Ilenia Colón Mendoza is Professor of Art History at the School of Visual Arts and Design of the University of Central Florida, USA.Lisandra Estevez is Associate Professor of Art History at Winston-Salem State University, USA.

• Part 1 Pigments, Color, and the Paragone 1. "The Color to Imitate a Man": On the Meaning of Flesh Tones on Panel Paintings from Antiquity to the High Middle Ages 2. The Colors of the Virgin: Romanesque Polychrome Wood Sculptures in Italy and a Question about Azurite 3. Naming Blue Pigments and Colors in Medieval Catalonia: The Case of Lluís Borrassà 4. Spanish Polychromed Sculpture in the Low Countries: A Journey through Art History and Techniques 5. Pacheco’s Art of Painting: The Parangón and the Techniques of Spanish Seventeenth‑Century Polychrome Sculpture Part 2 Sculptures in Context 6. Statue Painting in Colonial Andes: ‘Indian’ Virgins and Resacralization of the Religious Landscape 7. Worms Cannot Eat Stone: The Pugliese Presepe and the Materiality of Devotion in Early Modern Puglia 8. Faith, Spectacle, and the Polychromed Processional Figures of Luis Antonio de los Arcos and Luisa Roldán 9. Patrons, Sculptors, and Painters in Eighteenth‑Century Spain: Polychroming Duque Cornejo’s Sculptures 10. More than Wood: Sculpture and Blasphemy in Seventeenth‑Century New Spain 11. The Retablos of Mani: The Convergence of Maya and Spanish Art 12. Artists, Techniques, and Sacred Materials: Revisiting the Case of the Christ of Ixmiquilpan

Ilenia Colón Mendoza is Professor of Art History at the School of Visual Arts and Design of the University of Central Florida, USA.Lisandra Estevez is Associate Professor of Art History at Winston-Salem State University, USA.

• Part 1 Pigments, Color, and the Paragone 1. "The Color to Imitate a Man": On the Meaning of Flesh Tones on Panel Paintings from Antiquity to the High Middle Ages 2. The Colors of the Virgin: Romanesque Polychrome Wood Sculptures in Italy and a Question about Azurite 3. Naming Blue Pigments and Colors in Medieval Catalonia: The Case of Lluís Borrassà 4. Spanish Polychromed Sculpture in the Low Countries: A Journey through Art History and Techniques 5. Pacheco’s Art of Painting: The Parangón and the Techniques of Spanish Seventeenth‑Century Polychrome Sculpture Part 2 Sculptures in Context 6. Statue Painting in Colonial Andes: ‘Indian’ Virgins and Resacralization of the Religious Landscape 7. Worms Cannot Eat Stone: The Pugliese Presepe and the Materiality of Devotion in Early Modern Puglia 8. Faith, Spectacle, and the Polychromed Processional Figures of Luis Antonio de los Arcos and Luisa Roldán 9. Patrons, Sculptors, and Painters in Eighteenth‑Century Spain: Polychroming Duque Cornejo’s Sculptures 10. More than Wood: Sculpture and Blasphemy in Seventeenth‑Century New Spain 11. The Retablos of Mani: The Convergence of Maya and Spanish Art 12. Artists, Techniques, and Sacred Materials: Revisiting the Case of the Christ of Ixmiquilpan

Ilenia Colón Mendoza is Professor of Art History at the School of Visual Arts and Design of the University of Central Florida, USA.Lisandra Estevez is Associate Professor of Art History at Winston-Salem State University, USA.

• Part 1 Pigments, Color, and the Paragone 1. "The Color to Imitate a Man": On the Meaning of Flesh Tones on Panel Paintings from Antiquity to the High Middle Ages 2. The Colors of the Virgin: Romanesque Polychrome Wood Sculptures in Italy and a Question about Azurite 3. Naming Blue Pigments and Colors in Medieval Catalonia: The Case of Lluís Borrassà 4. Spanish Polychromed Sculpture in the Low Countries: A Journey through Art History and Techniques 5. Pacheco’s Art of Painting: The Parangón and the Techniques of Spanish Seventeenth‑Century Polychrome Sculpture Part 2 Sculptures in Context 6. Statue Painting in Colonial Andes: ‘Indian’ Virgins and Resacralization of the Religious Landscape 7. Worms Cannot Eat Stone: The Pugliese Presepe and the Materiality of Devotion in Early Modern Puglia 8. Faith, Spectacle, and the Polychromed Processional Figures of Luis Antonio de los Arcos and Luisa Roldán 9. Patrons, Sculptors, and Painters in Eighteenth‑Century Spain: Polychroming Duque Cornejo’s Sculptures 10. More than Wood: Sculpture and Blasphemy in Seventeenth‑Century New Spain 11. The Retablos of Mani: The Convergence of Maya and Spanish Art 12. Artists, Techniques, and Sacred Materials: Revisiting the Case of the Christ of Ixmiquilpan