| Foreword |
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vii | |
| Acknowledgements |
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viii | |
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Painting and illumination in early Renaissance Florence: the techniques of Lorenzo Monaco and his workshop |
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1 | (9) |
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Workshop practice in Slovenian wall paintings from the fourteenth and fifteenth centuries |
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10 | (10) |
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Replication and variation: Roccatagliata and the female nude |
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20 | (9) |
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Technical characteristics of bronze statuettes from the workshops of Antonio and Giovanni Francesco Susini |
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29 | (13) |
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Benedetto da Maiano, Giuliano and Antonio de Sangallo and Baccio da Montelupo: workshop-specific construction techniques of Florentine Renaissance crucifixes |
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42 | (7) |
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Altarpieces in Portugal: joinery techniques within the context of fifteenth- and sixteenth-century European workshop practice |
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49 | (11) |
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Early Renaissance altarpieces in Transylvania: materials and technological characteristics |
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60 | (11) |
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The altarpiece of Saint Dominic of Silos by Bartolome Bermejo: an example of painting practices during the early Spanish Renaissance |
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71 | (8) |
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Smoke and mirrors: the enhancement and simulation of gemstones in Renaissance Europe |
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79 | (11) |
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The San Giovanni altar from the Baptistery of Florence: the goldsmith's workshop through the fourteenth and fifteenth centuries |
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90 | (8) |
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Christ carrying the Cross: a surviving sarga by Luis de Morales: technical examination and workshop practices |
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98 | (7) |
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The Botteghe degli Artisti: artistic enterprise at the della Rovere and Medici courts in the late sixteenth century |
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105 | (9) |
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Some ornament prints and their link with craftsmanship |
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114 | (7) |
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Moveable anatomies and print shop practice in sixteenth-century Strasbourg |
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121 | (9) |
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Visual evidence for the use of carta lucida in the Italian Renaissance workshop |
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130 | (8) |
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Evidence for workshop practices at the Tudor mint in the Tower of London |
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138 | (6) |
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Sixteenth-century life-casting techniques: experimental reconstructions based on a preserved manuscript |
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144 | (8) |
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Bernard Palissy: scientist and potter of the Renaissance in France |
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152 | (8) |
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Shorter contributions and posters |
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Stylus drawing in the Renaissance workshop: investigating leadpoint and blind stylus in a Leonardo drawing |
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160 | (2) |
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Technical analysis of a Renaissance limestone altarpiece |
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162 | (3) |
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Analyses of Renaissance Venetian enamelled glasses from the Musee du Louvre |
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165 | (2) |
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Conservation and preliminary study of the alabaster sculptures in the mausoleum of Jean V de Hennin-Lietard at Boussu, Belgium |
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167 | (3) |
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Neri di Bicci and the diffusion of cartoons between fifteenth-century Florentine workshops |
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170 | (2) |
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Research on metallic material in liturgical textiles of the fifteenth and sixteenth centuries: studies of production technology |
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172 | (3) |
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Striptease and dressing-up in Titian's workshop: a technical comparison of the Young Girls in the Galleria Palatina, the Hermitage and the Kunsthistorisches Museum |
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175 | (3) |
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A treasured Renaissance manuscript, Les Vies des femmes celebres: laboratory investigations of the miniaturist Jean Pichore's practices and techniques |
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178 | (4) |
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Grisaille technique and materials in European Renaissance painted enamel objects: Limoges white, binding media, chiaroscuro and the interrelationship between crafts |
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182 | (3) |
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Reassertion of a Renaissance jewel: the investigation and interpretation of two enamelled panels from the Wallace Collection |
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185 | (3) |
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Describing the elusive: a project for new perspectives on the practices and the resources of illuminators in the north of Europe from the fourteenth to the sixteenth century |
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188 | (3) |
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Distinctive materials in a late sixteenth-century portrait |
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191 | (2) |
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Fra Bartolommeo and frescoes on tiles in fifteenth- to sixteenth-century Florence |
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193 | (4) |
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Sixteenth-century Netherlandish workshop practices: technical investigation of the Copenhagen version of Christ Driving the Traders from the Temple |
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197 | |
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