Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Description: The Italian Renaissance Nude
Bibliography
PublisherYale University Press
View chapters with similar subject tags
Bibliography
A
Aglionby, William. Painting Illustrated in Three Diallogues [sic]. London: John Gain, 1685.
Agosti, Giovanni, and Dante Isella. Antiquarie prospettiche romane. Parma: U. Guanda, 2004.
Aiken, Jane. “Leon Battista Alberti’s System of Human Proportions.” Journal of the Warburg and Courtauld Institutes 43 (1980): 68–96.
Ajmar-Wollheim, Marta. “‘The Spirit is Ready, but the Flesh is Tired’: Erotic Objects and Marriage in Early Modern Italy.” Erotic Cultures of Renaissance Italy, ed. Sara Matthews-Grieco, 141–69. Aldershot: Ashgate, 2010.
Alberti, Carlo. “Amiria.” Opere Volgari di Leon Battista Alberti, Vol. 5, ed. Anicio Bonucci, 271–94. Florence: Galileiana, 1849.
Alberti, Leon Battista. Della pittura, ed. Luigi Mallé. Florence: Sansoni, 1950.
———. On Painting and On Sculpture: The Latin Texts of “De Pictura” and “De Statua,” trans. Cecil Grayson. London: Phaidon, 1972.
———. On the Art of Building in Ten Books, ed. and trans. Joseph Rykwert, Neil Leach, and Robert Tavernor. Cambridge: MIT Press, 1991.
Alciphron, Aelian, and Philostratus. The Letters, ed. and trans. A. R. Benner and F. H. Fobes. Cambridge: Harvard University Press, 1949.
Alessandri, Caio Baldassarre Olimpo. Gloria d’amore. Venice: Zoppino, 1536.
Allen, Michael, and Valery Rees, eds. Marsilio Ficino: His Theology, His Philosophy, His Legacy. Leiden: Brill, 2002.
Allerston, Patricia. “Clothing and Early Modern Venetian Society.” Continuity and Change 15 (2000): 367–90.
Alpers, Svetlana. “Art History and its Exclusions: The Example of Dutch Art.” Feminism and Art History: Questioning the Litany, ed. Norma Broude and Mary D. Garrard, 183–99. New York: Harper & Row, 1982.
Altieri, F. Dizionario italiano ed inglese. London: William and John Innys, 1727.
Ambrose, Kirk. “Male Nudes and Embodied Spirituality in Romanesque Sculpture.” The Meanings of Nudity in Medieval Art, ed. Sherry Lindquist, 65–84. Aldershot: Ashgate, 2012.
Ames-Lewis, Francis. “Art History or Stilkritik? Donatello’s Bronze David Reconsidered.” Art History 2 (1979): 139–55.
———. Drawing in Early Renaissance Italy. New Haven and London: Yale University Press, 2000.
———. “Modelbook Drawings and the Florentine Quattrocento Artist.” Art History 10 (1987): 1–11.
———. “Neoplatonism and the Visual Arts at the Time of Marsilio Ficino.” Marsilio Ficino: His Theology, His Philosophy, His Legacy, ed. Michael Allen and Valery Rees, 327–38. Leiden: Brill, 2002.
———. Tuscan Marble Carving, 1250–1350: Sculpture and Civic Pride. Aldershot: Ashgate, 1997.
Ames-Lewis, Francis, and Joanne Wright. Drawing in the Italian Renaissance Workshop. London: V&A Museum, 1983.
Anderson, Jaynie. “Allegories and Mythologies.” Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, ed. David Alan Brown and Sylvia Ferino-Pagden, 147–88. New Haven and London: Yale University Press, 2006.
———. “Giorgione, Titian and the Sleeping Venus.” Tiziano e Venezia: Atti del Convegno internazionale di studi, ed. Massimo Gemin and Giannantonio Paladini, 337–42. Vicenza: Neri Pozza, 1980.
Anonymous. El costume de le donne con un capitolo de le XXXIII bellezze, ed. Salomone Morpurgo. Florence: Dante, 1889.
Antes, Monika. Die Kurtisane Tullia d’Aragona. Würzburg: Königshausen & Neumann, 2006.
Aragona, Tullia d’. The Poems and Letters of Tullia d’Aragona and Others, trans. Julia L. Hairston. Toronto: CRRS, 2014.
Aretino, Pietro. Il piacevol ragionamento. . . . Dialogo di Giulia e di Madalena, ed. Claudio Galderisi. Rome: Salerno, 1987.
———. Il primo libro delle lettere. Paris: Matteo il Maestro, 1608.
———. Il secondo libro delle lettere. Paris: Matteo il Maestro, 1609.
———. The Ragionamenti: The Lives of Nuns, the Lives of Married Women, the Lives of Courtesans, ed. and trans. Peter Stafford. London: Panther, 1971.
———. Ragionamento e dialogo, ed. Giorgio Bàrberi Squarotti. Milan: Rizzoli, 1988.
Ariosto, Ludovico. Orlando furioso; con la giunta, novissimamente stampato e corretto. Venice: Mapheo Pasini, 1535.
———. Orlando Furioso: A New Verse Translation, trans. David R. Slavitt. Cambridge: Harvard University Press, 2009.
Armstrong, Lilian. “Copies of Pollaiuolo’s Battling Nudes.” Studies of Renaissance Miniaturists in Venice, 22–36. London: Pindar, 2003.
Assonitis, Alessio. “Art and Savonarolism in Florence and Rome.” PhD thesis, New York: Columbia University, 2003.
Atkinson, Catherine. Inventing Inventors in Renaissance Europe: Polydore Vergil’s De Inventoribus Rerum. Tübingen: Mohr Siebeck, 2007.
B
Baert, Barbara. Fluid Flesh: The Body, Religion, and the Visual Arts. Leuven: Leuven University Press, 2009.
Baker, Christopher, Caroline Elam, and Genevieve Warwick, eds. Collecting Prints and Drawings in Europe, c.1500–1750. Aldershot: Ashgate, 2003.
