Andrew Ladis (Editor) ANDREW LADIS (1949-2007) was the Franklin Professor of Art History at the University of Georgia's Lamar Dodd School of Art. A specialist in the painting of the early Italian Renaissance, he played a prominent role in international scholarship in that field, writing or serving as general editor of fourteen books and producing many articles and ­published ­lectures. Ladis was the recipient of several international awards and appointments; he was a presidential appointee to the Council of the National Endowment for the Humanities.Carolyn Wood (Editor) CAROLYN WOOD is the university educator at the Ackland Art Museum, University of North Carolina, and a specialist on seventeenth-century Italian painting.William U. Eiland (Editor) WILLIAM U. EILAND is the director of the Georgia Museum of Art at the University of Georgia. He is the author of Nashville's Mother Church: The History of the Ryman Auditorium and the general editor of The Craft of Art (Georgia) and Crosscurrents in American Art and Imagery of Women in Seventeenth-Century Dutch Art.

What emerges from these essays is a sharperunderstanding of the complex and shifting balance between the mental and themanual in a work of art in a time when collaboration with pupils, assistants,or independent masters was an accepted part of the artistic process. . . . Itis simply a book that all art historians should read and one from which allscholars of the early modern period will benefit.

Andrew Ladis (Editor) ANDREW LADIS (1949-2007) was the Franklin Professor of Art History at the University of Georgia's Lamar Dodd School of Art. A specialist in the painting of the early Italian Renaissance, he played a prominent role in international scholarship in that field, writing or serving as general editor of fourteen books and producing many articles and ­published ­lectures. Ladis was the recipient of several international awards and appointments; he was a presidential appointee to the Council of the National Endowment for the Humanities.Carolyn Wood (Editor) CAROLYN WOOD is the university educator at the Ackland Art Museum, University of North Carolina, and a specialist on seventeenth-century Italian painting.William U. Eiland (Editor) WILLIAM U. EILAND is the director of the Georgia Museum of Art at the University of Georgia. He is the author of Nashville's Mother Church: The History of the Ryman Auditorium and the general editor of The Craft of Art (Georgia) and Crosscurrents in American Art and Imagery of Women in Seventeenth-Century Dutch Art.

What emerges from these essays is a sharperunderstanding of the complex and shifting balance between the mental and themanual in a work of art in a time when collaboration with pupils, assistants,or independent masters was an accepted part of the artistic process. . . . Itis simply a book that all art historians should read and one from which allscholars of the early modern period will benefit.

Andrew Ladis (Editor) ANDREW LADIS (1949-2007) was the Franklin Professor of Art History at the University of Georgia's Lamar Dodd School of Art. A specialist in the painting of the early Italian Renaissance, he played a prominent role in international scholarship in that field, writing or serving as general editor of fourteen books and producing many articles and ­published ­lectures. Ladis was the recipient of several international awards and appointments; he was a presidential appointee to the Council of the National Endowment for the Humanities.Carolyn Wood (Editor) CAROLYN WOOD is the university educator at the Ackland Art Museum, University of North Carolina, and a specialist on seventeenth-century Italian painting.William U. Eiland (Editor) WILLIAM U. EILAND is the director of the Georgia Museum of Art at the University of Georgia. He is the author of Nashville's Mother Church: The History of the Ryman Auditorium and the general editor of The Craft of Art (Georgia) and Crosscurrents in American Art and Imagery of Women in Seventeenth-Century Dutch Art.

What emerges from these essays is a sharperunderstanding of the complex and shifting balance between the mental and themanual in a work of art in a time when collaboration with pupils, assistants,or independent masters was an accepted part of the artistic process. . . . Itis simply a book that all art historians should read and one from which allscholars of the early modern period will benefit.