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Penelope J. E. Davies is Associate Professor at the University of Texas, Austin. She is a scholar of Greek and Roman art and architecture as well as a field archaeologist. She is author of Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius, winner of the Vasari Award.
Walter B. Denny is a Professor of Art History at the University of Massachusetts at Amherst. In addition to exhibition catalogues, his publications include books on Ottoman Turkish carpets, textiles, and ceramics, and articles on miniature painting, architecture and architectural decoration.
Frima Fox Hofrichter is Professor and former Chair of the History of Art and Design department at Pratt Institute. She is author of Judith Leyster, A Dutch Artist in Holland’s Golden Age, which received CAA’s Millard Meiss Publication Fund Award.
Joseph Jacobs is an independent scholar, critic, and art historian of modern art in New York City. He was the curator of modern art at the John and Mable Ringling Museum of Art in Sarasota, Florida, director of the Oklahoma City Art Museum, and curator of American art at The Newark Museum, Newark, New Jersey.
David L. Simon is Jetté Professor of Art at Colby College, where he received the Basset Teaching Award in 2005. Among his publications is the catalogue of Spanish and southern French Romanesque sculpture in the Metropolitan Museum of Art and The Cloisters.
Ann M. Roberts, Professor of Art at Lake Forest College has published essays, articles and reviews on both Northern and Italian Renaissance topics. Her research focuses on women in the Renaissance, and her most recent publication is entitled Dominican Women and Renaissance Art:The Convent of San Domenico of Pisa.
H. W. Janson was a legendary name in art history. During his long career as a teacher and scholar, he helped define the discipline through his impressive books and other publications.
Anthony F. Janson forged a distinguished career as a professor, scholar, museum professional and writer. From the time of his father’s death in 1982 until 2004, he authored History of Art.
Preface xiv
Faculty and Student Resources for Teaching and Learning with Janson’s History of Art xix
Introduction xxi
PART THREE: THE RENAISSANCE THROUGH ROCOCO
Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy
THE GROWTH OF MENDICANT ORDERS AND THE VISUAL ARTS IN ITALY 438
The Franciscans at Assisi and Florence 438
Churches and Their Furnishings in Urban Centers 441
MATERIALS AND TECHNIQUES: Fresco Painting and Conservation 441
Pulpits in Pisan Churches 442
Expanding Florence Cathedral 445
Building for the City Government: The Palazzo della Signoria 448
PAINTING IN TUSCANY 449
Cimabue and Giotto 449
Siena: Devotion to Mary in Works by Duccio and Simone 453
PRIMARY SOURCES: Agnolo di Tura del Grasso 454
THE ART HISTORIAN’S LENS: The Social Work of Images 455
Pietro and Ambrogio Lorenzetti 458
Artists and Patrons in Times of Crisis 461
PRIMARY SOURCES: Inscriptions on the Frescoes in the Palazzo Pubblico, Siena 461
NORTHERN ITALY 465
Venice: Political Stability and Sumptuous Architecture 465
Milan: The Visconti Family and Northern Influences 465
Chapter 14: Artistic Innovations in Fifteenth-Century Northern Europe
COURTLY ART: THE INTERNATIONAL GOTHIC 471
Sculpture for the French Royal Family 471
Illuminated Manuscripts: Books of Hours 473
Bohemia and England 474