Baker, Nicholas Scott. The Fruit of Liberty. Political Culture in the Florentine Renaissance, 1480–1550. Cambridge: Harvard University Press, 2013.
Bakhtin, Mikhail. Rabelais and his World, trans. Hélène Iswolsky. Bloomington: Indiana University Press, 1984.
Balas, Edith. Michelangelo’s Medici Chapel: A New Interpretation. Philadelphia: American Philosophical Society, 1995.
Baldinucci, Filippo. Notizie de’professori del disegno da Cimabue: Vol. 2, ed. Ferdinando Ranalli. Florence: V. Batelli, 1846.
Ballarin, Alessandro. “Lo studio dei marmi ed il camerino delle pitture di Alfonso I d’Este. Analisi delle fonti letterarie.” Il camerino delle pitture di Alfonso I d’Este: Vol. 1, ed. Alessandro Ballarin, 63–354. Padova: Bertoncello, 2002.
Bandello, Matteo. Novelle. 6 vols. Milan: Silvestri, 1813.
———. The Novels of Matteo Bandello, Bishop of Agen, trans. John Payne. 6 vols. London: Villon Society, 1890.
Barboni, Emma Maria. Il canone della bellezza femminile nella cultura Italiana del Cinquecento. Florence: Banca Dati “Nuovo Rinascimento,” 2009.
Barcan, Ruth. Nudity: A Cultural Anatomy. Oxford: Berg, 2004.
Barkan, Leonard. Mute Poetry, Speaking Pictures. Princeton: Princeton University Press, 2013.
———. Transuming Passion: Ganymede and the Erotics of Humanism. Stanford: Stanford University Press, 1991.
———. Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. New Haven and London: Yale University Press, 1999.
Barnes, Bernadine Ann. Michelangelo in Print: Reproductions as Response in the Sixteenth Century. Farnham: Ashgate, 2010.
———. Michelangelo’s Last Judgment: The Renaissance Response. Berkeley: University of California Press, 1998.
Barocchi, Paola, ed. Scritti d’arte del Cinquecento. Turin: Einaudi, 1977.
———, ed. Trattati d’arte del Cinquecento: fra Manierismo e Controriforma. Bari: Laterza, 1960.
Barolsky, Paul. “The Artist’s Hand.” The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop, ed. Andrew T. Ladis and Carolyn Wood, 5–24. Athens: University of Georgia Press, 1995.
———. Michelangelo’s Nose: A Myth and its Maker. University Park: Penn State University Press, 1997.
Baskins, Cristelle. “Griselda, or the Renaissance Bride Stripped Bare by her Bachelor in Tuscan Cassone Painting.” Stanford Italian Review 10 (1991): 153–75.
Battisti, E., and M. L. Krumrine. “‘Desiderare una ignuda’: Giorgione e Michelangelo attraverso l’indagine cinesica.” Artibus et Historiae (1982): 37–73.
Baxandall, Michael. “Bartholomaeus Facius on Painting: A Fifteenth-Century Manuscript of the De Viris Illustribus.” Journal of the Warburg and Courtauld Institutes 27 (1964): 90–107.
———. “A Dialogue on Art from the Court of Leonello d’Este: Angelo Decembrio’s De Politia Litteraria Pars LXVIII.” Journal of the Warburg and Courtauld Institutes 26 (1963): 304–26.
———. Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition. Oxford: Clarendon Press, 1986.
———. Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style. Oxford: Oxford University Press, 1988.
Bayer, Andrea, ed. Art and Love in Renaissance Italy. New York: Metropolitan Museum of Art, 2008.
Beccadelli, Antonio. Antonio Beccadelli and The Hermaphrodite, ed. and trans. Michael de Cossart. Liverpool: Janus, 1984.
Bell, Rudolph M. How to Do It: Guides to Good Living for Renaissance Italians. Chicago: University of Chicago Press, 1999.
Beltrami, Luca. “L’annullamento del contratto di matrimonio fra Galeazzo M. Sforza e Dorotea Gonzaga (1463).” Archivio Storico Lombardo Ser. 2, 6 (1889): 129–32.
Benedetti, Alessandro. Historia corporis humani, sive anatomice, trans. Giovanna Ferrari. Florence: Giunti, 1998.
Benson, Pamela Joseph. The Invention of the Renaissance Woman: The Challenge of Female Independence in the Literature and Thought of Italy and England. University Park: Penn State University Press, 2010.
Bentz, Katherine M. “Ancient Idols, Lascivious Statues, and Sixteenth-Century Viewers in Roman Gardens.” Receptions of Antiquity, Constructions of Gender in European Art, 1300–1600, ed. Marice Rose and Alison C. Poe, 418–50. Leiden: Brill, 2015.
Berchorius, Petrus. Dictionarii seu Repertorii moralis, vol. 2. Venice: Hieronymi Scoti, 1574.
Berenson, Bernard. Drawings of the Florentine Painters. New York: Greenwood Press, 1969.
Beretta, Marco. “Leonardo and Lucretius.” Rinascimento 49 (2009): 341–72.
Berger, John. Ways of Seeing. London: British Broadcasting Corporation, 1972.
Bernardini, Maria Grazia, ed. Tiziano: Amor sacro e amor profano. Milan: Electa, 1995.
Bernardino of Siena. Prediche volgari. Siena: Landi e Alessandri, 1853.
Bernstein, Joanne G. “The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael.” Artibus et Historiae 13 (1992): 49–63.
Beroaldo, Filippo. In asinum aureum Lucii Apuleii commentaria. Paris: Ludovicus Hornkem and Gottfried Hittorp, 1512.
Bettella, Patrizia. The Ugly Woman: Transgressive Aesthetic Models in Italian Poetry from the Middle Ages to the Baroque. Toronto: University of Toronto Press, 2005.
