Alexander, Nagel and Christopher S. Wood. ‘Neo-Cosmatesque’. Anachronic Renaissance. New York: Zone Books, 2010. 185–194. Web. <https://www-jstor-org.libproxy.ucl.ac.uk/stable/j.ctv1453n0p>.
Alexander, Nagel and Christopher, S. Wood. ‘Plural Temporality of the Work of Art’. Anachronic Renaissance. New York: Zone Books, 2010. 7–19. Web. <https://contentstore.cla.co.uk/secure/link?id=411eec44-1a9d-e711-80cb-005056af4099>.
Alison, Wright. ‘Crivelli’s Divine Materials’. Ornament & Illusion: Carlo Crivelli of Venice. Ed. Stephen J. Campbell. London: Paul Holberton Publishing, 2015. 57–77. Web. <https://contentstore.cla.co.uk/secure/link?id=0ff2e0e2-a5a2-e711-80cb-005056af4099>.
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. Web. <https://contentstore.cla.co.uk/secure/link?id=74cfc804-00c6-e711-80cd-005056af4099>.
Anne, Dunlop. ‘On the Origins of European Painting Materials, Real and Imagined’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 68–96. Print.
Anne-Sophie Lehman. ‘The Matter of Medium: Some Tools for an Art-Theoretical Interpretation of Materials’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 21–41. Web. <https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099>.
---. ‘The Matter of Medium: Some Tools for an Art-Theoretical Interpretation of Materials’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 21–41. Web. <https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099>.
Arthur Lucas and Joyce Plesters. ‘Titian’s “Bacchus and Ariadne”’. National Gallery Technical Bulletin 2 (1978): 25–47. Web. <http://www.jstor.org/stable/42616250>.
Baum, Kelly, Andrea Bayer, and Sheena Wagstaff, eds. Unfinished: Thoughts Left Visible. New York: The Metropolitan Museum of Art, 2016. Print.
Belozerskaya, Marina. ‘The Powers of Gold and Precious Stones’. Luxury Arts of the Renaissance. London: Thames & Hudson, 2005. 47–87. Web. <https://contentstore.cla.co.uk/secure/link?id=980191b2-1f9d-e711-80cb-005056af4099>.
Bucklow, Spike. ‘Lead White’s Mysteries’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 141–159. Print.
Campbell, Lorne. 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. Underdrawing and technology in painting. Paris: Peeters, 2012. Print.
Caroline, Walker Bynum. ‘The Power of Objects’. Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011. 125–176. Print.
Caroline, Walker, Bynum. ‘Visual Matter’. Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011. 37–123. Web. <https://contentstore.cla.co.uk/secure/link?id=b3ff84dd-109a-e711-80cb-005056af4099>.
Cennini, Cennino, and Lara Broecke. Cennino Cennini’s Il Libro Dell’arte: A New English Translation and Commentary with Italian Transcription. London: Archetype Publications Ltd, 2015. Print.
Cennini, Cennino, and Christiana Jane Powell Herringham. The Book of the Art of Cennino Cennini: A Contemporary Practical Treatise on Quattrocento Painting. London: G. Allen & Unwin, 1899. Print.
Christina, Neilson. ‘The Meaning of Wood in Early Modern European Sculpture’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 223–239. Print.
Christy Anderson, Anne Dunlop and Pamela H. Smith. ‘Introduction’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 1–17. Print.
Colonna, Francesco, and Joscelyn Godwin. Hypnerotomachia Poliphili: The Strife of Love in a Dream. [2nd ed.]. London: Thames & Hudson, 2005. Print.
Conforti, Michael. ‘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. Web. <https://contentstore.cla.co.uk/secure/link?id=dc228003-259d-e711-80cb-005056af4099>.
Cynthia, Hahn. ‘Visio Dei: Changes in Medieval Visuality’. Visuality before and beyond the Renaissance: Seeing as Others Saw. Cambridge studies in new art history and criticism. Cambridge, U.K.: Cambridge University Press, 2000. 169–196. Print.
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. 139–156. Print.
Damisch, Hubert. The Origin of Perspective. Cambridge, Mass: MIT Press, 1994. Print.
Daniel Arasse. ‘Crivelli’. L’Annonciation Italienne: Une Histoire de Perspective. [Paris]: Hazan, 1999. 188–195. Print.
---. ‘Intarsia Annunciation in the Sacristy of Florence Cathedral’. L’Annonciation Italienne: Une Histoire de Perspective. [Paris]: Hazan, 1999. 168–172. Print.
Elkins, James. ‘Curved Foundations: Complexity in Italian Intarsia’. The Poetics of Perspective. Ithaca: Cornell University Press, 1994. 128–133. Web. <https://contentstore.cla.co.uk/secure/link?id=fe049748-9ba2-e711-80cb-005056af4099>.
Fabio Barry. ‘Walking on Water: Cosmic Floors in Antiquity and the Middle Ages’. The Art Bulletin 89.4 (2007): 627–656. Web. <http://www.jstor.org/stable/25067354>.