URBAN CENTERS AND THE NEW ART 476
Robert Campin in Tournai 477
Jan van Eyck in Bruges 479
MATERIALS AND TECHNIQUES: Panel Painting in Tempera and Oil 479
Rogier van der Weyden in Brussels 485
PRIMARY SOURCES: Cyriacus of Ancona (1449) 485
LATE FIFTEENTH-CENTURY ART IN THE NETHERLANDS 487
Aristocratic Tastes for Precious Objects, Personal Books, and Tapestries 487
THE ART HISTORIAN’S LENS: Scientific and Technical Study of Paintings 488
Panel Paintings in the Southern Netherlands 490
The Northern Netherlands 492
REGIONAL RESPONSES TO THE EARLY NETHERLANDISH STYLE 494
France 494
PRIMARY SOURCES: Fray José De Sigüenza (1544?–1606) 494
Spain 495
Central Europe 495
PRIMARY SOURCES: From the Contract for the St. Wolfgang Altarpiece 499
PRINTING AND THE GRAPHIC ARTS 499
Printing Centers in Colmar and Basel 501
MATERIALS AND TECHNIQUES: Printmaking 501
Chapter 15: The Early Renaissance in Fifteenth-Century Italy
FLORENCE IN THE FIFTEENTH CENTURY 507
The Baptistery Competition 507
PRIMARY SOURCES: In Praise of the City of Florence (ca. 1403–04) by Leonardo Bruni 507
Architecture and Antiquity in Florence 509
PRIMARY SOURCES: Lorenzo Ghiberti (ca. 1381–1455) 509
MATERIALS AND TECHNIQUES: Brunelleschi’s Dome 512
PRIMARY SOURCES: Leon Battista Alberti on what makes a building beautiful 514
Ancient Inspirations in Florentine Sculpture 515
MATERIALS AND TECHNIQUES: Perspective 516
Painting in Florentine Churches and Chapels 525
THE ART HISTORIAN’S LENS: Patronage Studies 525
Florentine Painters in the Age of the Medici 530
DOMESTIC LIFE: PALACES, FURNISHINGS,
AND PAINTINGS IN MEDICEAN FLORENCE 533
Palace Architecture 533
PRIMARY SOURCES: Domenico Veneziano Solicits Work 534
Paintings for Palaces 536
PRIMARY SOURCES: Giovanni Dominici Urges Parents to Put Religious Images in Their Homes 539
Portraiture 541
RENAISSANCE ART THROUGHOUT ITALY,
Piero della Francesca in Central Italy 543
Alberti and Mantegna in Mantua 546
Venice 550
Rome and the Papal States 553
Chapter 16: The High Renaissance in Italy, 1495–1520
THE HIGH RENAISSANCE IN FLORENCE AND MILAN 558
Leonardo da Vinci in Florence 559
Leonardo in Milan 559
PRIMARY SOURCES: Leonardo da Vinci (1452–1519) 562
Leonardo Back in Florence and Elsewhere 564
ROME RESURGENT 566
Bramante in Rome 566
Michelangelo in Rome and Florence 568
PRIMARY SOURCES: Michelangelo Interprets the Vatican Pietà 568
Michelangelo in the Service of Pope Julius II 571
MATERIALS AND TECHNIQUES: Drawings 575
Raphael in Florence and Rome 577
THE ART HISTORIAN’S LENS: Cleaning and Restoring Works of Art 578
PRIMARY SOURCES: On Raphael’s Death 583
VENICE 584
Giorgione 584
Titian 585
Chapter 17: The Late Renaissance and Mannerism in Sixteenth-Century Italy
LATE RENAISSANCE FLORENCE: THE CHURCH, THE COURT, AND MANNERISM 593
Florentine Religious Painting in the 1520s 593
The Medici in Florence: From Dynasty to Duchy 595
PRIMARY SOURCES: Benvenuto Cellini (1500–1571) 600
ROME REFORMED 603
Michelangelo in Rome 603
PRIMARY SOURCES: Michelangelo the Poet 603
The Catholic Reformation and Il Gesù 607
NORTHERN ITALY: DUCAL COURTS AND URBAN CENTERS 609
The Palazzo del Te 609
PARMA AND CREMONA 611
Correggio and Parmigianino in Parma 611
Cremona 613
VENICE: THE SERENE REPUBLIC 613
Sansovino in Venice 613
Andrea Palladio and Late Renaissance Architecture 614
PRIMARY SOURCES: Andrea Palladio
Titian 617
MATERIALS AND TECHNIQUES: Oil on Canvas 618