Betterton, Rosemary. “Prima Gravida: Reconfiguring the Maternal Body in Visual Representation.” Feminist Theory 3 (2002): 255–70.
Billi, Antonio. Il libro di Antonio Billi e le sue copie nella Biblioteca Nazionale di Firenze, ed. Cornelius von Fabriczy. Farnborough: Gregg, 1969.
Biscoglio, Frances M. “‘Unspun’ Heroes: Iconography of the Spinning Woman in the Middle Ages.” Journal of Medieval and Renaissance Studies 25 (1995): 163–76.
Black, Jeremy. European Warfare, 1453–1815. London: Routledge, 2002.
Blount, Thomas. Glossographia anglicana nova. London: Brown, 1707.
Bober, Phyllis Pray. “The Coryciana and the Nymph Corycia.” Journal of the Warburg and Courtauld Institutes 40 (1977): 223–39.
Bober, Phyllis Pray, and Ruth O. Rubinstein. Renaissance Artists and Antique Sculpture: A Handbook of Sources. London: Harvey Miller, 2010.
Boccaccio, Giovanni. Famous Women, ed. and trans. Virginia Brown. Cambridge: Harvard University Press, 2001.
———. Genealogy of the Pagan Gods, trans. Jon Solomon. 2 vols. Cambridge: Harvard University Press, 2011.
———. Opere minori in volgare II: Filostrato. Teseida. Chiose al Teseid, ed. Mario Marti. Milan: Rizzoli, 1970.
Bodart, Diane. Tiziano e Federico II Gonzaga: storia di un rapporto di committenza. Rome: Bulzoni, 1998.
Bonfante, Larissa. “Nudity as a Costume in Classical Art.” American Journal of Archaeology 93 (1989): 543–70.
Bora, Giulio. “Dalla regola alla natura: Leonardo e la costruzione dei corpi.” Leonardo. Dagli studi di proporzioni al trattato della pittura, ed. Pietro Marani and Maria Teresa Fiorio, 29–39. Milan: Electa, 2007.
Bostrom, Leslie, and Marlene Malik. “Re-Viewing the Nude.” Art Journal 58 (1999): 43–8.
Bourne, Molly. “Mail Humour and Male Sociability: Sexual Innuendo in the Epistolary Domain of Francesco II Gonzaga.” Erotic Cultures of Renaissance Italy, ed. Sara Matthews-Grieco, 199–221. Aldershot: Ashgate, 2010.
Bowd, Stephen D. Renaissance Mass Murder. Forthcoming.
———. Venice’s Most Loyal City: Civic Identity in Renaissance Brescia. Cambridge: Harvard University Press, 2010.
Boyer, Abel. The Royal Dictionary, French and English, and English and French. London: D. Midwinter, 1711.
Bracciolini, Poggio. Opera Omnia: Vol. 3: Epistolae, ed. Thomas de Tonelli. Turin: Bottega d’Erasmo, 1964.
———. Two Renaissance Book Hunters: The Letters of Poggius Bracciolini to Nicolaus de Niccolis, ed. and trans. Phyllis Walter Goodhart Gordon. New York: Columbia University Press, 1974.
Brackett, John K. “The Florentine Onestà and the Control of Prostitution, 1403–1680.” The Sixteenth Century Journal 24 (1993): 273–300.
Bredekamp, Horst. “Renaissancekultur als ‘Hölle’: Savonarolas Verbrennungen der Eitelkeiten.” Bildersturm: die Zerstörung des Kunstwerks, ed. Martin Warnke, 41–64. Munich: Hanser, 1973.
Bridgeman, Jane. “‘Pagare le pompe’: Why Quattrocento Sumptuary Laws Did Not Work.” Women in Italian Renaissance Culture and Society, ed. Letizia Panizza, 209–26. Oxford: Legenda, 2000.
Bronzino, Agnolo. Li capitoli faceti editi ed inediti di mess. Agnolo Allori detto il Bronzino, ed. Pietro Magrini. Venice: Tipografia di Alvisopoli, 1822.
Brown, Alison, ed. Language and Images of Renaissance Italy. Oxford: Clarendon Press, 1995.
———. “Lucretius and the Epicureans in the Social and Political Context of Renaissance Florence.” I Tatti Studies in the Italian Renaissance 9 (2001): 11–62.
———. “Reinterpreting Renaissance Humanism: Marcello Adriani and the Recovery of Lucretius.” Interpretations of Renaissance Humanism, ed. Angelo Mazzocco, 267–91, Leiden: Brill, 2006.
———. The Return of Lucretius to Renaissance Florence. Cambridge: Harvard University Press, 2010.
Brown, Beverly Louise. “Portraiture at the Courts of Italy.” The Renaissance Portrait: From Donatello to Bellini, ed. Keith Christiansen, Stefan Weppelmann, and Patricia Rubin, 26–47. New York: Metropolitan Museum of Art, 2011.
Brown, David Alan. “Venetian Painting and the Invention of Art.” Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, ed. David Alan Brown and Sylvia Ferino-Pagden, 15–38. Washington: National Gallery of Art, 2006.
Brown, Patricia Fortini. Private Lives in Renaissance Venice: Art, Architecture, and the Family. New Haven and London: Yale University Press, 2004.
———. Venice & Antiquity: The Venetian Sense of the Past. New Haven and London: Yale University Press, 1997.
Brundage, James A. “Sumptuary Laws and Prostitution in Late Medieval Italy.” Journal of Medieval History 13 (1987): 343–55.
Buettner, Brigitte. “Dressing and Undressing Bodies in Medieval Images.” Künstlerischer Austausch = Artistic Exchange, ed. Thomas Gaehtgens, 2:383–92. Berlin: Akademie, 1993.
Bull, George, and Peter Porter. Michelangelo: Life, Letters and Poetry. Oxford: Oxford University Press, 1999.
Bull, Malcolm. The Mirror of the Gods: Classical Mythology in Renaissance Art. London: Allen Lane, 2005.
