SOURCE-NOTES IN THE HISTORY OF ART

Editor’s Note: Of Ivories in Clay, Plaster Medals, and Living Stones

A Tortoise, a Fish, a Jester, and a “Jesuit”: Valerio Cioli’s Dwarf Sculptures for the Boboli Gardens

Michelangelo: Body as Bow

Terracotta Casts and the Question of Transmission in Gothic Ivory Carving

Saint or Sinner? Enea Vico’s Old Woman with a Distaff after a Drawing by Parmigianino

Giotto’s O and Courtly Competition in the Cinquecento

Paint It Red: The Squares, Cubes, and Doors of the Bauhaus

Notes for a Study of the Sistine Tapestries and the Eastertide Liturgy

Pilgrimage and Liminality at the Cathedral of Notre-Dame, Le Puy-en-Velay, and the Saint Michael Chapel, Aiguilhe

Prayer and Presence in a Small Italian Devotional Panel of Saint Sebastian (ca. 1500)

Funerary Portraits on Stone, the Lapis-Christus Parallel, and the Transmutation of the Dead

The Binding of the Missal of Saint-Ruf (Catalonia, Twelfth Century)

Gauguin, Linguistic Opacity, and Cultural Difference

A Newly Discovered Canvas by Stefano Bardini

Venus Weeps: Chris Jordan’s Photo Mosaic of Botticelli’s Birth of Venus

Editor’s Note: The Eighth Act of Mercy

Two Drawings by Giulio Romano as Sources for the Sujets de la Fable Tapestries for Louis XIV

Editor’s Note: Quinque Viae

Piero’s Faces: Artist and Image Making in Piero della Francesca’s Resurrection of Christ

A Newly Discovered Image of Saint Catherine of Alexandria in the Cathedral of Amalfi

Addendum to: “Sameness Across Time: Excursion via Johannes Vermeer,” Source: Notes in the History of Art 36, no. 2 (Winter 2017): 99–107

Editor’s Note: Welcome to the Renaissance/with Poets, Painters, and Bon Vivants

“L. David faciebat Romae”: The Brick Walls in the Oath of the Horatii