PRIMARY SOURCES: From a Session of the Inquisition Tribunal in Venice of Paolo Veronese 620
Titian’s Legacy 621
Chapter 18: Renaissance and Reformation in Sixteenth-Century Northern Europe
FRANCE: COURTLY TASTES FOR ITALIAN FORMS 625
Chateaux and Palaces: Translating Italian Architecture 626
Art for Castle Interiors 628
MATERIALS AND TECHNIQUES: Making and Conserving Renaissance Tapestries 629
SPAIN: GLOBAL POWER AND RELIGIOUS ORTHODOXY 631
The Escorial 632
El Greco and Religious Painting in Spain 633
CENTRAL EUROPE: THE REFORMATION AND ART 634
Catholic Contexts: The Isenheim Altarpiece 635
Albrecht Dürer and the Northern Renaissance 638
PRIMARY SOURCES: Albrecht Dürer (1471–1528) 641
Religious and Courtly Images in the Era of Reform 643
Painting in the Cities: Humanist Themes and Religious Turmoil 646
ENGLAND: REFORMATION AND POWER 647
PRIMARY SOURCES: Elizabethan Imagery 649
THE NETHERLANDS: WORLD MARKETPLACE 650
The City and the Court: David and Gossaert 651
THE ART HISTORIAN’S LENS: The Economics of Art 651
Antwerp: Merchants, Markets, and Morality 652
PRIMARY SOURCES: Karel van Mander Writes About Pieter Bruegel the Elder 656
Chapter 19: The Baroque in Italy and Spain
PAINTING IN ITALY 663
Caravaggio and the New Style 664
Artemisia Gentileschi 667
PRIMARY SOURCES: Artemisia Gentileschi (1593–ca. 1653) 669
Ceiling Painting and Annibale Carracci 670
ARCHITECTURE IN ITALY 675
The Completion of St. Peter’s and Carlo Maderno 675
Bernini and St. Peter’s 676
Architectural Components in Decoration 678
A Baroque Alternative: Francesco Borromini 679
The Baroque in Turin: Guarino Guarini 682
The Baroque in Venice: Baldassare Longhena 684
SCULPTURE IN ITALY 684
Early Baroque Sculpture: Stefano Maderno 684
The Evolution of the Baroque: Gianlorenzo Bernini 684
A Classical Alternative: Alessandro Algardi 687
MATERIALS AND TECHNIQUES: Bernini’s Sculptural Sketches 688
PAINTING IN SPAIN 689
Spanish Still Life: Juan Sánchez Cotán 690
Naples and the Impact of Caravaggio: Jusepe de Ribera 690
Diego Velázquez: From Seville to Court Painter 691
Monastic Orders and Zurbarán 695
PRIMARY SOURCES: Antonio Palomino (1655–1726) 695
Culmination in Devotion: Bartolomé Esteban Murillo 696
Chapter 20: The Baroque in the Netherlands
FLANDERS 701
Peter Paul Rubens and Defining the Baroque 701
PRIMARY SOURCES: Peter Paul Rubens (1577–1640) 704
Anthony van Dyck: History and Portraiture at the English Court 707
Local Flemish Art and Jacob Jordaens 708
The Bruegel Tradition 709
Still-Life Painting 710
THE DUTCH REPUBLIC 713
The Haarlem Academy: Hendrick Goltzius 713
The Caravaggisti in Holland: Hendrick Terbrugghen 713
The Haarlem Community and Frans Hals 714
The Next Generation in Haarlem: Judith Leyster 717
Rembrandt and the Art of Amsterdam 718
THE ART HISTORIAN’S LENS: Authenticity and Workshops: Rubens and Rembrandt 718
MATERIALS AND TECHNIQUES: Etching, Drypoint, and Selective Wiping 722
THE LANDSCAPE, STILL-LIFE, AND GENRE PAINTING 725
Landscape Painting: Jan van Goyen 725
City Views: Jacob van Ruisdael 726
Architectural Painting: Pieter Saenredam 728
Still-life Painting: Willem Claesz. Heda 729
Flower Painting: Rachel Ruysch 730
Genre Painting: Jan Steen 730
Intimate Genre Painting: Jan Vermeer 732
Exquisite Genre Painting: Gerard ter Borch 734
Chapter 21: The Baroque in France and England
FRANCE: THE STYLE OF LOUIS XIV 738
Painting and Printmaking in France 739
PRIMARY SOURCES: Nicolas Poussin (ca. 1594–1665) 742