Bullard, Melissa M. “‘Mercatores florentini romanam curiam sequentes’ in the Early Sixteenth Century.” Journal of Medieval and Renaissance Studies 6 (1976): 51–71.
Buonarroti, Michelangelo. The Poetry of Michelangelo: An Annotated Translation, ed. James M. Saslow. New Haven and London: Yale University Press, 1993.
Burchard, Johann. At the Court of the Borgia, trans. Geoffrey Parker. London: Folio Society, 1963.
———. Johannis Burckardi Liber notarum ab anno MCCCCLXXXIII usque ad annum MDVI, Vol. 2, ed. Enrico Celani. Città di Castello: Lapi, 1911.
Burckhardt, Jacob. The Civilization of the Renaissance in Italy. London: Penguin, 1990.
Burghartz, Susanna. “Covered Women? Veiling in Early Modern Europe.” History Workshop Journal 80 (2015): 1–32.
Burke, Jill. “The Body in Artistic Theory and Practice.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
———. “Emulating Venus: Beautifying the Body in Early Modern Europe.” The Venus Paradox, ed. Myrto Hatzaki. Nicosia: A. G. Leventis Foundation, 2017.
———. “The European Nude, 1400–1650.” Splendor, Myth, and Vision: Nudes from the Prado, ed. Thomas J. Loughman, Kathleen M. Morris, and Lara Yeager-Crasselt, 16–49. Williamstown: Clark Art Institute, 2016.
———. “Inventing the High Renaissance from Winckelmann to Wikipedia: An Introductory Essay.” Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome, ed. Jill Burke, 1–23. Aldershot: Ashgate, 2012.
———. “Meaning and Crisis in the Early Sixteenth Century: Interpreting Leonardo’s Lion.” Oxford Art Journal 29 (2006): 77–91.
———. “Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude.” Art History 36 (2013): 714–39.
———. “Il nudo femminile nella vita e nell’arte del Rinascimento.” Doni d’amore. Donne e rituali nel Rinascimento, ed. Patricia Lurati, 22–31. Milan: Silvana, 2014.
———. “Republican Florence and the Arts, 1494–1513.” Florence, ed. Francis Ames-Lewis, 252–89. Cambridge: Cambridge University Press, 2012.
———. “Sex and Spirituality in 1500s Rome: Sebastiano del Piombo’s Martyrdom of Saint Agatha.” The Art Bulletin 88 (2006): 482–95.
Burke, Peter. “Civilisation, Discipline, Disorder: Three Case Studies in History and Social Theory.” Theoria 87 (1996): 21–35.
———. The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano. Cambridge: Polity, 1995.
———. Popular Culture in Early Modern Europe. Farnham: Ashgate, 2009.
Bury, Michael. “Perugino, Raphael and the Decoration of the Stanza dell’Incendio.” Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome, ed. Jill Burke, 223–44. Aldershot: Ashgate, 2012.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 2011.
Butler, Kim E. “The Immaculate Body in the Sistine Ceiling.” Art History 32 (2009): 250–89.
Butterfield, Andrew. The Sculptures of Andrea del Verrocchio. New Haven and London: Yale University Press, 1997.
Bynum, Caroline Walker. “The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg.” Renaissance Quarterly 39 (1986): 399–439.
———. Fragmentation and Redemption: Essays on Gender and the Human Body in Medieval Religion. New York: Zone Books, 1991.
———. Jesus as Mother: Studies in the Spirituality of the High Middle Ages. Berkeley: University of California Press, 1982.
———. “Why All the Fuss About the Body? A Medievalist’s Perspective.” Critical Inquiry 22 (1995): 1–33.
C
Cadamosto, Alvise. The Voyages of Cadamosto and Other Documents on Western Africa in the Second Half of the Fifteenth Century, ed. and trans. G. R. Crone. London: Hakluyt Society, 1937.
Cadden, Joan. Meanings of Sex Difference in the Middle Ages: Medicine, Science, and Culture. Cambridge: Cambridge University Press, 1993.
Cadogan, Jeanne K. Domenico Ghirlandaio: Artist and Artisan. New Haven and London: Yale University Press, 2000.
Caglioti, Francesco. Donatello e i Medici. Storia del David e della Giuditta. 2 vols. Florence: Olschki, 2000.
Calabrese, Omar. Venere svelata: la Venere di Urbino di Tiziano. Milan: Silvana, 2003.
Callmann, Ellen. Apollonio di Giovanni. Oxford: Clarendon Press, 1974.
Camille, Michael. The Gothic Idol: Ideology and Image-Making in Medieval Art. Cambridge: Cambridge University Press, 1991.
Campanini, Saverio. “Shaping the Body of the Godhead: The Adaptation of the Androgynous Motif in Early Christian Kabbalah.” The Jewish Body: Corporeality, Society, and Identity in the Renaissance and Early Modern Period, ed. Maria Diemling and Giuseppe Veltri, 355–76. Leiden: Brill, 2009.
———. “‘Painting Venus’ in the Poetic Tradition of the Early Renaissance.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
Campbell, Julie D. “The Querelle des Femmes.” The Ashgate Research Companion to Women and Gender in Early Modern Europe, ed. Jane Couchman, Katherine McIver, and Allyson Poska, 353–68. Aldershot: Ashgate, 2013.
Campbell, Stephen J. “Beyond the Ideal Nude.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
———. The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d’Este. New Haven and London: Yale University Press, 2004.
———. Cosmè Tura of Ferrara: Style, Politics and the Renaissance City, 1450–1495. New Haven and London: Yale University Press, 1997.
———. “‘Fare una cosa morta parer viva’: Michelangelo, Rosso, and the (Un)Divinity of Art.” The Art Bulletin 84 (2002): 596–620.
———. “Giorgione’s Tempest, ‘Studiolo’ Culture, and the Renaissance Lucretius.” Renaissance Quarterly 56 (2003): 299–332.
