In a fortunate expression, Claudio Seccaroni, recognizing “the international range of the circulation of early fifteenth-century art techniques,” gave voice to a deep matrix of art history. Beginning with the bearing of art techniques, this volume initiates its editorial plan around the scholarly acquisitions introduced by recent restorations to two different, yet equally meaningful, works by Carlo Crivelli in the Marche region. Even the philological meaning “in the Marches” is not taken for granted, both in view of the notorious nineteenth-century rate of dispersion and in order to reknit the connections, including the material ones, of a heritage that had found ground for commission in the Marches, reception and international circulation of knowledge.