Faye Tudor. ‘"All in Him Selfe as in a Glass He Sees”: Mirrors and Vision in the Renaissance’. Renaissance Theories of Vision. Visual culture in early modernity. Farnham: Ashgate, 2010. 171–186. Web. <https://www.taylorfrancis.com/books/e/9781317066408/chapters/10.4324%2F9781315605319-15>.
Georges Didi-Huberman. ‘Introduction’. Fra Angelico: Dissemblance & Figuration. Chicago: University of Chicago Press, 1995. 1–12. Web. <https://contentstore.cla.co.uk/secure/link?id=dca97a11-a75a-e811-80cd-005056af4099>.
---. ‘The Colours of Mystery’. Fra Angelico: Dissemblance & Figuration. Chicago: University of Chicago Press, 1995. 13–101. Print.
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. Web. <https://contentstore.cla.co.uk/secure/link?id=51788ec7-03c6-e711-80cd-005056af4099>.
Hills, Paul. Venetian Colour: Marble, Mosaic, Painting and Glass, 1250-1550. New Haven, Conn: Yale University Press, 1999. Print.
‘History of Art Portal’. N.p., n.d. Web. <https://hoaportal.york.ac.uk/hoaportal/medievalToModern.jsp>.
Ilya Kabakov. ‘About Installation’. Art Journal n. pag. Web. <http://www.tandfonline.com/doi/abs/10.1080/00043249.1999.10791966>.
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. Web. <https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099>.
---. ‘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. Web. <https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099>.
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. Print.
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. Proteus : studies in early-modern identity formation. Turnhout, Belgium: Brepols. 37–69. Print.
Lehman, Anne-Sophie. ‘The Matter of the Medium: Some Tools for an Art-Theoretical Interpretation of Materials’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 21–41. Web. <https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099>.
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. 115–136. Print.
---. ‘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. 115–136. Print.
Louis, Marin. ‘Depositing Time in Painted Representation’. On Representation. Meridian. Stanford, Calif: Stanford University Press, 2001. 285–308. Web. <https://ucl.primo.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&amp;package_service_id=14758592270004761&amp;institutionId=4761&amp;customerId=4760&amp;VE=true>.
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. Print.
‘Medieval & Renaissance Galleries - Victoria and Albert Museum’. N.p., n.d. Web. <http://www.vam.ac.uk/page/m/medieval-and-renaissance-galleries/>.
Meiss, Millard. ‘Light as Form and Symbol in Some Fifteenth-Century Paintings’. The Art Bulletin 27.3 (1945): n. pag. Web.
Michael, Podro. ‘Donatello and the Planes of Relief’. Depiction. New Haven [Conn.]: Yale University Press, 1998. 29–60. Web. <https://contentstore.cla.co.uk/secure/link?id=080722e6-37ba-e711-80cb-005056af4099>.
Nader El-Bizri. ‘Classical Optics and the Perspectivae Traditions Leading to the Renaissance’. Renaissance Theories of Vision. Visual culture in early modernity. Farnham: Ashgate, 2010. 11–30. Web. <https://contentstore.cla.co.uk/secure/link?id=4884c8d5-f9a1-e711-80cb-005056af4099>.
Pamela. H. Smith. ‘What Is a Secret? Secrets and Craft Knowledge in Early Modern Europe’. Secrets and Knowledge in Medicine and Science, 1500-1800. The history of medicine in context. Farnham: Ashgate, 2011. 47–66. Web. <https://contentstore.cla.co.uk/secure/link?id=aa77ca73-f9a1-e711-80cb-005056af4099>.
Patricia Allerston. ‘Consuming Problems : Worldly Goods in Renaissance Venice’. The Material Renaissance. Studies in design. Manchester: Manchester University Press, 2007. 11–46. Web. <https://contentstore.cla.co.uk/secure/link?id=d05e8cb5-edb7-e711-80cb-005056af4099>.
Pentcheva, Bissera V. The Sensual Icon: Space, Ritual, and the Senses in Byzantium. University Park, Pa: Pennsylvania State University Press, 2010. Print.
Philip, Ball. ‘Time as Painter: The Ever-Changing Canvas’. Bright Earth: The Invention of Colour. London: Vintage, 2008. 283–305. Web. <https://contentstore.cla.co.uk/secure/link?id=560dd6e5-a7a2-e711-80cb-005056af4099>.
---. ‘Time as Painter: The Ever-Changing Canvas’. Bright Earth: Art and the Invention of Color. 1st American ed. New York: Farrar, Straus and Giroux, 2002. 283–305. Web. <https://contentstore.cla.co.uk/secure/link?id=560dd6e5-a7a2-e711-80cb-005056af4099>.
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. 132–160. Print.
Rayna Kalas. ‘The Technology of Reflection: Renaissance Mirrors of Steel and Glass’. Journal of Medieval and Early Modern Studies 32.3 (2002): 519–542. Web. <https://muse.jhu.edu/article/16519>.
