The Materiality of Terracotta Sculpture in Early Modern Europe

Cover\nHalf Title\nSeries Page\nTitle Page\nCopyright Page\nContents\nList of Contributors\nIntroduction: Materiality, Scale, and Status of Early Modern Terracotta\nPART I: Material Migrations\n	1. Materiality as an Incentive to Stylistic Innovation in Earthenware from Bergen op Zoom (15th–16th Centuries)\n	2. Making a Virtue Out of a Necessity: Lorenzo Mercadante’s Use of Terracotta in Seville Cathedral\n	3. Episodes of the Arts of Fire in Portugal during the Renaissance\nPART II: Terracotta and Design\n	4. Hans Reichle’s Contribution to the Practice of Terracotta Sculpture in Tyrol\n	5. Luca della Robbia’s Labours in Terracotta\n	6. Clay Models in Verrocchio’s Workshop\n	7. The Primacy of Terracotta: Sculptures for Painting in Sixteenth-Century Renaissance Florence\nPART III: Mimetic Ventures\n	8. Glazed Ornament between Architecture and Altarpieces: Luca and Andrea della Robbia in Impruneta and Pescia\n	9. The Transformation of Della Robbia Garland Frames: From Luca through Giovanni’s Antinori Resurrection\n	10. Face, Surface, Interface: Some Observations on Polychrome Florentine Terracotta Busts\n	11. Antonio Begarelli and Small-Scale Terracotta Sculpture\nPART IV: Contexts and Values\n	12. Della Robbia Sculptures for Florentine Renaissance Convents\n	13. “Ut firmetur quod formatum est” Augustinian Terracottas, and a Note on Two Sculptures from the Budapest Museum of Fine Arts\n	14. The Papal Clay: Firing Terracotta Sculptures in Sixteenth-Century Rome\n	15. Exceeding Expectations: Antonio Begarelli, His Female Patrons, and the Misunderstood Materialities of White Terracotta\n	16. Conversation on the Terracotta Sculpture in the Renaissance: Recollections, Reflections and Proposals\nIndex