———. “Naked Truth: Humanism, Poetry, and the Nude in Renaissance Art, 1400–1530.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
Canuti, Fiorenzo. Il Perugino. 2 vols. Siena: Editrice d’arte “La Diana,” 1931.
Caporali, Gianbattista. Vitruvio, Architittura in volgar lingua. Perugia: Iano Bigazzini, 1536.
Cappelletti, Francesca. “‘Sentirsi ospite di un umanista dei giorni sereni di Raffaello’: Agostino Chigi e la decorazione della Farnesina 1505–1520.” Raffaello. La loggia di Amore e Psiche alla Farnesina, ed. Rosalia Varoli-Piazza, 31–9. Milan: Silvana, 2002.
———. “La storia di Psiche, il mito di Raffaello: in margine alla storia dei restauri antichi.” Raffaello. La loggia di Amore e Psiche alla Farnesina, ed. Rosalia Varoli-Piazza, 41–53. Milan: Silvana, 2002.
Capra, Galeazzo Flavio. Della eccellenza e dignità delle donne, ed. Maria Luisa Doglio. Rome: Bulzoni, 1988.
Carlino, Andrea, ed. La bella anatomia. Il disegno del corpo fra arte e scienza nel Rinascimento. Milan: Silvana, 2009.
———. Paper Bodies: A Catalogue of Anatomical Fugitive Sheets 1538–1687, trans. Noga Arikha. London: Wellcome Institute, 1999.
Carmichael, Ann. Plague and the Poor in Renaissance Florence. Cambridge: Cambridge University Press, 1986.
Carré, Antònia, and Lluís Cifuentes. “Girolamo Manfredi’s Il Perché: I. The Problemata and its Medieval Tradition.” Medicina e storia 10 (2010): 13–38.
Casanova, Marcus Antonius. Heroica, ed. Filippo Volpicella. Naples: De Angelis, 1867.
Castiglione, Baldassare. The Book of the Courtier. London: Penguin, 2004.
———. Il libro del cortegiano, del conte Baldesar Castiglione. Venice: Aldine Press, 1541.
Cavallo, Sandra. Artisans of the Body in Early Modern Italy: Identities, Families and Masculinities. Manchester: Manchester University Press, 2007.
Caviness, Madeline Harrison. Visualizing Women in the Middle Ages: Sight, Spectacle, and Scopic Economy. Philadelphia: University of Pennsylvania Press, 2001.
Cellini, Benvenuto. Autobiography, trans. George Bull. London: Penguin, 1956.
Cennini, Cennino. Il libro dell’arte. A New English Translation and Commentary with Italian Transcription, ed. and trans. Lara Broecke. London: Archetype Publications, 2015.
Cesariano, Cesare. Vitruvio, De architectura: Libri II–IV: I materiali, i templi, gli ordini, ed. Alessandro Rovetta. Milan: Vita e Pensiero, 2002.
Chadwick, Whitney. Women, Art, and Society. London: Thames & Hudson, 2012.
Chambers, David Sanderson. Patrons and Artists in the Italian Renaissance. Columbia: University of South Carolina Press, 1971.
———. “Spas in the Italian Renaissance.” Reconsidering the Renaissance, ed. Mario A. Di Cesare, 3–27. Binghamton: Medieval and Renaissance Texts and Studies, 1992.
Chapman, Hugo. Michelangelo Drawings: Closer to the Master. New Haven and London: Yale University Press, 2005.
Chapman, Hugo, and Marzia Faietti. Fra Angelico to Leonardo: Italian Renaissance Drawings. London: British Museum Press, 2010.
Chartier, Roger. “Leisure and Sociability: Reading Aloud in Early Modern Europe.” Urban Life in the Renaissance, ed. Susan Zimmerman and Ronald Weissman, trans. Carol Mossman, 103–120. Newark: University of Delaware Press, 1989.
Cherubino da Siena. Regole della vita matrimoniale, ed. Francesco Zambrini and Carlo Negroni. Bologna: Romagnoli-dall’Aqua, 1888.
Chojnacka, Monica. Working Women of Early Modern Venice. Baltimore: Johns Hopkins University Press, 2001.
Chojnacki, Stanley. Women and Men in Renaissance Venice: Twelve Essays on Patrician Society. Baltimore: Johns Hopkins University Press, 2000.
Christian, Kathleen Wren. Empire Without End: Antiquities Collections in Renaissance Rome, c.1350–1527. New Haven and London: Yale University Press, 2010.
Christiansen, Keith, Stefan Weppelmann, and Patricia Rubin, eds. The Renaissance Portrait: From Donatello to Bellini. New York: Metropolitan Museum of Art, 2011.
Ciappelli, Giovanni. Carnevale e quaresima: comportamenti sociali e cultura a Firenze nel Rinascimento. Rome: Edizioni di storia e letteratura, 1997.
Cicero, Marcus Tullius. De natura deorum, trans. Harris Rackham. London: Heinemann, 1933.
Clark, Kenneth. The Nude: A Study of Ideal Art. London: John Murray, 1956.
Clark, Kenneth, and Carlo Pedretti. The Drawings of Leonardo da Vinci in the Collection of Her Majesty the Queen at Windsor Castle. London: Phaidon, 1968.
Clifton, James. “Gender and Shame in Masaccio’s Expulsion from the Garden of Eden.” Art History 22 (1999): 637–55.
Colantuono, Anthony. “The Penis Possessed: Phallic Birds, Erotic Magic and Sins of the Body ca. 1470–1500.” The Body in Early Modern Italy, ed. Julia Hairston and Walter Stephens, 92–108. Baltimore: Johns Hopkins University Press, 2010.
———. Titian, Colonna, and the Renaissance Science of Procreation: Equicola’s Seasons of Desire. Aldershot: Ashgate, 2010.
Collins, Marsha S. Imagining Arcadia in Renaissance Romance. London: Routledge, 2016.
