge in Early Modern Europe. Secrets and knowledge in medicine and science, 1500-1800. Farnham: Ashgate 2011:47–66.
18
Nader El-Bizri. Classical optics and the perspectivae traditions leading to the Renaissance. Renaissance theories of vision. Farnham: Ashgate 2010:11–30.
19
Walter S. Melion. Introduction: Meditative Images and the Psychology of Soul. Image and imagination of the religious self in late medieval and early modern Europe. Turnhout, Belgium: Brepols :1–36.
20
Klaus Krüger. Authenticity and Fiction: On the Pictorial Construction of Inner Presence in Early Modern Italy. Image and imagination of the religious self in late medieval and early modern Europe. Turnhout, Belgium: Brepols :37–69.
21
Cynthia, Hahn. Visio dei: Changes in Medieval Visuality. Visuality before and beyond the Renaissance: seeing as others saw. Cambridge, U.K.: Cambridge University Press 2000:169–96.
22
Caroline, Walker Bynum. The power of objects. Christian materiality: an essay on religion in late medieval Europe. New York: Zone Books 2011:125–76.
23
Wright A. Tabernacle and Sacrament in fifteenth-century Tuscany. Carvings, casts & collectors: the art of Renaissance sculpture. London: V&A 2013:42–57.
24
Faye Tudor. "All in him selfe as in a glass he sees”: Mirrors and vision in the Renaissance. Renaissance theories of vision. Farnham: Ashgate 2010:171–86.
25
Rayna Kalas. The Technology of Reflection: Renaissance Mirrors of Steel and Glass. Journal of Medieval and Early Modern Studies. 2002;32:519–42.
26
Meiss M. Light as Form and Symbol in Some Fifteenth-Century Paintings. The Art Bulletin. 1945;27. doi: 10.2307/3047010
27
Zorach R. The passionate triangle. Chicago: University of Chicago Press 2011.
28
Damisch H. The origin of perspective. Cambridge, Mass: MIT Press 1994.
29
Thomas Golsenne. L’Annonciation de Carlo Crivelli et le problème de l’ornement. Studiolo, 1, 2002, p 149-176.
30
Daniel Arasse. Crivelli. L’Annonciation italienne: une histoire de perspective. [Paris]: Hazan 1999:188–95.
31
Daniel Arasse. intarsia Annunciation in the Sacristy of Florence cathedral. L’Annonciation italienne: une histoire de perspective. [Paris]: Hazan 1999:168–72.
32
Simons P. Salience and the Snail: Liminality and Incarnation in Francesco del Cossa’s Annunciation (c. 1470). Religion, the Supernatural and Visual Culture in Early Modern Europe. Brill 2015:303–29.
33
Ilya Kabakov. About Installation. Art Journal.
34
Elkins J. Curved Foundations: Complexity in Italian Intarsia. The poetics of perspective. Ithaca: Cornell University Press 1994:128–33.
35
Margaret, Haines & Giuseppe, Marchini. Archaeology and analysis of the side wall revetments. The ‘Sacrestia delle Messe’ of the Florentine Cathedral. [Firenze]: Cassa di Risparmio di Firenze 1983:81–97.
36
Sassi L, Shore M. Renaissance intarsia: masterpieces of wood inlay. First edition. New York: 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. Manchester: Manchester University Press 2015:223–39.
38
Rab, Hatfield. The Tree of Life and the Holy Cross: Franciscan Spirituality in the Trecento and the Quattrocento. Christianity and the Renaissance: image and religious imagination in the Quattrocento. New York: Syracuse University Press 1990:132–60.
39
Thompson NM. The Franciscans and the True Cross: The Decoration of the Cappella Maggiore of Santa Croce in Florence. Gesta. 2004;43:61–79.
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. Manchester: Manchester University Press 2015:21–41.
42
Roy A, White R. Van Eyck’s technique: The myth and the reality, I and II. Investigating Jan van Eyck. Turnhout: Brepols 2000:97–105.
