(Revised 16 February 2014. ES)


Acta Norv. = Acta ad Archaeologiam et Artium Historiam Pertinentiae (Istituto di Norvegia in Roma)

Ant. Viva = antichitá viva

Art Bull. = The Art Bulletin

Arte Crist. = Arte Cristiana

Burl. M. = The Burlington Magazine

Medd. Kons. = Meddelelser om Konservering (NKF/IIC Nordic Group)

Mitt. KIF = Mitteilungen des Kunsthistorischen Institutes in Florenz

NG Tech. Bull. = The National Gallery Technical Bulletin

Zeitschr. Kg. = Zeitschrift für Kunstgeschichte



- Stout G. L., “A puzzling piece of gold leaf tooling”, Fogg Art Museum Notes, II, 4, 141-152.


- Meiss M., "Ugolino Lorenzetti", Art Bull. XIII, 376-397.

- Weigelt C., “The halo technic[sic] of the Italian primitives”, International Studio, 99, July, 38-41.


- Thompson D. V., Cennino d'Andrea Cennini da Colle di Val d'Elsa - II libro dell'arte (edited text), New Haven (CT) and London.


- Thompson D. V., The Craftsman's Handbook - 'II Libro deH'Arte'. Cennino d'Andrea Cennini (translation), New Haven (CT) and London (reprinted 1960, Dover, New York).


- Thompson D. V., The Practice of Tempera Painting.  New Haven (CT) and London (reprinted 1962, Dover, New York).


- Gettens R. J., and Stout G. L., Painting Materials. A Short Encyclopedia.  New York (reprinted 1966, Dover, New York).


- Braunfels W., “Nimbus und Goldgrund”, Das Münster, III, 321-334 (reprinted in Wege zur Kunstgeschichte, Mittenwald, 1979).


- Frinta M. S., “An investigation of the punched decoration of mediaeval Italian and non-Italian panel paintings”, Art Bull., XLVII, 261-269.


Hueck I., “Frühe Arbeiten des Simone Martini”, Münchener Jahrbuch, III. Folge Band.


- Frinta, M. S., “Note on the punched decoration of two early painted panels at the Fogg Art Museum: St  Dominic and the Crucifixion”, Art Bull., 306- 309.

- Polzer J., “Observations on known paintings and a new altarpiece by Francesco Traini”, Pantheon, Vol. XXIX, 379-389.

- Skaug, E. S., “Contributions to Giotto's workshop”, Mitt. KIF, XV, 141-160.


- Frinta M. S., “On the punched decoration in mediaeval panel painting and manuscript illumination”, Conservation of Paintings and the Graphic Arts, IIC Lisbon Congress (Preprints), London, 115-121.

- Idem, “New evidence of the relationship of Central European and Italian painting during the fourteenth century”, CIHA/XXII International Congress, Budapest, 649-654, 533-534.


- Nikolaus K., “Untersuchungen zur italienischen Tafelmalerei des 14. und I5. Jahrhunderts”, Maltechnik Restauro, 142-192; 239-248.


- Frinta M. S., “Punchmarks in the Ingeborg Psalter”, The Year 1200: A Symposium (The Metropolitan Museum of Art), New York, 251-260.

- Idem, “A seemingly Florentine yet not really Florentine altarpiece”, Burl. M., CXVII, 527-535.

- Skaug E. S., “The St. Anthony Abbot ascribed to Bartolo di Fredi in the National Gallery, London”, Acta Norv., VI, 141-158.

- Idem, “The ‘St. Anthony Abbot’ ascribed to Nardo di Cione at the Villa I Tatti. Florence”, Burl. M., CXVII, 540-543.


- Frinta M. S., “Evidence of the Italian influence on Catalan panel painting of the fourteenth century”, CIHA/Actas del XXIII Congreso Internacional de Historia del Arte, I, Granada, 361-371.

- Idem, “A new work by Alvaro Pirez”, Bulletin du Musee National de Varsovie, XVII, 2, Warzaw, 33-47.

- Idem, “Deletions from the oeuvre of Pietro Lorenzetti and related works by the Master of the Beata Umilta, Mino Parcis da Siena, and Jacopo di Mino del Pellicciaio”, Mitt. KIF, XX, 271-300.

