‘Michelangelo’s Panel’: Content, Context, and Vasari’s Buonarroti Altarpiece by Sally J. Cornelison shows this work to be deeply indebted to both Franciscan visual traditions and to Santa Croce’s early decorative programme.

Kelli Wood’s essay Chancing It: Print, Play and Gambling Games at the End of the Sixteenth Century explores how printed game boards in Rome enacted the ontology of life’s journey for early modern players, from the courtly, to the religious, and the quotidian.

In Aluminium, Orfèvrerie, Industry, and Allegory in Second Empire France, Amy F. Ogata argues that the dynamic interplay between modern materials and artistic traditions has much to tell us about the metallic surface and its role in the making of the French Second Empire.

Susan Waller suggests in Gélon’s Gestures: Posing in Nineteenth-Century Paris how a skilled model’s command of gesture as performative spectacle contributed to the pedagogy and production of artworks within the academic tradition.

Mobility and the Matter of Memory: John Singer Sargent’s Robert Louis Stevenson and His Wife by Elizabeth Doe Stone resituates Sargent’s painting of the Stevensons within wider discussions of the ‘specious present’, and the nineteenth-century philosophical texts of William James.

Tamara Trodd’s essay WELCOME! Elizabeth Price and the Life of Objects argues that Price’s work provides the means to contextualize and challenge some of the assumptions of more recent object-theory, as these have been taken up within the art world.

Two new publications looking at the Italian Renaissance are evaluated by Allison Levy in Laid Bare. Emanuela Vai considers in The Quest for Lost Sound recent research on architecture and space. Ornament is No Crime, Present or Absent by Maurice Howard assesses a recent collection of essays. Daniel Rycroft considers a new study of temporality in India as Exhibition. In Still Jet Lagged and Eye Sore, Michael Corris addresses two books on exhibition cultures. And Laura Peers examines an account of the American Indian Movement in Indigenous Artists in the European Art World.