Citation: J. Bell, ARISTOTLE AS A SOURCE FOR LEONARDO THEORY OF COLOR PERSPECTIVE AFTER 1500, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 100-118
Citation: C. Geissmar, THE GEOMETRICAL ORDER OF THE WORLD - VEEN,OTTO,VAN 'PHYSICAE ET THEOLOGICAE CONCLUSIONES', Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 168
Citation: C. Gibsonwood, THE POLITICAL BACKGROUND TO THORNHILL PAINTINGS IN ST-PAULS CATHEDRAL, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 229
Citation: S. Howard, SOME 18TH-CENTURY RESTORED BOXERS + RESTORATION OF ANTIQUITIES, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 238
Citation: H. Wohl, PURO-SENZA-ORNATO - MASACCIO, LANDINO,CRISTOFORO AND DAVINCI,LEONARDO, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 256-260
Citation: M. Koortbojian et R. Webb, ISABELLA-DESTE PHILOSTRATOS + HER ITALIAN TRANSLATIONS, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 260-267
Citation: M. Perry, WEALTH, ART, AND DISPLAY - THE GRIMANI CAMEOS IN RENAISSANCE VENICE, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 268
Citation: F. Cappelletti, NEW DOCUMENTS CONCERNING THE DISCOVERY AND EARLY HISTORY OF THE 'NOZZE ALDOBRANDINI', Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 274
Citation: J. Weinberg, AN APOCRYPHAL SOURCE IN THE 'MEOR ENAYIM' OF DEROSSI,AZARIAH, Journal of the Warburg and Courtauld Institutes, 56, 1993, pp. 280-284
Citation: E. Mcgrath, THE BLACK ANDROMEDA + THE FIGURE IN PAINTING AND ANCIENT LITERATURE, Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 1-18
Citation: C. Hope, THE EARLY HISTORY OF TEMPIO-MALATESTIANO + RENAISSANCE ARCHITECTURE, Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 51
Citation: P. Mack, AGRICOLA USE OF THE COMPARISON BETWEEN WRITING AND THE VISUAL-ARTS, Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 169-179
Citation: D. Franklin, ROSSO-FIORENTINO 'BETROTHAL OF THE VIRGIN' - PATRONAGE AND INTERPRETATION, Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 180
Citation: Ht. Vanveen, REPUBLICANISM IN THE VISUAL PROPAGANDA OF COSIMO-I DE MEDICI, Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 200
Citation: P. Taylor, THE CONCEPT OF HOUDING IN DUTCH ART-THEORY + PAINTING TERMINOLOGY, Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 210-232
Citation: J. Montagu, THE THEORY OF MUSICAL MODES IN THE ACADEMIE-ROYALE-DE-PEINTURE-ET-DE-SCULPTURE -THEORY( PAINTING AND ART), Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 233-248
Citation: T. Rideout, THE REASONING EYE - POPE,ALEXANDER TYPOGRAPHIC VISION IN THE 'ESSAY ON MAN', Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 249-262
Citation: Ps. Lewis, THE CHANCELLORS 2 BODIES - NOTE ON A MINIATURE IN BNP-LAT-4915( MEDIEVAL PAINTING ), Journal of the Warburg and Courtauld Institutes, 55, 1992, pp. 263