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Anne-Sophie Lehman (2015b) ‘The matter of medium: some tools for an art-theoretical interpretation of materials’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 21–41. Available at: https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099.
Arthur Lucas and Joyce Plesters (1978) ‘Titian’s “Bacchus and Ariadne”’, National Gallery Technical Bulletin, 2, pp. 25–47. Available at: http://www.jstor.org/stable/42616250.
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Belozerskaya, M. (2005) ‘The powers of gold and precious stones’, in Luxury arts of the Renaissance. London: Thames & Hudson, pp. 47–87. Available at: https://contentstore.cla.co.uk/secure/link?id=980191b2-1f9d-e711-80cb-005056af4099.
Bucklow, S. (2015) ‘Lead white’s mysteries’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 141–159.
Campbell, L. (2012) 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.
Caroline, Walker Bynum (2011) ‘The power of objects’, in Christian materiality: an essay on religion in late medieval Europe. New York: Zone Books, pp. 125–176.
Caroline, Walker, Bynum (2011) ‘Visual Matter’, in Christian materiality: an essay on religion in late medieval Europe. New York: Zone Books, pp. 37–123. Available at: https://contentstore.cla.co.uk/secure/link?id=b3ff84dd-109a-e711-80cb-005056af4099.
Cennini, C. and Broecke, L. (2015) Cennino Cennini’s Il libro dell’arte: a new English translation and commentary with Italian transcription. London: Archetype Publications Ltd.
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Christina, Neilson (2015) ‘The Meaning of Wood in Early Modern European Sculpture’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 223–239.
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Cynthia, Hahn (2000) ‘Visio dei: Changes in Medieval Visuality’, in Visuality before and beyond the Renaissance: seeing as others saw. Cambridge, U.K.: Cambridge University Press, pp. 169–196.
D. Allen (2011) ‘Gold, Silver and the Colors of Bronze: Antico’s Language of Materials in Statuettes and Reliefs’, in Antico: the golden age of Renaissance bronzes. Washington [D.C.]: National Gallery of Art, pp. 139–156.
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Elkins, J. (1994) ‘Curved Foundations: Complexity in Italian Intarsia’, in The poetics of perspective. Ithaca: Cornell University Press, pp. 128–133. Available at: https://contentstore.cla.co.uk/secure/link?id=fe049748-9ba2-e711-80cb-005056af4099.
Fabio Barry (2007) ‘Walking on Water: Cosmic Floors in Antiquity and the Middle Ages’, The Art Bulletin, 89(4), pp. 627–656. Available at: http://www.jstor.org/stable/25067354.
Faye Tudor (2010) ‘"All in him selfe as in a glass he sees”: Mirrors and vision in the Renaissance’, in Renaissance theories of vision. Farnham: Ashgate, pp. 171–186. Available at: https://www.taylorfrancis.com/books/e/9781317066408/chapters/10.4324%2F9781315605319-15.
Georges Didi-Huberman (1995a) ‘Introduction’, in Fra Angelico: dissemblance & figuration. Chicago: University of Chicago Press, pp. 1–12. Available at: https://contentstore.cla.co.uk/secure/link?id=dca97a11-a75a-e811-80cd-005056af4099.
Georges Didi-Huberman (1995b) ‘The Colours of Mystery’, in Fra Angelico: dissemblance & figuration. Chicago: University of Chicago Press, pp. 13–101.
Heidi C. Gearhart (2017) ‘Introduction: Theophilus, On Diverse Arts, prologue 1’, in Theophilus and the theory and practice of medieval art. University Park, Pennsylvania: The Pennsylvania State University Press, pp. 1–13. Available at: https://contentstore.cla.co.uk/secure/link?id=51788ec7-03c6-e711-80cd-005056af4099.
Hills, P. (1999) Venetian colour: marble, mosaic, painting and glass, 1250-1550. New Haven, Conn: Yale University Press.
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Jill, Dunkerton (1999a) ‘North and South: Painting Techniques in Renaissance Venice’, in Renaissance Venice and the North: crosscurrents in the time of Dürer, Bellini and Titian. London: Thames & Hudson, pp. 92–103. Available at: https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099.
Jill, Dunkerton (1999b) ‘North and South: Painting Techniques in Renaissance Venice’, in Renaissance Venice and the North: crosscurrents in the time of Dürer, Bellini and Titian. London: Thames & Hudson, pp. 92–103. Available at: https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099.
John G. Hawthorne, Cyril Stanley Smith (1979) ‘The Second Book: The Art of the Worker in Glass’, in On divers arts: the foremost medieval treatise on painting, glassmaking and metalwork. New York: Dover, pp. 45–74.
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Lorenzo, Lazzarini (1987a) ‘The Use of Color by Venetian Painters, 1488-1580: Materials and Technique’, in Color and technique in Renaissance painting: Italy and the North. New York: Augustin, pp. 115–136.
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Pamela. H. Smith (2011) ‘What is a Secret? Secrets and Craft Knowledge in Early Modern Europe’, in Secrets and knowledge in medicine and science, 1500-1800. Farnham: Ashgate, pp. 47–66. Available at: https://contentstore.cla.co.uk/secure/link?id=aa77ca73-f9a1-e711-80cb-005056af4099.
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Walter S. Melion (no date) ‘Introduction: Meditative Images and the Psychology of Soul’, in Image and imagination of the religious self in late medieval and early modern Europe. Turnhout, Belgium: Brepols, pp. 1–36. Available at: https://contentstore.cla.co.uk/secure/link?id=46fd2b57-2800-e811-80cd-005056af4099.
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