Colonna, Francesco. Hypnerotomachia Poliphili: The Strife of Love in a Dream, trans. Joscelyn Godwin. London: Thames & Hudson, 2005.
Colot, Blandine. “Le corps, du De opificio Dei aux Divinae institutiones: martyre, philosophie chrétienne et religion chez Lactance.” Le De Opificio Dei. Regards croisés sur l’anthropologie de Lactance, ed. Béatrice Bakhouche and Sabine Luciani, 75–104. Saint-Étienne: Université de Saint-Étienne, 2007.
Comanducci, Rita Maria. “Gli Orti Oricellari.” Interpres 15 (1997): 302–58.
Condivi, Ascanio. Vita di Michelangelo Buonarroti, ed. Charles Davis, vol. 1, FONTES 34. University of Heidelberg, 2009. Available at http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2009/714.
Copenhaver, Brian P. “The Historiography of Discovery in the Renaissance: The Sources and Composition of Polydore Vergil’s De Inventoribus Rerum, I–III.” Journal of the Warburg and Courtauld Institutes 41 (1978): 192–214.
Cover, Rob. “The Naked Subject: Nudity, Context and Sexualization in Contemporary Culture.” Body & Society 9 (2003): 53–72.
Cox, Virginia. Women’s Writing in Italy, 1400–1650. Baltimore: Johns Hopkins University Press, 2008.
Crawford, Katherine. “Marsilio Ficino, Neoplatonism, and the Problem of Sex.” Renaissance and Reformation/Renaissance et réforme 28 (2004): 3–35.
Cro, Melinda A. “Ekphrasis and the Feminine in Sannazaro’s Arcadia.” Romance Notes 52 (2012): 71–8.
Cropper, Elizabeth. “The Beauty of Woman: Problems in the Rhetoric of Renaissance Portraiture.” Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, ed. Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers: 175–90. Chicago: University of Chicago Press, 1986.
———. “On Beautiful Women, Parmigianino, Petrarchismo, and the Vernacular Style.” The Art Bulletin 58 (1976): 374–94.
———. “The Place of Beauty in the High Renaissance and its Displacement in the History of Art.” Place and Displacement in the Renaissance, ed. Alvin Vos, 159–205. Binghamton: Medieval & Renaissance Texts & Studies, 1995.
Curran, Brian. “Love, Triumph, Tragedy: Cleopatra and Egypt in Renaissance Rome.” Cleopatra: A Sphinx Revisited, ed. Margaret Miles, 96–131. Berkeley: University of California Press, 2011.
D
Dall’Aglio, Stefano. Savonarola and Savonarolism, trans. John Gagné. Toronto: CRRS, 2010.
Davidson, Nicholas. “Theology, Nature and the Law: Sexual Sin and Sexual Crime in Italy from the Fourteenth to the Seventeenth Century.” Crime, Society and the Law in Renaissance Italy, ed. Trevor Dean and Kate Lowe, 74–98. Cambridge: Cambridge University Press, 1994.
Davis, Margaret Daly. “Beyond the ‘Primo Libro’ of Vincenzo Danti’s Trattato delle perfette proporzioni.” Mitteilungen des Kunsthistorischen Institutes in Florenz 26 (1982): 63–84.
Degl’Innocenti, Luca, Brian Richardson, and Chiara Sbordoni, eds. Interactions between Orality and Writing in Early Modern Italian Culture. London: Routledge, 2016.
D’Elia, Una Roman. “Niccolò Liburnio on the Boundaries of Portraiture in the Early Cinquecento.” The Sixteenth Century Journal 37 (2006): 323–50.
———. “Titian’s Mute Poetry.” Titian: Materiality, Likeness, “Istoria,” ed. Joanna Woods-Marsden, 113–24. Brepols: Turnhout, 2007.
Dempsey, Charles. Inventing the Renaissance Putto. Chapel Hill: University of North Carolina Press, 2001.
Derbes, Anne. Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant. Cambridge: Cambridge University Press, 1996.
Devisse, Jean, and Michel Mollat. “The African Transposed.” The Image of the Black in Western Art. Vol. II: From the Early Christian Era to the ‘Age of Discovery.’ Part II: Africans in the Christian Ordinance of the World, ed. David Bindman and Henry Louis Gates Jr, trans. William Granger Ryan, 185–280. Cambridge: Harvard University Press, 2010.
Diacceto, Francesco da. I tre libri d’amore. Venice: Giolito de’ Ferrari, 1561.
Dialeti, Androniki. “Defending Women, Negotiating Masculinity in Early Modern Italy.” The Historical Journal 54 (2011), 1–23.
Diodorus Siculus. Library of History, trans. C. H. Oldfather. 12 vols. Cambridge: Harvard University Press, 1954.
Dixon, John W. The Christ of Michelangelo: An Essay on Carnal Spirituality. Atlanta: Scholars Press, 1994.
Dolce, Lodovico. Dialogo della institution delle donne. Venice: Giolito di Ferrari, 1545.
———. “Dialogo della pittura intitolato l’Aretino.” Trattati d’arte del Cinquecento: fra Manierismo e Controriforma, ed. Paola Barocchi, 141–206. Bari: Laterza, 1960.
Domenichi, Lodovico. Dialoghi: cioè d’amore, de’ rimedi d’amore. Venice: Giolito di Ferrari, 1562.
———. La nobiltà delle donne. Venice: Giolito di Ferrari, 1549.
Dougherty, M. V. “Three Precursors to Pico Della Mirandola’s Roman Disputation and the Question of Human Nature in the Oratio.” Pico Della Mirandola: New Essays, ed. M. V. Dougherty, 114–51. Cambridge: Cambridge University Press, 2008.
E
Earle, Trevor, and Kate Lowe, eds. Black Africans in Renaissance Europe. Cambridge: Cambridge University Press, 2005.
Ebreo, Leone. Dialogues of Love, trans. Cosmos Damian Bacich and Rossella Pescatori. Toronto: University of Toronto Press, 2009.
