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A Wonder at the Walters: Essays in Honor of Joaneath Spicer
Joaneath Spicer once said she was born on the third floor of the Walters Art Museum. In point of fact, she first came to the museum just over thirty years ago as the James A. Murnaghan Curator of Renaissance and Baroque Art, and since that time has made an indelible mark on the institution. A prolific writer, lecturer, and mentor, Joaneath’s contributions as a scholar, curator, and colleague extend well beyond the walls of the museum and art history. Joaneath has expanded scholarship in Renaissance and Baroque art as well as brought the arts of antiquity, of the contemporary world, and even zoology and taxidermy firmly into conversation with the works she stewards. Yet, perhaps Joaneath has correctly ascribed the place of her “birth,” as the art, people, and spaces at the Walters Art Museum have directly contributed to who she is today (fig. 1). In celebration of her over thirty-year career at the Walters, this volume of the Journal of the Walters Art Museum is dedicated to Joaneath Spicer and her incredibly wide-ranging scholarly and curatorial interests.
Essays

Bibliography of Joaneath A. Spicer
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Kindred Spirits: A Conversation with Joaneath Spicer and Leslie King Hammond
Leslie King Hammond

Thinking Through a Tondo by the Master of the Fiesole Epiphany
Christopher Daly

Still Life on Stone: Redefining the Parameters of Materiality
Judith Mann

Handwork and Art Theory in Early Modern Europe
Pamela H. Smith
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A Love of Order
James Prosek
Notes
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Roaming Roman Stones: Three Provenance Stories
Lisa Anderson-Zhu
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A Saint by Any Other Name: An Allegory of Saint Rose of Lima (ca. 1730–1760)
Ellen Hoobler

Hot 'n Spicy: The Erotic and Restorative Aspects of a Late Medieval Gingerbread Mold
Orsolya Mednyánszky

Technical Note on a New Acquisition: Black Youths Smoking in a Tavern
Hae Min Park

Evaluating the Impact of Placing Contemporary Artwork into the Renaissance and Baroque Galleries
Roslyn Esperon and Teresa Norman
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Revealing the Mechanism of a Pair of Qianlong Revolving Vases
Angela Elliott and Dany Chan
