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The Technical Bulletin 27 is an extended special edition focusing on Renaissance Perugia and Siena, and focusing on findings unearthed during preparation for the ground-breaking exhibition Renaissance Siena: Art for a City (2007).

This volume is essential reading for all those with an interest in Renaissance studies, and is available at the same price as the regular Technical Bulletin – superb value for money.

The Master of the Story of Griselda and Paintings for Sienese Palaces
Jill Dunkerton, Carol Christensen and Luke Syson

The National Gallery has three panels illustrating Boccaccio's ‘Story of Patient Griselda' (NG 912–914), painted in Siena in the late fifteenth century by an anonymous artist.

Detailed examination of the Griselda panels during their recent cleaning and restoration has led to new discoveries, published here, about their patronage and date.

The Griselda Master along with other leading Sienese artists – Francesco di Giorgio, Matteo di Giovanni, Neroccio de' Landi and Pietro Orioli – also contributed to eight panels (now dispersed among collections in Britain, Hungary, Italy and the US) showing Virtuous Men and Women.

An international project undertaken jointly by all the owner institutions has added greatly to our knowledge about their original display, technique, attribution and the possible identity of some of the figures.

The Madonna di Loreto: An Altarpiece by Perugino for Santa Maria dei Servi, Perugia
Carol Plazzotta, Michelle O'Malley, Ashok Roy, Raymond White and Martin Wyld

Perugino's 'The Madonna di Loreto' (NG 1075) was commissioned in 1507 for a carpenter's chapel in Santa Maria dei Servi in Perugia.

Here, the authors review documents relating to the altarpiece's commission and show how constraints of time and cost affected its appearance.

A thorough investigation of the design, materials and techniques sheds light on how economically Perugino and his workshop produced the painting. His cost-conscious approach prompted cosmetic interventions in the nineteenth century, which only succeeded in further compromising the paint surface..

The Technique of an Annunciation attributed to Giannicola di Paolo
Catherine Higgitt, Marike Spring, Anthony Reeve and Luke Syson

Recent treatment and examination of the National Gallery's Annunciation of around 1500 (NG 1104) attributed to Giannicola gives some insight into the operation of Perugino's workshop.

The pounced dots observed in the infrared reflectogram of the painting suggest that the artist had access to Perugino's punched cartoons, yet the technique is egg tempera, rather than the oil medium for which Perugino was celebrated.

The authors suggest that Giannicola was employed in Perugino's workshop as an assistant rather than a pupil, loyal to a technique in which he had been trained elsewhere.

Reassessment of other divergences in technique helps to clarify the nature of the collaboration between Perugino and other artists associated with his workshop, including Raphael.

Gilding and Illusion in the Paintings of Bernardino Fungai
David Bomford, Ashok Roy and Luke Syson

The work of Bernardino Fungai fuses the traditional decorative virtues associated with Sienese painting with a more modern Umbrian, naturalistic style.

Recent examination of 'The Virgin and Child with Cherubim' (NG 1331) in the National Gallery has revealed how Fungai employed his own distinctive method to achieve realistic effects of shimmering drapery.

The Virgin is a particularly beautiful and well-preserved example of Fungai's use of a very specific sgraffito technique.