Rebecca Zorach. ‘Everything Swims with Excess: Gold and Its Fashioning in Sixteenth-Century France’. RES: Anthropology and Aesthetics 36 (1999): 125–137. Web. <http://www.jstor.org/stable/20167479>.
‘Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings | Technical Bulletin Vol 34 | National Gallery, London’. N.p., n.d. Web. <https://www.nationalgallery.org.uk/technical-bulletin/vol-34-essay-2-2013>.
Roy, Ashok, and Raymond White. ‘Van Eyck’s Technique: The Myth and the Reality, I and II’. Investigating Jan van Eyck. Turnhout: Brepols, 2000. 97–105. Web. <https://contentstore.cla.co.uk/secure/link?id=7ab5ef4a-df56-e911-80cd-005056af4099>.
---. ‘Van Eyck’s Technique: The Myth and the Reality, I and II’. Investigating Jan van Eyck. Turnhout: Brepols, 2000. 97–105. Web. <https://contentstore.cla.co.uk/secure/link?id=7ab5ef4a-df56-e911-80cd-005056af4099>.
Ruskin, John, and Jan Morris. The Stones of Venice. London: Faber, 1981. Print.
Sassi, Luca, and Marguerite Shore. Renaissance Intarsia: Masterpieces of Wood Inlay. Ed. Luca Trevisan. First edition. New York: Abbeville Press Publishers, 2012. Print.
‘Sebastiano Del Piombo’s “Raising of Lazarus”: A History of Change | Technical Bulletin | National Gallery, London’. N.p., n.d. Web. <http://www.nationalgallery.org.uk/technical-bulletin/dunkerton_howard2009>.
Simons, Patricia. ‘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. 303–329. Web. <https://brill.com/view/book/9789004299016/B9789004299016_016.xml>.
Smith, Pamela H. ‘Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing Project’. Art History 39.2 (2016): 210–233. Web.
Smith, Pamela H. ‘The Body of the Artisan.’ The Body of the Artisan: Art and Experience in the Scientific Revolution. N.p., 2004. 95–128. Web. <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>.
Smith, Pamela H. The Body of the Artisan: Art and Experience in the Scientific Revolution. Chicago: University of Chicago Press, 2004. Print.
---. ‘The Matter of Ideas in the Working of Metals in Early Modern Europe’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 42–67. Print.
Stokes, Adrian. The Image in Form: Selected Writings of Adrian Stokes. Ed. Richard Wollheim. First U.S. edition. Icon editions. New York: Harper & Row, Publishers, 1972. Print.
‘Taking the Measure of Relics of the True Cross’. N.p., n.d. Web. <http://www.catholiceducation.org/en/controversy/common-misconceptions/taking-the-measure-of-relics-of-the-true-cross.html>.
‘The Infra-Red Reflectograms of Jan van Eyck’s Portrait of Giovanni Arnolfini and His Wife Giovanna Cenami. Technical Bulletin. National Gallery, London’. N.p., n.d. Web. <http://www.nationalgallery.org.uk/technical-bulletin/billinge_campbell1995>.
‘The National Gallery, London’. N.p., n.d. Web. <https://www.nationalgallery.org.uk/>.
‘---’. N.p., n.d. Web. <https://www.nationalgallery.org.uk/>.
‘---’. N.p., n.d. Web. <https://www.nationalgallery.org.uk/>.
Thomas Golsenne. ‘L’Annonciation de Carlo Crivelli et Le Problème de l’ornement’. Studiolo, 1, 2002, p. 149-176 n. pag. Web. <http://www.academia.edu/23687905/LAnnonciation_de_Carlo_Crivelli_et_le_probl%C3%A8me_de_lornement>.
Thompson, Nancy M. ‘The Franciscans and the True Cross: The Decoration of the Cappella Maggiore of Santa Croce in Florence’. Gesta 43.1 (2004): 61–79. Web. <http://www.jstor.org/stable/25067092>.
Virma, Passeri. ‘Gold Coins and Gold Leaf in Early Italian Paintings’. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Ed. Christy Anderson, Anne Dunlop, and Pamela H. Smith. Studies in design. Manchester: Manchester University Press, 2015. 97–115. Print.
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. Proteus : studies in early-modern identity formation. Turnhout, Belgium: Brepols. 1–36. Web. <https://contentstore.cla.co.uk/secure/link?id=46fd2b57-2800-e811-80cd-005056af4099>.
Wright, Alison. ‘Tabernacle and Sacrament in Fifteenth-Century Tuscany’. Carvings, Casts & Collectors: The Art of Renaissance Sculpture. London: V&A, 2013. 42–57. Web. <https://contentstore.cla.co.uk/secure/link?id=fc64b864-faa1-e711-80cb-005056af4099>.
---. ‘“Touch the Truth”? Desiderio Da Settignano, Renaissance Relief and the Body of Christ’. Sculpture Journal 21.1 (2012): 7–26. Web. <https://search.proquest.com/docview/1027116269/fulltext/E33A5129F2D44C5FPQ/2?accountid=14511>.
Zorach, Rebecca. The Passionate Triangle. Chicago: University of Chicago Press, 2011. Print.