The Renovation of Paintings in Tuscany, 1250–1500 focuses on several early Italian paintings of religious and civic importance that were physically transformed and reframed after their completion in order to accommodate cult practices and changes in taste. These images have traditionally been evaluated negatively because of their aesthetic impurity, an attitude that has often encouraged the removal of later additions by restorers and conservators. By investigating the religious and social motivations underlying these renovations, Cathleen Hoeniger argues, the historical significance of such practices can be revealed. The compound images that have resulted from transformations can, therefore, be viewed more positively as 'carriers of history'. Hoeniger's study also demonstrates how the methods of art history and conservation can be bridged to produce new and exciting conclusions about the form and meaning of art works.