THE ART HISTORIAN’S LENS: Forgeries and The Book of Truth 747
French Classical Architecture 748
Sculpture: The Impact of Bernini 754
BAROQUE ARCHITECTURE IN ENGLAND 754
Inigo Jones and the Impact of Palladio 755
Sir Christopher Wren 757
John Vanbrugh and Nicholas Hawksmoor 760
Chapter 22: The Rococo
FRANCE: THE RISE OF THE ROCOCO 762
Painting: Poussinistes versus Rubénistes 763
PRIMARY SOURCES: Jean de Jullienne (1686–1767) 766
MATERIALS AND TECHNIQUES: Pastel Painting 769
Chinoiserie 771
The French Rococo Interior 772
THE ROCOCO IN WESTERN EUROPE OUTSIDE OF FRANCE 774
William Hogarth and the Narrative 774
Canaletto 775
THE ROCOCO IN CENTRAL EUROPE 776
Johann Fischer von Erlach 777
Egid Quirin Asam 779
Dominikus Zimmermann 779
Balthasar Neumann 780
Giovanni Battista Tiepolo and Illusionistic Ceiling Decoration 781
PART FOUR: THE MODERN WORLD
Chapter 23: Art in the Age of the Enlightenment, 1750–1789
ROME TOWARD 1760: THE FONT OF NEOCLASSICISM 787
Artistic Foundations of Neoclassicism: Mengs and Hamilton 788
ROMANTICISM IN ROME: PIRANESI 789
NEOCLASSICISM IN BRITAIN 790
Sculpture and Painting: Historicism, Morality, and Antiquity 791
MATERIALS AND TECHNIQUES: Josiah Wedgwood and Neoclassical Jasperware 792
The Birth of Contemporary History Painting 793
Grand Manner Portraiture in the Neoclassical Style: Joshua Reynolds 795
THE ART HISTORIAN’S LENS: The Elusive Meaning of West’s The Death of General Wolfe 795
Architecture and Interiors: The Palladian Revival 796
EARLY ROMANTICISM IN BRITAIN 798
Architecture and Landscape Design: The Sublime and the Picturesque 799
Early Romantic Painting in Britain 801
Romanticism in Grand Manner Portraiture: Thomas Gainsborough 805
NEOCLASSICISM IN FRANCE 806
Architecture: Rational Classicism 806
The Sublime in Neoclassical Architecture: The Austere and the Visionary 808
Painting and Sculpture: Expressing Enlightenment Values 810
PRIMARY SOURCES: Denis Diderot
The Climax of Neoclassicism: The Paintings of Jacques-Louis David 813
PRIMARY SOURCES: Étienne-Jean Delécluze
Neoclassical Portraiture: Marie-Louise-Élisabeth Vigée-Lebrun 816
ITALIAN NEOCLASSICISM TOWARD 1785 817
Neoclassical Sculpture: Antonio Canova 817
Chapter 24: Art in the Age of Romanticism, 1789–1848
PAINTING 823
Spain: Francisco Goya 823
Britain: Spiritual Intensity and the Bond with Nature 825
MATERIALS AND TECHNIQUES: Blake’s Printing Process 827
PRIMARY SOURCES: John Constable (1776–1837) 829
Germany: Friedrich’s Pantheistic Landscape 831
America: Landscape as Metaphor 832
France: Neoclassical Romanticism 835
France: Painterly Romanticism and Romantic Landscape 840
PRIMARY SOURCES: Eugène Delacroix (1798–1863) 845
Romantic Landscape Painting 847
ROMANTIC SCULPTURE 850
ROMANTIC REVIVALS IN ARCHITECTURE 851
Britain: The Sublime and the Picturesque 851
Germany: Creating a New Athens 854
America: An Ancient Style for a New Republic 854
France: Empire Style 856
Chapter 25: The Age of Positivism: Realism, Impressionism, and the Pre-Raphaelites, 1848–1885
REALISM IN FRANCE 860
Realism in the 1840s and 1850s: Painting Contemporary Social Conditions 861
The Realist Assault on Academic Values and Bourgeois Taste 866
Impressionism: A Different Form of Realism 871
PRIMARY SOURCES: Lila Cabot Perry (1848?–1933) 872
MATERIALS AND TECHNIQUES: Impressionist Color Theory 874
BRITISH REALISM 881
The Pre-Raphaelite Brotherhood 881
The Aesthetic Movement: Personal Psychology and Repressed Eroticism 884
