Introduction Mattia Barana, Roberto Bartalini, Davide Lacagnina 8-18 pdf (Italiano) DOI: https://doi.org/10.36253/ladiana-4300
Sir Charles Eastlake, the National Gallery and the Tuscan ‘primitives’. Pursuing the Oldest Masters for the Newest Ends Susanna Avery-Quash 19-42 pdf DOI: https://doi.org/10.36253/ladiana-4301
‘A chosen few’: Lady Eastlake and the appreciation of early Florentine art Julie Sheldon 43-62 pdf DOI: https://doi.org/10.36253/ladiana-4302
Florence, Charles Eastlake, and the Restoration of Renaissance Paintings Matthew Hayes 63-82 pdf DOI: https://doi.org/10.36253/ladiana-4303
Walking in Florence: Genres of Knowledge in the Italian Journals of Susan Horner 1847–1848 and 1861–1862 Clare Pettitt 83-112 pdf DOI: https://doi.org/10.36253/ladiana-4304
Ugo Baldi (1800-1870): A Painter-Restorer, «piuttosto unico che raro», between the Art Trade and Conservation Mattia Barana 113-157 pdf (Italiano) DOI: https://doi.org/10.36253/ladiana-4306
The Beato Angelico ‘Franciscan Triptych’ in the Aftermath of the Napoleonic Suppressions: Nineteenth-Century Restorations at the Certosa del Galluzzo Elena Marta Manzi 158-187 pdf (Italiano) DOI: https://doi.org/10.36253/ladiana-4307
Notes on Johann Anton Ramboux’s Letters to Carlo Pini, with a Focus on Spinello Aretino’s Olivetan Polyptych Elisa Bruttini 188-212 pdf (Italiano) DOI: https://doi.org/10.36253/ladiana-4308