- Skaug E. S., “Notes on the chronology of Ambrogio Lorenzetti and a new painting from his shop”, Mitt. KIF, XX, 301-332.


- Skaug E. S., Stempel-ornamentikk fra Toscana”, Forskningsnytt (NAVF), 22, 28-31.


- Frinta M. S., “The quest for a restorer’s shop of beguiling invention: restorations and forgeries in Italian panel painting”, Art. Bull., LVIII, 7-23.

- Ladis A., Taddeo Gaddi: Style and Chronology. Ph.D.-thesis, University of Virginia (University Microfilms, Ann Arbor (MI), No. 7903546) (revised in Ladis 1982).


- Braunfels W. (see under 1950).


- Lodi, L., “Note sulla decorazione punzonata”, Bolletino dei Musei Ferraresi, 11, pp. 9-208.

- Polzer J., “The ‘Master of the Rebel Angels’ Reconsidered”, Art Bull., LXII1, 563-584.

- Idem, “L'ultimo dipinto di Simone Martini”, Ant. Viva, XX, 4, 7-16.

- Skaug E. S., “The 'Rinuccini tondo' - an 18th-century copy or a 14th-century original?” Atti del convegno sul restauro delle opere d'arte a Firenze 2-7 novembre 1976, A. M. Giusti (ed.) Florence, 333-339 and 571-575 (ill.).


- Frinta M. S., “Drawing the net closer: the case of Ilicio [sic] Federico Joni, painter of antique pictures”, Pantheon, 217-224


- Frinta M. S., “Unsettling evidence in some panel paintings of Simone Martini”, La pittura nel XIV e XV secolo. II contributo dell'analisi tecnica alla storia dell'arte, 3, H. W. van Os & J. R. J. van Asperen de Boer (eds.), Bologna, 161-174, CIHA/Bologna, 211-236.

- Muller N. E., “Lorenzettian technical influences in a painting of Saint Philip by the Master of Figline”, La pittura.. (as Frinta above), 283-295.

- Polzer J., “A contribution to the early chronology of Lippo Memmi”, La pittura.. (as Frinta above), 237-252.

- Skaug E. S., “Punch marks - what are they worth? Problems of Tuscan workshop interrelationships in the mid-fourteenth century: the Ovile Master and Giovanni da Milano”, La pittura.. (as Frinta above), 253-282.


- Gordon D., Bomford D., Plesters J., and Roy A., “Nardo di Cione's Altarpiece: ‘Three Saints’”, NG Tech. Bull., 21-37.


- Beatson E., Muller N. E., and Steinhoff J., “The St. Victor Altarpiece in Siena Cathedral: A Reconstruction”, Art Bull., LXVIII, 610-631.

- Borsook E. and Superbi Gioffredi F. (eds.), Tecnica e stile, Florence.

- Frinta M. S., “The Decoration of the Gilded Surfaces in Panel Painting around 1300”, Europäische Kunst um 1300, XXV Internationaler Kongress für Kunstgeschichte /CIHA/Wien 4.-10.9.1983, 6, Vienna, 69-75, 295 ff.

- Skaug E. S., Addenda to Ambrogio Lorenzetti's shop and a still unsolved problem, Mitt. KIF, XXX, 582-583.


- Hills P., The light of early Italian painting. New Haven (CT) and London (2nd printing, 1990).


- Frinta M. S., “Stamped Halos in the 'Maesta' of Simone Martini”, Simone Martini. Atti del convegno a Siena, 27, 28, 29 marzo 1985, L. Bellosi (ed.), Florence, 139-145.

- Idem, “Notes on early Italian panel paintings in Belgrade”, Recueil du Musée National, XIII/2, Belgrade, 41-50.

- Hueck I., “Simone attorno al 1320”, Simone Martini (as Frinta above), 49-54. 

- Polzer J., “'Symon Martini et Lippus Memmi me pinxerunt'”, Simone Martini (as Frinta above), 167-173.


- Bomford D., Dunkerton J., Gordon D., Kirby J., and Roy A., Art in the Making: Italian Painting before 1400 (National Gallery), London.