43
Jill, Dunkerton. North and South: Painting Techniques in Renaissance Venice. Renaissance Venice and the North: crosscurrents in the time of Dürer, Bellini and Titian. London: Thames & Hudson 1999:92–103.
44
Lorenzo, Lazzarini. The Use of Color by Venetian Painters, 1488-1580: Materials and Technique. Color and technique in Renaissance painting: Italy and the North. New York: Augustin 1987:115–36.
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. Manchester: Manchester University Press 2015:21–41.
47
Roy A, White R. Van Eyck’s technique: The myth and the reality, I and II. Investigating Jan van Eyck. Turnhout: Brepols 2000:97–105.
48
Jill, Dunkerton. North and South: Painting Techniques in Renaissance Venice. Renaissance Venice and the North: crosscurrents in the time of Dürer, Bellini and Titian. London: Thames & Hudson 1999:92–103.
49
Lorenzo, Lazzarini. The Use of Color by Venetian Painters, 1488-1580: Materials and Technique. Color and technique in Renaissance painting: Italy and the North. New York: Augustin 1987:115–36.
50
Arthur Lucas and Joyce Plesters. Titian’s ‘Bacchus and Ariadne’. National Gallery Technical Bulletin. 1978;2:25–47.
51
Philip, Ball. Time as Painter: The Ever-changing canvas. Bright earth: the invention of colour. London: Vintage 2008:283–305.
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.]. London: Thames & Hudson 2005.
54
Hills P. Venetian colour: marble, mosaic, painting and glass, 1250-1550. New Haven, Conn: Yale University Press 1999.
55
John G. Hawthorne, Cyril Stanley Smith. The Second Book: The Art of the Worker in Glass. On divers arts: the foremost medieval treatise on painting, glassmaking and metalwork. New York: Dover 1979:45–74.
56
Ruskin J, Morris J. The stones of Venice. London: Faber 1981.
57
Pentcheva BV. The sensual icon: space, ritual, and the senses in Byzantium. University Park, Pa: 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. Manchester: 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;125–37.
62
Alison, Wright. Crivelli’s Divine Materials. In: Campbell SJ, ed. Ornament & illusion: Carlo Crivelli of Venice. London: Paul Holberton Publishing 2015:57–77.
63
Georges Didi-Huberman. Introduction. Fra Angelico: dissemblance & figuration. Chicago: University of Chicago Press 1995:1–12.
64
Georges Didi-Huberman. The Colours of Mystery. Fra Angelico: dissemblance & figuration. Chicago: 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. Manchester: Manchester University Press 2015:68–96.
66
Alexander, Nagel and Christopher S. Wood. Neo-Cosmatesque. Anachronic Renaissance. New York: Zone Books 2010:185–94.
67
Fabio Barry. Walking on Water: Cosmic Floors in Antiquity and the Middle Ages. The Art Bulletin. 2007;89:627–56.
68
Amanda, Lillie. Sculpting the Air: Donatello’s Narratives of the Environment. Depth of field: relief sculpture in Renaissance Italy. Bern: Peter Lang 2007:97–124.
69
Wright A. ‘Touch the truth’? Desiderio da Settignano, Renaissance relief and the body of Christ. Sculpture Journal. 2012;21:7–26.
70
Stokes A. The image in form: selected writings of Adrian Stokes. First U.S. edition. New York: Harper & Row, Publishers 1972.
71
Michael, Podro. Donatello and the Planes of Relief. Depiction. New Haven [Conn.]: Yale University Press 1998:29–60.
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. Paris: 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. On representation. Stanford, Calif: Stanford University Press 2001:285–308.
76
D. Allen. Gold, Silver and the Colors of Bronze: Antico’s Language of Materials in Statuettes and Reliefs. Antico: the golden age of Renaissance bronzes. Washington [D.C.]: National Gallery of Art 2011:139–56.
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, editors. Unfinished: thoughts left visible. New York: The Metropolitan Museum of Art 2016.
79
Philip, Ball. Time as Painter: The Ever-changing canvas. Bright earth: art and the invention of color. New York: Farrar, Straus and Giroux 2002:283–305.