PRIMARY SOURCES: James Abbott McNeill Whistler (1834–1903) 885
REALISM IN AMERICA 887
Scientific Realism: Thomas Eakins 887
Iconic Imagery: Winslow Homer 888
THE ART HISTORIAN’S LENS: An Artist's Reputation and Changes in Art Historical Methodology 889
PHOTOGRAPHY: A MECHANICAL MEDIUM FOR MASS-PRODUCED ART 890
First Innovations 891
Recording the World 891
Reporting the News: Photojournalism 894
Photography as Art: Pictorialism and Combination Printing 895
PRIMARY SOURCES: Charles Baudelaire (1821–1867) 896
ARCHITECTURE AND THE INDUSTRIAL REVOLUTION 897
Ferrovitreous Structures: Train Sheds and Exhibition Palaces 898
Historic Eclecticism and Technology 899
Announcing the Future: The Eiffel Tower 900
Chapter 26: Progress and Its Discontents: Post-Impressionism, Symbolism, and Art Nouveau, 1880–1905
POST-IMPRESSIONISM 905
Paul Cézanne: Toward Abstraction 905
PRIMARY SOURCES: Paul Cézanne (1839–1906) 907
Georges Seurat: Seeking Social and Pictorial Harmony 908
Henri de Toulouse-Lautrec: An Art for the Demimonde 911
MATERIALS AND TECHNIQUES: Lithography 911
Vincent van Gogh: Expression Through Color and Symbol 912
Paul Gauguin: The Flight from Modernity 915
PRIMARY SOURCES: Paul Gauguin
SYMBOLISM 917
The Nabis 917
Other Symbolist Visions in France 918
Symbolism Beyond France 920
Symbolist Currents in American Art 922
THE ART HISTORIAN’S LENS: Feminist Art History 923
The Sculpture of Rodin 924
ART NOUVEAU AND THE SEARCH FOR MODERN DESIGN 927
The Public and Private Spaces of Art Nouveau 927
AMERICAN ARCHITECTURE: THE CHICAGO SCHOOL 931
Henry Hobson Richardson: Laying the Foundation for Modernist Architecture 931
Louis Sullivan and Early Skyscrapers 932
Frank Lloyd Wright and the Prairie House 934
PHOTOGRAPHY AND THE ADVENT OF FILM 936
Pictorialist Photography and the Photo Secession 936
Documentary Photography 939
Motion Photography and Moving Pictures 940
Chapter 27: Toward Abstraction: The Modernist Revolution, 1904–1914
FAUVISM 946
CUBISM 950
Reflecting and Shattering Tradition: Les Demoiselles d’Avignon 950
THE ART HISTORIAN’S LENS: The Myth of the Primitive 951
Analytic Cubism: Picasso and Braque 952
Synthetic Cubism: The Power of Collage 953
THE IMPACT OF FAUVISM AND CUBISM 955
German Expressionism 955
MATERIALS AND TECHNIQUES: The Woodcut in German Expressionism 958
PRIMARY SOURCES: Vasily Kandinsky
Austrian Expressionism 962
Cubism after Picasso and Braque: Paris 963
Italian Futurism: The Visualization of Movement and Energy 964
Cubo-Futurism and Suprematism in Russia 966
PRIMARY SOURCES: Kazimir Malevich (1878–1935) 968
Cubism and Fantasy: Marc Chagall and Giorgio de Chirico 969
MARCEL DUCHAMP AND THE ADVENT OF AN ART OF IDEAS 970
CONSTANTIN BRANCUSI AND THE BIRTH OF MODERNIST SCULPTURE 972
AMERICAN ART 974
America’s First Modernists: Arthur Dove and Marsden Hartley 975
EARLY MODERN ARCHITECTURE IN EUROPE 976
Austrian and German Modernist Architecture 976
German Expressionist Architecture 979
Chapter 28: Art Between the Wars
DADA 985
Zurich Dada: Jean Arp 985
New York Dada: Marcel Duchamp 986
Berlin Dada 987
Cologne Dada 991
PRIMARY SOURCES: Hannah Höch (1889–1978) 991
Paris Dada: Man Ray 992
SURREALISM 993
Picasso and Surrealism 993
Surrealism in Paris: Spurring the Imagination 995
Representational Surrealism: Magritte and Dalí 996
Surrealism and Photography 999
The Surrealist Object 999
ORGANIC SCULPTURE OF THE 1930S 1000
Alexander Calder in Paris 1001
