Martin Wackernagel was professor emeritus of Art History at Münster University (Westfalen).Alison Luchs is curator of early European sculpture at the National Gallery of Art in Washington, DC.

• Translator's AcknowledgmentsTranslator's IntroductionAbbreviationsAuthor's PrefaceAuthor's IntroductionPART I The CommissionsCHAPTER 1 Great Projects and Work on Them from 1420 to 1530 The Duomo and BaptisteryThe Church and Convent of Santa Maria NovellaThe Palazzo VecchioCHAPTER 2 Sculptural Commissions Sculpture for Church BuildingsSculpture for Domestic BuildingsCHAPTER 3 Painting Commissions Wall Painting and Stained Glass in the Interior of Churches and Convent BuildingsPanel Painting in Sacred SettingsBanners and VestmentsPaintings in Domestic InteriorsHousehold Paintings on Wood and CanvasPainting on the Exterior of Buildings and Throughout the CityscapeCHAPTER 4 Artistic Participation in the Staging of Public Festivities and SpectaclesPART II The PatronsCHAPTER 5 The City Government and the GuildsCHAPTER 6 Private Patronage in the Early and Mid-Quattrocento Representatives of the First Stage of the Early RenaissanceGiovanni Rucellai and Cosimo de' MediciCosimo’s Sons, Piero and Giovanni de' MediciAttitudes and Forms of PatronageCHAPTER 7 Lorenzo Magnifico, Piero di Lorenzo, and Lorenzo di Pierfrancesco de’ MediciCHAPTER 8 Patrons from the Medici Circle in Florence and the Netherlands: the Sassetti, Portinari, Tornabuoni, Filippo Strozzi, and OthersCHAPTER 9 Patrons of the High Renaissance and Extra-Florentine Commissioners and CollectorsCHAPTER 10 The General Attitude toward Art: The Public and the ArtistPART III The Artist’s Workshop and the Art MarketCHAPTER 11 The Artist Class: Its Numerical Strength, Professional Organization, and Occupational DivisionsCHAPTER 12 Studios and their Working Procedures Living and Working Places and the Organization of Work: Master, Assistants, and ApprenticesThe Process of SculptureThe Painter's Working Procedure: DrawingExecution of Panel and Wall PaintingsThe New Generation of Artists: Training for Apprentices and AssistantsCHAPTER 13 Business Practices in the Workshop and Art Market Price Formation and Forms of PaymentEconomic Status of ArtistsCHAPTER 14 The Artists Class Status and Class ConsciousnessThe Artist as a Person, his Social Circle, his Way of Life and WorkThe Artistic Temperament and Range of InterestsThe Artistic Type in Contemporary SocietyAuthor's BibliographyTranslator's BibliographyIndex

Martin Wackernagel was professor emeritus of Art History at Münster University (Westfalen).Alison Luchs is curator of early European sculpture at the National Gallery of Art in Washington, DC.

• Translator's AcknowledgmentsTranslator's IntroductionAbbreviationsAuthor's PrefaceAuthor's IntroductionPART I The CommissionsCHAPTER 1 Great Projects and Work on Them from 1420 to 1530 The Duomo and BaptisteryThe Church and Convent of Santa Maria NovellaThe Palazzo VecchioCHAPTER 2 Sculptural Commissions Sculpture for Church BuildingsSculpture for Domestic BuildingsCHAPTER 3 Painting Commissions Wall Painting and Stained Glass in the Interior of Churches and Convent BuildingsPanel Painting in Sacred SettingsBanners and VestmentsPaintings in Domestic InteriorsHousehold Paintings on Wood and CanvasPainting on the Exterior of Buildings and Throughout the CityscapeCHAPTER 4 Artistic Participation in the Staging of Public Festivities and SpectaclesPART II The PatronsCHAPTER 5 The City Government and the GuildsCHAPTER 6 Private Patronage in the Early and Mid-Quattrocento Representatives of the First Stage of the Early RenaissanceGiovanni Rucellai and Cosimo de' MediciCosimo’s Sons, Piero and Giovanni de' MediciAttitudes and Forms of PatronageCHAPTER 7 Lorenzo Magnifico, Piero di Lorenzo, and Lorenzo di Pierfrancesco de’ MediciCHAPTER 8 Patrons from the Medici Circle in Florence and the Netherlands: the Sassetti, Portinari, Tornabuoni, Filippo Strozzi, and OthersCHAPTER 9 Patrons of the High Renaissance and Extra-Florentine Commissioners and CollectorsCHAPTER 10 The General Attitude toward Art: The Public and the ArtistPART III The Artist’s Workshop and the Art MarketCHAPTER 11 The Artist Class: Its Numerical Strength, Professional Organization, and Occupational DivisionsCHAPTER 12 Studios and their Working Procedures Living and Working Places and the Organization of Work: Master, Assistants, and ApprenticesThe Process of SculptureThe Painter's Working Procedure: DrawingExecution of Panel and Wall PaintingsThe New Generation of Artists: Training for Apprentices and AssistantsCHAPTER 13 Business Practices in the Workshop and Art Market Price Formation and Forms of PaymentEconomic Status of ArtistsCHAPTER 14 The Artists Class Status and Class ConsciousnessThe Artist as a Person, his Social Circle, his Way of Life and WorkThe Artistic Temperament and Range of InterestsThe Artistic Type in Contemporary SocietyAuthor's BibliographyTranslator's BibliographyIndex