- Di Fabio C., “Una tavola del Trecento fiorentino a Palazzo Bianco”, Bolletino dei Musei Civici Genovesi, XI, No. 32/33, 23-28.

- Skaug E. S., “Contributions to Giovanni Bonsi”, Ant. Viva, XXVIII, 1, 11-14.

- Steinhoff-Morrison J., Bartolomeo Bulgarini and Sienese Painting of the Mid-Fourteenth Century, 1-2. Ph.D.-thesis, Princeton University (University Microfilms, Ann Arbor (MI), Order No. 9014540).


- Baldelli L., ”Una proposta di classificazione dei punzoni su tavola nei dipinti del XIV e del XV secolo nelle Marche”, Storia dell'arte, 72, 145-182.

- Skaug E. S., ”En løsning på Cennini-problemet?”, Medd. Kons., 7/4, 341-352 (w. English summary).


- Frinta, M. S., “A portable Coronation triptych and a carved Enthroned Madonna in the National Museums at Prague: a few observations”, Bulletin of the National Gallery of Prague, 2, pp. 4-12


- Frinta, M. S., “Observations on the Trecento and Early Quatrocento Workshop”, Stud. in the History of Art, 19-34.   

- Skaug E. S., “Cenniniana: Notes on Cennino Cennini and his treatise”, Arte Crist., LXXXI, 754, 15-22.


- Muller, N. E., “Reflections on Ugolino di Nerio’s Santa Croce Polyptych”, Zeitschr. Kg, 57, I, 45-74.

- Skaug, E. S., Punch Marks from Giotto to Fra Angelico. Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting c.1330-1430. With particular consideration to Florence, I-II, Oslo.


- Messina, M., La pittura Riminese del Trecento: decorazione del fondo oro e tipologie delle aureole, Tesi di laurea, Università degli Studi di Trieste.


- Skaug, E. S., ”Tingenes tause tale. Maleteknikk som historisk kilde i italiensk senmiddelaldermaleri”, I H. P. L’Oranges fotspor. Forskning ved Det norske institutt i Roma, E. Østby et al. (eds), Oslo, 250-265.


- Frinta, M. S., Punched Decoration on late Medieval Panel and Miniature Painting, Part I, Catalogue, Prague.

- Skaug, E. S., “Towards an integrated methodology for the Trecento: contributions to Pietro Nelli’s early phase”, Arte Crist., LXXXVI, 786, 177-184.


- Barberis, L., I nimbi nella pittura dell’Italia Centrale dall’inizio del Duecento ai primi decenni del Trecento, Tesi di Laurea, Università degli Studi di Siena.

- Skaug, E. S., "Punch Marks and sgraffito in the Santa Maria Maggiore Madonna: a 12th-century pioneer case?", M. Ciatti & C. Frosinini (eds.), "L'immagine antica". La Madonna col bambino di Santa Maria Maggiore, Florence, 63-68 (also in parallell Italian edition).

- Idem, “St Bridget’s vision of the Nativity and Niccolò di Tommaso’s late period”, Arte Crist., LXXXIX, 804, 195-209.


- Skaug, E. S., “The altarpiece for St Bridget’s first chapel at Piazza Farnese in Rome”, Kunst og Kultur, 86 (3), 190-202.

- Idem, “Two new paintings by Ambrogio Lorenzetti. Technical criteria and the complexity of chronology”, Arte Crist., XCI, 814, 7-17.


- Skaug, E. S., “Towards a reconstruction of the Santa Maria degli Angeli Altarpiece of 1388: Agnolo Gaddi and Lorenzo Monaco?”, Mitt. KIF, 48, 1-2, 245-257.


- Polzer, J., “A question of method: quantitative aspects of art historical analysis in the classification of early Trecento Painting based on ornamental practice”, Mitt.KIF, XLIX, 1/2, 33-100.

- Skaug, E. S., “Niccolò di Tommaso of Florence, St Bridget of Swedens’s first painter”, Acta Norv., XVIII, N.S.4, 289-321.

