Michael Cole is the Howard McP. Davis Professor of Art History and Archaeology at Columbia University.Ana Debenedetti, a former Curator of Paintings at the V&A, is an art historian who specializes in Florentine art, artistic literature and workshop practice.Peta Motture is Senior Curator of Sculpture at the V&A specializing in the Renaissance, with a focus on Italy.

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• ForewordIntroduction: Designing Sculptures in the Renaissance, Michael Cole and AnaDebenedetti, with Peta MottureAcknowledgementsWriting and Drawing: Pages from the Italian Renaissance Sculptor's Studio,Michael ColeFrom Disegno to Design: Typology and Function of Sculptors'Drawings in Quattrocento Workshop Practice, Ana DebenedettiWhy Didn't Sculptors Draw?, Jim HarrisThe Sculptor's Touch: Luca della Robbia and the Clay below the Glaze, MariettaCambareriAchieving Consistency: Drawings, Models and the Transmission of Knowledge inthe Della Robbia Workshop, Rachel E. BoydThe Creative Process in Renaissance Sculpture: A Reconstruction, JohannesMyssokVenetian Fifteenth- and Sixteenth-Century Sculptors' Drawings and Modelli,Sarah Blake McHamMetal Appearance and Wooden Substance: Renaissance Sculpture between Model,Material Experiment and Independent Artwork, Britta DumpelmannBaccio Bandinelli's Model for the Tomb of Henry VIII: Context, Function,Significance, Tommaso MozzatiBeyond Michelangelo: Artists' Interpretations of his Sculptural Work throughDrawings and Models, Piers Baker-BatesDrawing from Michelangelo: Raffaello da Montelupo in the Medici Chapel, IanHicksGiambologna's Sketch-models, Volker KrahnContributors and EditorsBibliographyIndexPicture Credits

Michael Cole is the Howard McP. Davis Professor of Art History and Archaeology at Columbia University.Ana Debenedetti, a former Curator of Paintings at the V&A, is an art historian who specializes in Florentine art, artistic literature and workshop practice.Peta Motture is Senior Curator of Sculpture at the V&A specializing in the Renaissance, with a focus on Italy.

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• ForewordIntroduction: Designing Sculptures in the Renaissance, Michael Cole and AnaDebenedetti, with Peta MottureAcknowledgementsWriting and Drawing: Pages from the Italian Renaissance Sculptor's Studio,Michael ColeFrom Disegno to Design: Typology and Function of Sculptors'Drawings in Quattrocento Workshop Practice, Ana DebenedettiWhy Didn't Sculptors Draw?, Jim HarrisThe Sculptor's Touch: Luca della Robbia and the Clay below the Glaze, MariettaCambareriAchieving Consistency: Drawings, Models and the Transmission of Knowledge inthe Della Robbia Workshop, Rachel E. BoydThe Creative Process in Renaissance Sculpture: A Reconstruction, JohannesMyssokVenetian Fifteenth- and Sixteenth-Century Sculptors' Drawings and Modelli,Sarah Blake McHamMetal Appearance and Wooden Substance: Renaissance Sculpture between Model,Material Experiment and Independent Artwork, Britta DumpelmannBaccio Bandinelli's Model for the Tomb of Henry VIII: Context, Function,Significance, Tommaso MozzatiBeyond Michelangelo: Artists' Interpretations of his Sculptural Work throughDrawings and Models, Piers Baker-BatesDrawing from Michelangelo: Raffaello da Montelupo in the Medici Chapel, IanHicksGiambologna's Sketch-models, Volker KrahnContributors and EditorsBibliographyIndexPicture Credits

Michael Cole is the Howard McP. Davis Professor of Art History and Archaeology at Columbia University.Ana Debenedetti, a former Curator of Paintings at the V&A, is an art historian who specializes in Florentine art, artistic literature and workshop practice.Peta Motture is Senior Curator of Sculpture at the V&A specializing in the Renaissance, with a focus on Italy.

Select Guide Rating

• ForewordIntroduction: Designing Sculptures in the Renaissance, Michael Cole and AnaDebenedetti, with Peta MottureAcknowledgementsWriting and Drawing: Pages from the Italian Renaissance Sculptor's Studio,Michael ColeFrom Disegno to Design: Typology and Function of Sculptors'Drawings in Quattrocento Workshop Practice, Ana DebenedettiWhy Didn't Sculptors Draw?, Jim HarrisThe Sculptor's Touch: Luca della Robbia and the Clay below the Glaze, MariettaCambareriAchieving Consistency: Drawings, Models and the Transmission of Knowledge inthe Della Robbia Workshop, Rachel E. BoydThe Creative Process in Renaissance Sculpture: A Reconstruction, JohannesMyssokVenetian Fifteenth- and Sixteenth-Century Sculptors' Drawings and Modelli,Sarah Blake McHamMetal Appearance and Wooden Substance: Renaissance Sculpture between Model,Material Experiment and Independent Artwork, Britta DumpelmannBaccio Bandinelli's Model for the Tomb of Henry VIII: Context, Function,Significance, Tommaso MozzatiBeyond Michelangelo: Artists' Interpretations of his Sculptural Work throughDrawings and Models, Piers Baker-BatesDrawing from Michelangelo: Raffaello da Montelupo in the Medici Chapel, IanHicksGiambologna's Sketch-models, Volker KrahnContributors and EditorsBibliographyIndexPicture Credits