Preface and Acknowledgements | p. vi |
Maps | p. vii |
Chronology | p. x |
Introduction: The New World and the Old | p. 1 |
Power and Imagery | p. 9 |
The Most Holy Sacrament | |
The Great Powers | |
Division and Reform | |
Order and Decorum | |
The Altarpiece | p. 37 |
Convention and Innovation in Form | |
Familiar Narratives | |
Scenes of Suffering | |
Sublime Inventions | |
Private Devotion | p. 67 |
Scale, Function and Originality | |
Piety and Delight | |
Paintings for Palaces | p. 87 |
Poetry and Painting | |
Presents and Puzzles | |
The Palace Wall | |
The Palace Ceiling | |
Decorations for Furniture | |
Ceramics and Plate | |
Description and the Ideal | p. 141 |
Portraits | |
Invention and Observation | |
Preparing to Paint | p. 183 |
Disegno, Nature and the Preliminary Study in Italy | |
Drawings and Prints North of the Alps | |
Preparing the Panel | p. 211 |
The Construction of Panels | |
Grounds, Primings and Gilding | |
Underdrawing on Panel Paintings | |
Paintings on Panel | p. 237 |
The Northern Tradition | |
Disegno and Sfumato | |
The Visible Brush Stroke | |
Original Developments | p. 265 |
Canvas Supports | |
Painting on Coloured Surfaces | |
New Ways of Painting | |
Conclusion: Towards the Academy | p. 293 |
References | p. 298 |
Index | p. 312 |
Picture Credits | p. 317 |
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