- Idem, “Tecniche ed estetica nella pittura del Trecento italiano: l’”impronta digitale” nei dipinti di Altenburg come supporto nella ricerca storico-artistico”, M. Boskovits & D. Parenti (eds.), Da Bernardo Daddi al Beato Angelico a Botticelli. Dipinti fiorentini del Lindenau-Museum di Altenburg, Florence, 17-37.


- Skaug, E. S., “Notes on the punched decoration in Lorenzo Monaco’s panel paintings”, A. Tarturferi & D. Parenti (eds.), Lorenzo Monaco. A Bridge from Giotto’s Heritage to the Renaissance, Florence, 53-58 (also in parallel Italian edition).

- Idem, “The Nobili Chapel in Santa Maria degli Angeli” (in Lorenzo Monaco above), 106-111 (also in parallel Italian edition).


- Eclercy, B., Nimbendekor in der toskanischen Dugentomalerei, Inaugural-Dissertation zur Erlangung des Doktorgrades, Westfälischen Wilhelms-Universität, Münster (3 volumes).

- Idem, “’Granare’ Zur historischen Terminologie des Goldgrunddekors im Traktat des Cennino Cennini”, Mitt. KIF, LI, 539-554.

- Skaug, E. S., “Farbe und ornamentaler Dekor von Heiligenscheinen in Florenz und Siena im Duecento und Trecento: Visuelle Ästhetik als Bedeutungsträger?”, S. Weppelmann (ed.), Zeremoniell und Raum in der frühen italienischen Malerei, Peterberg, 40-51. [NB: Colour plates deleted by publisher without notice].


- Skaug, E. S., ”Siena, e non la Lombardia. Giovanni da Milano tra il 1346 e il 1363”, Giovanni da Milano. Capolavori del gotico fra Lombardia e Toscana, D. Parenti (ed.), Florence, 103-113. [NB: Small error on p. 105: in the upper line “(= stage A)” punch 515 left out by an oversight during the drawing of the chart].

- Idem, “Painters, punchers, gilders or goldbeaters? A critical survey report of discussions in recent literature about early Italian painting”, Zeitschr. Kg., 71/4, 571-582.

- Idem, “Bernardo Daddi’s chronology and workshop structure, as defined by technical criteria”, Da Giotto a Botticelli. Pittura fiorentina tra Gotico e Rinascimento. Atti del Convegno Internazionale, Firenze, Università degli Studi e Museo di San Marco, 20-21 maggio 2005, F. Pasut & J. Tripps (eds.), Florence, 79-96.

- Idem, “The Santa Felicita altarpiece and some observations on Taddeo Gaddi’s punch work and halo style c.1345-1355”, Il polittico di Taddeo Gaddi in Santa Felicita a Firenze. Restauro, studi e ricerche, M. Branca (ed.), Florence, 49-57 and Tav. L-LVII.


- Nolan, J. M., “Considerations on the Halo and Garment Patterns in the Work of Tommaso del Mazza”, Discovering a Pre-Renaissance Master: Tommaso del Mazza, A. Short (ed.), Greenville SC (Bob Jones University Museum & Gallery), 17-31, 85-89.

- Skaug, E. S., “Vices and virtues of technical evidence. Notes on the Alberto Crespi Collection, with particular attention to Giovanni Bartolomeo Cristiani and Nanni di Jacopo”, I Fondi oro della Collezione Alberto Crespi al Museo Diocesano di Milano: questioni iconografiche e attributive. Atti della gornata di Studi, 11 ottobre 2004, Milan, 88-101.

- Idem, “Did Francesco di Michele, alias the Master of San Martino a Mensola, start out in Giovanni Bonsi’s workshop?”, Arte Crist., (Oct-Nov)


- Skaug, E.S., “More Cenniniana: technical notes on the origin and purpose of ‘Il libro dell’arte’”, Arte Crist., (Jan-Feb)


- Skaug, E. S., “Giotto and the flood of Florence in 1333: A Study in Catastrophism, Guild Organisation and Art Technology". Florence (Giunti)

In the course of publication

- Skaug, E. S., ”Stippled angels and lost haloes”, proceedings of symposium on the Göttinger Barfüsseraltar (1426), Landesmuseum Hannover 2006, C. Aman & B. Hartwieg (eds.).