Black in Rembrandt's Time. Elmer Kolfin and Epco Runia, eds. With Stephanie Archangel, Mark Ponte, Marieke de Winkel, and David de Witt. Amsterdam: WBOOKS, 2020. 136 pp. €24.95.

(mainly the Tuscan and the Germanic), but the decision to include works from places such as Verona, Padua, and Friuli before they came under the control of the Venetian state is more problematic. On the other hand, the section on Veneto-Cretan painting’s adoption of the Man of Sorrows is highly effective. Another strength of the study is its attention to terminology. The tracing of the development of the term Cristo passo is particularly astute. No doubt this book will serve as an essential resource for scholars studying any late medieval or early modern depiction of the dead Christ, not only in Venice and the Veneto, but also further afield. Its vast bibliography, fine index, and extensive endnotes make it an excellent reference tool, and the discursive notes make some striking points, including a reference to the presence of a tattoo of Florigerio’s sprawling Dead Christ (ca. 1530) on the soccer star David Beckham’s chest! However, the absence of dimensions in the captions and list of illustrations is a surprising omission, which sometimes makes it harder to evaluate the authors’ contentions about the relationship between artworks. The illustrations themselves are impressive and include many little-known objects in far-flung or difficult-to-access venues. More energetic editing might have tightened up the text and smoothed out some stilted phrasing.