Abstract
A consistent line of thinking about matter, colour and form continued into the Middle Ages from the Classical period. Our present views on the Classical and medieval works of art are coloured by how they have been perceived throughout their timeline. Therefore, it is fruitful to discuss polychromy in a broader historical context. The idea for this special issue came about when researchers specializing in ancient and medieval polychromy met for the first time at the seminar Perceiving matter. Visual, material and sensual communication from Antiquity to the Middle Ages and Beyond, held at the Museum of Cultural History, 5 April 2019 under the auspices of the Polychrome Art History Research Group. Marina Prusac Lindhagen initiated the seminar and invited Kaja Kollandsrud to co-organise the event.
 
Highlights
A consistent line of thinking about matter, colour and form continued into the Middle Ages from the Classical period.[1]
It is fruitful to discuss polychromy in a broader historical context. The idea for this special issue came about when researchers specializing in ancient and medieval polychromy met for the first time at the seminar Perceiving matter
The seminar discussed the perception of matter and colour as it is expressed through the polychrome threedimensional form in a wider historical and functional context
Summary
A consistent line of thinking about matter, colour and form continued into the Middle Ages from the Classical period.[1]. Imitated precious stones could be mimicked by lining concave shapes with a reflecting metal, inlays of a material like glass or with paint on raised or flat surfaces.[15] The analytical evidence reveals that colour, but its surface texture such as glossy or mat, translucency and the reflective properties of the underpaint or gilding all contribute to the final result.
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