1.
Christy Anderson, Anne Dunlop and Pamela H. Smith. Introduction. in The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 1–17 (Manchester University Press, 2015).
2.
Lehman, A.-S. The matter of the medium: some tools for an art-theoretical interpretation of materials. in The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 21–41 (Manchester University Press, 2015).
3.
Caroline, Walker, Bynum. Visual Matter. in Christian materiality: an essay on religion in late medieval Europe 37–123 (Zone Books, 2011).
4.
Alexander, Nagel and Christopher, S. Wood. Plural Temporality of the Work of Art. in Anachronic Renaissance 7–19 (Zone Books, 2010).
5.
Conforti, M. The idealist enterprise and the applied arts. in A grand design: the art of the Victoria and Albert Museum 23–47 (V & A with The Baltimore Museum of Art, 1997).
6.
Patricia Allerston. Consuming problems : worldly goods in Renaissance Venice. in The Material Renaissance vol. Studies in design 11–46 (Manchester University Press, 2007).
7.
Belozerskaya, M. The powers of gold and precious stones. in Luxury arts of the Renaissance 47–87 (Thames & Hudson, 2005).
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 1–13 (The Pennsylvania State University Press, 2017).
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, C. J. P. 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 95–128 (2004).
13.
Smith, P. H. The body of the artisan: art and experience in the scientific revolution. (University of Chicago Press, 2004).
14.
Smith, P. H. Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing Project. Art History 39, 210–233 (2016).
15.
Bucklow, S. Lead white’s mysteries. in The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 141–159 (Manchester University Press, 2015).
16.
Smith, P. H. The matter of ideas in the working of metals in early modern Europe. in The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 42–67 (Manchester University Press, 2015).
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 47–66 (Ashgate, 2011).
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 11–30 (Ashgate, 2010).
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 1–36 (Brepols).
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 37–69 (Brepols).
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 169–196 (Cambridge University Press, 2000).
22.
Caroline, Walker Bynum. The power of objects. in Christian materiality: an essay on religion in late medieval Europe 125–176 (Zone Books, 2011).
23.
Wright, A. Tabernacle and Sacrament in fifteenth-century Tuscany. in Carvings, casts & collectors: the art of Renaissance sculpture 42–57 (V&A, 2013).
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 171–186 (Ashgate, 2010).
25.
Rayna Kalas. The Technology of Reflection: Renaissance Mirrors of Steel and Glass. Journal of Medieval and Early Modern Studies 32, 519–542 (2002).
26.
Meiss, M. Light as Form and Symbol in Some Fifteenth-Century Paintings. The Art Bulletin 27, (1945).
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.
30.
Daniel Arasse. Crivelli. in L’Annonciation italienne: une histoire de perspective 188–195 (Hazan, 1999).
31.
Daniel Arasse. intarsia Annunciation in the Sacristy of Florence cathedral. in L’Annonciation italienne: une histoire de perspective 168–172 (Hazan, 1999).
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 303–329 (Brill, 2015). doi:10.1163/9789004299016_016.
33.
Ilya Kabakov. About Installation. Art Journal.
34.
Elkins, J. Curved Foundations: Complexity in Italian Intarsia. in The poetics of perspective 128–133 (Cornell University Press, 1994).
35.
Margaret, Haines & Giuseppe, Marchini. Archaeology and analysis of the side wall revetments. in The ‘Sacrestia delle Messe’ of the Florentine Cathedral 81–97 (Cassa di Risparmio di Firenze, 1983).
36.
Sassi, L. & Shore, M. Renaissance intarsia: masterpieces of wood inlay. (Abbeville Press Publishers, 2012).
37.
Christina, Neilson. The Meaning of Wood in Early Modern European Sculpture. in The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 223–239 (Manchester University Press, 2015).
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 132–160 (Syracuse University Press, 1990).
39.
Thompson, N. M. The Franciscans and the True Cross: The Decoration of the Cappella Maggiore of Santa Croce in Florence. Gesta 43, 61–79 (2004).
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 The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 21–41 (Manchester University Press, 2015).
42.
Roy, A. & White, R. Van Eyck’s technique: The myth and the reality, I and II. in Investigating Jan van Eyck 97–105 (Brepols, 2000).
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 92–103 (Thames & Hudson, 1999).
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 115–136 (Augustin, 1987).
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 The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 21–41 (Manchester University Press, 2015).
47.
Roy, A. & White, R. Van Eyck’s technique: The myth and the reality, I and II. in Investigating Jan van Eyck 97–105 (Brepols, 2000).
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 92–103 (Thames & Hudson, 1999).
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 115–136 (Augustin, 1987).
50.
Arthur Lucas and Joyce Plesters. Titian’s ‘Bacchus and Ariadne’. National Gallery Technical Bulletin 2, 25–47 (1978).
51.
Philip, Ball. Time as Painter: The Ever-changing canvas. in Bright earth: the invention of colour 283–305 (Vintage, 2008).
52.
The National Gallery, London. https://www.nationalgallery.org.uk/.
53.
Colonna, F. & Godwin, J. Hypnerotomachia Poliphili: the strife of love in a dream. (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 45–74 (Dover, 1979).
56.
Ruskin, J. & Morris, J. The stones of Venice. (Faber, 1981).
57.
Pentcheva, B. V. 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 The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 97–115 (Manchester University Press, 2015).
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 125–137 (1999).
62.
Alison, Wright. Crivelli’s Divine Materials. in Ornament & illusion: Carlo Crivelli of Venice (ed. Campbell, S. J.) 57–77 (Paul Holberton Publishing, 2015).
63.
Georges Didi-Huberman. Introduction. in Fra Angelico: dissemblance & figuration 1–12 (University of Chicago Press, 1995).
64.
Georges Didi-Huberman. The Colours of Mystery. in Fra Angelico: dissemblance & figuration 13–101 (University of Chicago Press, 1995).
65.
Anne, Dunlop. On the origins of European painting materials, real and imagined. in The matter of art: materials, practices, cultural logics, c. 1250-1750 (eds. Anderson, C., Dunlop, A. & Smith, P. H.) vol. Studies in design 68–96 (Manchester University Press, 2015).
66.
Alexander, Nagel and Christopher S. Wood. Neo-Cosmatesque. in Anachronic Renaissance 185–194 (Zone Books, 2010).
67.
Fabio Barry. Walking on Water: Cosmic Floors in Antiquity and the Middle Ages. The Art Bulletin 89, 627–656 (2007).
68.
Amanda, Lillie. Sculpting the Air: Donatello’s Narratives of the Environment. in Depth of field: relief sculpture in Renaissance Italy 97–124 (Peter Lang, 2007).
69.
Wright, A. ‘Touch the truth’? Desiderio da Settignano, Renaissance relief and the body of Christ. Sculpture Journal 21, 7–26 (2012).
70.
Stokes, A. The image in form: selected writings of Adrian Stokes. vol. Icon editions (Harper & Row, Publishers, 1972).
71.
Michael, Podro. Donatello and the Planes of Relief. in Depiction 29–60 (Yale University Press, 1998).
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 285–308 (Stanford University Press, 2001).
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 139–156 (National Gallery of Art, 2011).
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.
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 283–305 (Farrar, Straus and Giroux, 2002).