Edelheit, Amos. Ficino, Pico and Savonarola: The Evolution of Humanist Theology 1461/2–1498. Leiden: Brill, 2008.
Eisler, Colin. “The Athlete of Virtue. The Iconography of Asceticism.” De Artibus Opuscula XL: Essays in Honour of Erwin Panofsky, ed. Millard Meiss, 82–97. New York: New York University Press, 1961.
Ekserdjian, David. Correggio. New Haven and London: Yale University Press, 1997.
Elias, Norbert. The Civilizing Process: Sociogenetic and Psychogenetic Investigations, ed. and trans. Eric Dunning, Johan Goudsblom, and Stephen Mennell. Oxford: Blackwell, 2000.
Elkins, James, and Robert Williams, eds. Renaissance Theory. London: Routledge, 2008.
Emison, Patricia A. Creating the “Divine” Artist: From Dante to Michelangelo. Leiden: Brill, 2004.
———. “The Ignudo as Proto-Capriccio.” Word & Image 14 (1998): 281–95.
———. Low and High Style in Italian Renaissance Art. London: Taylor & Francis, 1997.
———. “The Word Made Naked in Pollaiuolo’s Battle of the Nudes.” Art History 13 (1990): 261–75.
Ettlinger, Helen. “Visibilis et Invisibilis: The Mistress in Italian Renaissance Court Society.” Renaissance Quarterly 47 (1994): 770–92.
Ettlinger, Leopold D. “Hercules Florentinus.” Mitteilungen des Kunsthistorischen Institutes in Florenz 16 (1972): 119–42.
Even, Yael. “The Heroine as Hero in Michelangelo’s Art.” Woman’s Art Journal 11 (1990): 29–33.
F
Fahy, Conor. “Three Early Renaissance Treatises on Women.” Italian Studies 11 (1956), 30–55.
Falomir, Miguel, ed. Tiziano. Madrid: Museo Nacional del Prado, 2003.
Farinella, Vincenzo. Alfonso I d’Este: le immagini e il potere: da Ercole de’ Roberti a Michelangelo: Milan Officina Libraria, 2014.
Feldman, Martha, and Bonnie Gordon, eds. The Courtesan’s Arts: Cross-Cultural Perspectives. Oxford: Oxford University Press, 2006.
Ferino-Pagden, Sylvia. “Pictures of Women – Pictures of Love.” Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, 190–235. Washington: National Gallery of Art, 2006.
Ferrari, Daniela. “L’Antico nelle fonti d’archivio.” Bonacolsi l’Antico: uno scultore nella Mantova di Andrea Mantegna e di Isabella d’Este, ed. Filippo Trevisani and Davide Gasparotto. Mantua: Museo di Palazzo Ducale, 2008.
Ferrigno, Amélie. “Une nouvelle identification de la Fornarina de Raphaël (vers 1518–1519): le peintre, la belle et le banquier.” Cahiers d’histoire de l’art (2013): 7–13.
Ficino, Marsilio. Commentary on Plato’s Symposium on Love, trans. Jayne Sears. Dallas: Spring Publications, 1985.
———. El libro dell’amore, ed. S. Niccoli. Florence: Olschki, 1987.
Filarete. Filarete’s Treatise on Architecture, trans. John Spencer. 2 vols. New Haven and London: Yale University Press, 1965.
Filippi, Agostino (Florentinus, Augustinus Philippus). Orationes novem coram Julio II et Leone X habitae. Rome: Jacobus Mazochius, 1518.
Findlen, Paula. “Humanism, Politics and Pornography in Renaissance Italy.” The Invention of Pornography: Obscenity and the Origins of Modernity, 1500–1800, ed. Lynn Hunt, 49–108. New York: Zone Books, 1993.
Finucci, Valeria. The Lady Vanishes: Subjectivity and Representation in Castiglione and Ariosto. Stanford: Stanford University Press, 1992.
Fiorenza, Giancarlo. Dosso Dossi: Paintings of Myth, Magic, and the Antique. University Park: Penn State University Press, 2008.
Firenzuola, Agnolo. Dialogo delle bellezze delle donne di m. Agnolo Firenzuola fiorentino. Venetia: Giouanni Griffio, 1552.
Firpo, Luigi. Prime relazioni di navigatori italiani sulla scoperta dell’America. Turin: Unione Tipografico, 1966.
Florio, John. Queen Anna’s New World of Words. London: Bradwood, 1611.
———. A Worlde of Wordes. London: Edw. Blount, 1598.
Forster, Chris. “The Pornometric Gospel: Wyndham Lewis, Walter Sickert and the History of the Nude.” Journal of Modern Literature 34 (2011): 114–36.
Fortini, Pietro. “Novelle.” Raccolta di novellieri italiani, ed. Gerolamo Parabosco, Sebastiano Erizzo, and Ascanio de’ Mori, 276–372. Turin: Cugini Pomba, 1853.
Fossi Todorow, Maria. I disegni del Pisanello e della sua cerchia. Florence: L. S. Olschki, 1966.
Foster, Brett. “‘Types and Shadows’: Uses of Moses in the Renaissance.” Illuminating Moses: A History of Reception from Exodus to the Renaissance, ed. Jane Beal, 353–406. Leiden: Brill, 2013.
Foucault, Michel. Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan. London: Allen Lane, 1977.
———. A History of Sexuality, trans. Robert Hurley. 3 vols. London: Penguin, 1979.
———. Power/Knowledge: Selected Interviews and Other Writings 1972–1977, ed. and trans. Colin Gordon. London: Pantheon Books, 1980.
Franceschini, Chiara. “The Nudes in Limbo: Michelangelo’s Doni Tondo Reconsidered.” Journal of the Warburg and Courtauld Institutes 73 (2010): 137–80.
Franco, Veronica. Poems and Selected Letters, ed. and trans. Ann Rosalind Jones and Margaret F. Rosenthal. Chicago: University of Chicago Press, 2007.
