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Tarnya Cooper and Maurice Howard: Introduction; Tarnya Cooper and Maurice Howard: Artists, Patrons and the Contexts for the Production of Painted Images in Tudor and Jacobean England; Part I Material Practices; Aviva Burnstock: Introduction; 1 Aviva Burnstock: Interpreting the Results of Technical Analysis; 2 Ian Tyers: Panel Making, Sources of Wood, Construction ’Trademarks’ and Conclusions on the Making and Trade in the UK; 3 Sophie Plender: Materials, Techniques and Practice: The Relationship between Artists’ Treatises and Painting Methods and Techniques in Tudor and Jacobean England; 4 Libby Sheldon: Palette, Practice and Purpose: Pigments and their Employment by Native and Anglo-Netherlandish Artists in Tudor and Jacobean Paintings; 5 Rachel Billinge: Artists’ Underdrawing and the Workshop Transfer Process; 6 Klaas Jan van den Berg, Katrien Keune, Suzan de Groot and Henk van Keulen: Binding Media in Tudor and Jacobean Paintings; 7 Marie Louise Sauerberg: The Conservation of Paintings from the Tudor Era in the Context of Portraits of Elizabeth I; 8 Caroline Rae: Marcus Gheeraerts the Younger, John de Critz the Elder, Robert Peake the Elder and William Larkin; Part 2 Tudor and Jacobean Painters and Their Workshops; Tarnya Cooper: Introduction; 9 Lucy J. Wrapson: A Medieval Context for the Artistic Production of Painted Surfaces in England: Evidence from East Anglia (c.1400-50); 10 Susan Foister: Distinctive or Different? English Artistic Practices in a European Context; 11 Victoria Button: ’Pictures by the Life’: The Materials and Techniques of Holbein’s Portrait Drawings; 12 Hope Walker: Talent and Adversity: A Reassessment of the Life and Works of Hans Eworth of Antwerp and London (active 1540-74); 13 Katherine Coombs and Alan Derbyshire: . Nicholas Hilliard’s Workshop Practice Reconsidered; 14 Edward Town: ’A Good Eye, and Steadfast Hand’: Painting in London 1547-1625; 15 Elizabeth Goldring: Heraldic Drawing and Painting in Early Modern England; 16 Karen Hearn: Migrant Artists in Jacobean London; 17 Catharine MacLeod: Robert Peake: Portraits, Patrons and Technical Evidence; 18 Anita Jansen and Johanneke Verhave: The Ambassador and the Painter: Sir Dudley Carleton Painted by Michiel van Mierevelt; 19 David Taylor: Gesture Recognition: Adam de Colone and the Transmission of Portrait Types from the Low Countries and England to Scotland; Part 3 Patronage, Markets and Audiences; Maurice Howard: Introduction; 20 Frederick Hepburn: ’pintor Yngles’: The Earliest Evidence for Portraiture at the Court of Henry VII; 21 Charlotte Bolland: SAT SUPER EST’: A Portrait of Henry Howard, Earl of Surrey; 22 Catherine Daunt: Heroes and Worthies: Emerging Antiquarianism and the Taste for Portrait Sets in England; 23 Robert Tittler: Painters’ and Patrons’ Circles in Provincial England, c.1580-1640; 24 Susan Bracken: Collectors in England 1580-1630 - Evolutions in Taste

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