The National Gallery in London houses one of the most important collections of early Italian paintings outside Italy, including works by Cimabue, Duccio, Giotto and the di Cione brothers. This completely updated catalogue of the collection is the first published since 1989, and it now includes four exceptional acquisitions from the intervening years: the 13th-century diptych now attributed to the Master of the Borgo Crucifix, The Virgin and Child by Cimabue, The Virgin and Child by the Clarisse Master, and The Coronation of the Virgin by Bernardo Daddi. For this volume, Dillian Gordon takes into account the substantial body of new research published over the past twenty years to review and in some cases reattribute the works. All but two paintings have been re-examined by the National Gallery's team of curators, conservators, and scientists. Through the use of infrared reflectography, much new information has been revealed regarding the significance of underdrawings and technique. Each work is illustrated in color, and many are accompanied by details and technical and comparative illustrations.Published by National Gallery Company/Distributed by Yale University Press

The Wilton Diptych is a comprehensive account of one of England’s greatest surviving medieval treasures, now in the collection of The National Gallery, London. The painting depicts King Richard II (1367–1400) being presented to the Virgin Mary and Christ by John the Baptist and two English Kings, revered as saints. The brilliant color and lavish use of gold give it the appearance of a luxury object, yet its primary function was religious, as an altarpiece for the king’s private devotions.  The author analyzes the iconography, historical context, style, materials, and techniques used to create this precious work, and discusses the likely identity of the artist and the possible evidence that this picture was known to and referenced by William Shakespeare in his play Richard II. Further study of the intricate detail, varied techniques, and decorative effects shows connections to French metalwork and manuscript illumination, while newly commissioned photography reveals exquisite details unseen by the naked eye. Published by National Gallery Company/Distributed by Yale University Press

The National Gallery in London houses one of the most important collections of early Italian paintings outside Italy, including works by Cimabue, Duccio, Giotto and the di Cione brothers. This completely updated catalogue of the collection is the first published since 1989, and it now includes four exceptional acquisitions from the intervening years: the 13th-century diptych now attributed to the Master of the Borgo Crucifix, The Virgin and Child by Cimabue, The Virgin and Child by the Clarisse Master, and The Coronation of the Virgin by Bernardo Daddi. For this volume, Dillian Gordon takes into account the substantial body of new research published over the past twenty years to review and in some cases reattribute the works. All but two paintings have been re-examined by the National Gallery's team of curators, conservators, and scientists. Through the use of infrared reflectography, much new information has been revealed regarding the significance of underdrawings and technique. Each work is illustrated in color, and many are accompanied by details and technical and comparative illustrations.Published by National Gallery Company/Distributed by Yale University Press

The Wilton Diptych is a comprehensive account of one of England’s greatest surviving medieval treasures, now in the collection of The National Gallery, London. The painting depicts King Richard II (1367–1400) being presented to the Virgin Mary and Christ by John the Baptist and two English Kings, revered as saints. The brilliant color and lavish use of gold give it the appearance of a luxury object, yet its primary function was religious, as an altarpiece for the king’s private devotions.  The author analyzes the iconography, historical context, style, materials, and techniques used to create this precious work, and discusses the likely identity of the artist and the possible evidence that this picture was known to and referenced by William Shakespeare in his play Richard II. Further study of the intricate detail, varied techniques, and decorative effects shows connections to French metalwork and manuscript illumination, while newly commissioned photography reveals exquisite details unseen by the naked eye. Published by National Gallery Company/Distributed by Yale University Press