"Theophilus’s recipe for Spanish gold (3.48) stands out in his collection of recipes for colors. As a group, however, they provide much broader insights into the understanding and use of the natural world by artists, architects and commentators throughout the period. The contributions included in this volume focus on particular examples of references to the natural world in art and architecture from across Europe, made between c. This was followed by a day of sessions at the International Medieval Congress held at Leeds in July that year, and the papers given there have subse- quently been revised for publication here.
The numer- ous and intricate relationships between the natural world (made by God) and works of art and architecture (made by man) were discussed at a workshop held at the Courtauld Institute of Art in June 2008. The generative process of this project, which was conceived in 2007, has been a considerable one. Some people say that this is God, by whom all things have been created and exist’.1 Nature has not given birth to this volume of studies, but it has inspired it. Isidore of Seville’s seventh-century account of the etymology of words provided the following description of nature (natura): ‘Nature is so called because it causes something to be born, for it has the power of engende- ring and creating.
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