The two volumes are an in-depth examination of a lost painting tradition. The books examine how the physical properties of natural and mineral pigments such as azurite, lapis lazuli, malachite, or cinnabar used by artists of the European Renaissance shaped a painting process in which each painting required a thorough plan or composition which began with the geometry of the format (i.e. the proportion of height to width of a rectangle). Volume 1 presents the artist as a painter-craftsman with the preparation of natural colour from rocks and crystals and their application in appropriate binding mediums. The difference in colour quality between natural mineral pigments and modern synthetic paint is examined. Chapters include comprehensive step-by-step instruction for the contemporary artist and conservation scientist on how to prepare and paint with the incomparably luminous colours of the Renaissance palette, as well as the preparation of historical painting supports and grounds. Volume 2, the artist as a creative intellectual, links the painter's craft with the creative process and elucidates the degree of compositional planning starting with the painting's rectangular format. The demonstrated evidence for the application of Euclidean geometry is based upon exact measurements of painted surfaces on panels, X-radiographs, and infrared images from paintings. The final chapter concludes with the reasons for the demise of this painting tradition and how industrialization and the standardization of art materials led to a new painting tradition from the nineteenth century.

At her glass-blowing apprenticeship, Renaissance reveler Jessie Morton?s crabby boss and his creepy nephew are causing her problems. But when the man playing the Grim Reaper is killed, Jess has to find the lady, lord or serf whodunit.

Named a 2022 People Magazine best book of the summer! A riveting Harlem Renaissance Mystery featuring Louise Lloyd, a young Black woman working in a hot new speakeasy when she gets caught up in a murder that hits too close to home... Harlem, 1927. Twenty-seven-year-old Louise Lloyd has found the perfect job! She is the new manager of the Dove, a club owned by her close friend Rafael Moreno. There Louise meets Nora Davies, one of the girls she was kidnapped with a decade ago. The two women—along with Rafael and his sister, Louise’s girlfriend, Rosa Maria—spend the night at the Dove, drinking and talking. The next morning, Rosa Maria wakes up covered in blood, with no memory of the previous night. Nora is lying dead in the middle of the dance floor. Louise knows Rosa Maria couldn’t have killed Nora, but the police have a hard time believing that no one can remember anything at all about what happened. When Louise and Rosa Maria return to their apartment after being questioned by the police, they find the word GUILTY written across the living room wall in paint that looks a lot like blood. Someone has gone to great lengths to frame and terrify Rosa Maria, and Louise will stop at nothing to clear the woman she loves.

Working as a hat-maker in the Renaissance Faire Village is pretty sweet for Jessie Morton-until one of the fair's chocolatiers is found drowned in a vat of chocolate in his shop. Now Jessie must sort through a long list of knaves, knights, and wenches who might have wanted to see the chocolatier double-dipped and dead.

First in the Renaissance Faire mystery series featuring craft apprentice and sleuth Jessie Morton. INCLUDES RENAISSANCE RECIPES AND FUN FACTS! Assistant professor Jessie Morton spends her summers at the Renaissance Village honing her skills and finding the lady, lord, or serf whodunnit. This summer Jessie is the apprentice to Mary Shift, a basket-maker with a dark past as well as incredible weaving skills. One day a man is bid a deadly fare-thee-well with Mary?s signature weave around his neck. It?s up to Jessie to spring Mary from the stocks of the Myrtle Beach police station. Yet innocence is hard to prove in a place where there?s a fine line between reality and good theater?and history is bound to repeat itself.

The two volumes are an in-depth examination of a lost painting tradition. The books examine how the physical properties of natural and mineral pigments such as azurite, lapis lazuli, malachite, or cinnabar used by artists of the European Renaissance shaped a painting process in which each painting required a thorough plan or composition which began with the geometry of the format (i.e. the proportion of height to width of a rectangle) -- book cover.