Contents: Pierre Rosenberg, Du progrès en histoire de l'art / On Developments in the History of Art ; Philippe Walter, Combiner les regards sur les œuvres de Nicolas Poussin / A Combined Vision of the Works of Nicolas Poussin ; Sheila McTighe, Poussin's Practice: A New Plea for Poussin as a Painter ; Helen Glanville, Nicolas Poussin: Creation and Perception ; Paolo Bensi, Supporti e preparazioni: aspetti delle scelte esecutive di Poussin a confronto con le tecniche pittoriche dell'ambiente romano (1620-70) ; Chiara Merucci, Claudio Seccaroni, Qualche osservazione sui Baccanali di putti della Galleria Nazionale d'Arte Antica in Palazzo Barberini ; Marcia Steele, Transmitted Light Infrared Imaging of Two Paintings by Poussin at the Cleveland Museum of Art ; David Piurek, The Cleveland Museum of Art Painting Conservation. Transmitted IR Photography Setup ; Sophia Plender, Aviva Burnstock, Technical Examination and Conservation of The Triumph of David by Nicolas Poussin ; Laurie Benson, Carl Villis, The Crossing of the Red Sea in the National Gallery of Victoria, Melbourne ; John Twilley, Nicole Myers, Mary Schafer, Poussin's Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art ; Jean Cadogan, Stephen Kornhauser, Patricia Sherwin Garland, The Crucifixion by Nicolas Poussin in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut ; Rikke Foulke, The Holy Family with the Infant Saint John the Baptist and Saint Elizabeth ; Laurence de Viguerie, Philippe Walter, Helen Glanville, Some Preliminary Remarks on Nicolas Poussin's Painting Technique in L'Orage: Complementary X-ray Fluorescence and X-ray Diffraction Study ; Carol Woods Sawyer, Discoveries Concerning Poussin's Technique Made during the Examination and Treatment of Achilles among the Daughters of Lycomedes ; Characteristics of the Canvases Used by Nicolas Poussin. (Kermes 94/95 - La rivista del restauro)

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