Henry Moore and Barbara Hepworth in England 1002
PRIMARY SOURCES: Barbara Hepworth (1903–1975) 1003
CREATING UTOPIAS 1003
Russian Constructivism: Productivism and Utilitarianism 1003
De Stijl and Universal Order 1005
The Bauhaus: Creating the “New Man” 1007
PRIMARY SOURCES: Piet Mondrian (1872–1944) 1007
The Machine Aesthetic in Paris 1011
PRIMARY SOURCES: Le Corbusier (1886–1965) 1012
MATERIALS AND TECHNIQUES: Reinforced Concrete 1013
ART IN AMERICAN: MODERNITY, SPIRITUALITY, AND REGIONALISM 1015
The City and Industry 1015
Art Deco and the International Style 1020
Seeking the Spiritual 1021
Regionalism and National Identity 1023
The Harlem Renaissance 1024
MEXICAN ART: SEEKING A NATIONAL IDENTITY 1025
Diego Rivera 1025
THE EVE OF WORLD WAR II 1028
America: The Failure of Modernity 1028
Europe: The Rise of Fascism 1030
Chapter 29: Postwar to Postmodern, 1945–1980
EXISTENTIALISM IN NEW YORK: ABSTRACT EXPRESSIONISM 1036
The Bridge from Surrealism to Abstract Expressionism: Arshile Gorky 1036
Abstract Expressionism: Action Painting 1038
PRIMARY SOURCES: Jackson Pollock (1912–1956) 1038
Abstract Expressionism: Color-Field Painting 1040
New York Sculpture: David Smith and Louise Nevelson 1041
EXISTENTIALISM IN EUROPE: FIGURAL EXPRESSIONISM 1042
Jean Dubuffet 1042
Francis Bacon 1043
REJECTING ABSTRACT EXPRESSIONISM: AMERICAN ART OF THE 1950s AND 1960s 1044
Re-Presenting Life and Dissecting Painting 1044
Environments and Performance Art 1046
Pop Art: Consumer Culture as Subject 1049
PRIMARY SOURCES: Roy Lichtenstein (1923–1997) 1050
FORMALIST ABSTRACTION OF THE 1950s AND 1960s 1053
Formalist Painting 1053
Formalist Sculpture: Minimal Art 1056
PRIMARY SOURCES: Frank Stella (b. 1936) 1056
THE PLURALIST 1970s: POST-MINIMALISM 1058
Post-Minimal Sculpture: Geometry and Emotion 1058
Earthworks and Site-Specific Art 1059
THE ART HISTORIAN’S LENS: Studying the Absent Object 1059
Conceptual Art: Art as Idea 1062
Television Art: Nam June Paik 1063
ART WITH A SOCIAL AGENDA 1064
Street Photography 1064
African-American Art: Ethnic Identity 1065
PRIMARY SOURCES: Romare Bearden (1911–1988) 1066
Feminist Art: Judy Chicago and Gender Identity 1068
LATE MODERNIST ARCHITECTURE 1069
Continuing the International Style: Ludwig Mies van der Rohe 1069
Sculptural Architecture: Referential Mass 1070
Chapter 30: The Postmodern Era: Art Since 1980
ARCHITECTURE 1077
Postmodern Architecture: A Referential Style 1077
New Modernisms: High-Tech Architecture 1080
Deconstructivism: Countering Modernist Authority 1082
MATERIALS AND TECHNIQUES: Computer-Aided Design in Architecture 1085
POSTMINIMALISM AND PLURALISM: LIMITLESS POSSIBILITIES IN FINE ART 1085
The Return of Painting 1085
Sculpture 1089
APPROPRIATION ART: DECONSTRUCTING IMAGES 1091
PRIMARY SOURCES: Cindy Sherman (b. 1954) 1091
Photography and LED Signs 1092
Context and Meaning in Art: The Institutional Critique and Art as Commodity 1094
MULTICULTURALISM AND POLITICAL ART 1096
African-American Identity 1096
The AIDS Pandemic and a Preoccupation with the Body 1098
The Power of Installation, Video, and Large-Scale Photography 1100
PRIMARY SOURCES: Ilya Kabakov (b. 1933) 1102
THE ART HISTORIAN’S LENS: The Changing Art Market 1104
GLOBAL ART 1105
El Anatsui, Adinkra Signs, and Postmodern Ambiguity 1105
Cai Guo Qing: Projects for Extraterrestrials 1106
Glossary
Bibliography
Index
Credits
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