Frangenberg, Thomas. “Decorum in the Magno Palazzo in Trent.” Renaissance Studies 7 (1993): 352–78.
Freedberg, David. The Power of Images: Studies in the History and Theory of Response. Chicago: University of Chicago Press, 1989.
Freedman, Luba. The Revival of the Olympian Gods in Renaissance Art. Cambridge: Cambridge University Press, 2003.
Frick, Carole Collier. Dressing Renaissance Florence: Families, Fortunes, and Fine Clothing. Baltimore: Johns Hopkins University Press, 2002.
———. “Francesco Barbaro’s De re uxoria: A Silent Dialogue for a Young Medici Bride.” Printed Voices: The Renaissance Culture of Dialogue, ed. Dorothea B. Heitsch and Jean-François Vallée, 193–205. Toronto: University of Toronto Press, 2004.
Fritz, Michael P. “‘pieno d’una certa argutia gioconda et sottile . . .’: Kardinal Bibbiena und die hohe Kunst der Diplomatie.” Der Medici-Papst Leo X. und Frankreich, ed. Götz-Rüdiger Tewes and Michael Rohlmann, 427–68. Tübingen: Mohr Siebeck, 2002.
Fulton, Christopher. “The Boy Stripped Bare by his Elders: Art and Adolescence in Renaissance Florence.” Art Journal 56 (1997): 31–40.
Fulton, Rachel, and Bruce Holsinger. History in the Comic Mode: Medieval Communities and the Matter of Person. New York: Columbia University Press, 2007.
Fusco, Laurie. “Antonio Pollaiuolo’s Use of the Antique.” Journal of the Warburg and Courtauld Institutes 42 (1979): 257–63.
———. “The Nude as Protagonist: Pollaiuolo’s Figural Style Explicated by Leonardo’s Study of Static Anatomy, Movement, and Functional Anatomy.” PhD thesis, New York: New York University, 1978.
———. “The Use of Sculptural Models by Painters in Fifteenth-Century Italy.” The Art Bulletin 64 (1982): 175–94.
G
Gaisser, Julia Haig. “The Rise and Fall of Goritz’s Feasts.” Renaissance Quarterly 48 (1995): 41–57.
Garimberto, Hieronimo. Problemi naturali e morali. Venice: Valgrisi, 1550.
Garin, Eugenio. “La ‘dignitas hominis’ e la letteratura patristica.” La Rinascita 1 (1938): 102–46.
Gasparotto, Davide. “The Renaissance Nude and the Antique.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
Gaurico, Luca. Tractatus de ocio liberali. Rome: Doricos fratres, 1557.
Gaurico, Pomponio. De sculptura, ed. and trans. Paolo Cutolo. Naples: Edizioni scientifiche italiane, 1999.
Gelli, Giovanbattista. La circe. Florence: Accademia della Crusca, 1549.
Geronimus, Dennis. Piero di Cosimo: Visions Beautiful and Strange. New Haven and London: Yale University Press, 2006.
Ghiberti, Lorenzo. I commentarii: Biblioteca nazionale centrale di Firenze, II, I, 333, ed. Lorenzo Bartoli. Florence: Giunti, 1998.
Ghirardo, Diane Yvonne. “The Topography of Prostitution in Renaissance Ferrara.” Journal of the Society of Architectural Historians 60 (2001): 402–31.
Giffney, Noreen, Michelle M. Sauer, and Diane Watt, eds. The Lesbian Premodern. New York: Palgrave Macmillan, 2011.
Gilbert, Creighton. “The Archbishop on the Painters of Florence, 1450.” The Art Bulletin 41 (1959): 75–87.
Gill, Meredith Jane. Augustine in the Italian Renaissance: Art and Philosophy from Petrarch to Michelangelo. Cambridge: Cambridge University Press, 2005.
Ginzburg, Carlo. “Memory and Distance: Learning from a Gilded Silver Vase (Antwerp, c.1530).” Diogenes 51 (2004): 99–112.
———. “Titian, Ovid, and Sixteenth-Century Codes for Erotic Illustration.” Clues, Myths, and the Historical Method, trans. John Tedeschi and Anne Tedeschi. Baltimore: Johns Hopkins University Press, 1997.
Giovio, Paolo. Notable Men and Women of Our Time, ed. and trans. Kenneth Gouwens. Cambridge: Harvard University Press, 2013.
Gnoli, Umberto. Cortigiane romane. Note e bibliografia. Arezzo: Edizioni della Rivista “Il Vasari,” 1941.
Goffen, Rona. “Adam and Eve in the Brancacci Chapel, or Sex and Gender in the Beginning.” The Brancacci Chapel: Form, Function and Setting, ed. Nicholas A Eckstein, 115–46. Florence: Olschki, 2007.
———. “Bellini’s Nude with Mirror.” Venezia Cinquecento 1 (1991): 185–99.
———. “Renaissance Dreams.” Renaissance Quarterly 40 (1987): 682–706.
———, ed. Titian’s “Venus of Urbino.” Cambridge: Cambridge University Press, 1997.
———. Titian’s Women. New Haven and London: Yale University Press, 1997.
Goldner, George, Carmen Bambach, et al. The Drawings of Filippino Lippi and his Circle. New York: Metropolitan Museum of Art, 1997.
Gombrich, Ernst H. “Hypnerotomachiana.” Journal of the Warburg and Courtauld Institutes 14 (1951): 119–25.
———. “The Sala Dei Venti in the Palazzo del Te.” Journal of the Warburg and Courtauld Institutes 13 (1950): 189–201.
Goodgal, D. R. “The Camerino of Alfonso I d’Este.” Art History 1 (1978): 162–90.
Grazzini, Antonfrancesco. Tutti i trionfi, carri, mascherate o canti carnascialeschi andati per Firenze dal tempo del Magnifico Lorenzo de’ Medici fino all’anno 1559, ed. Rinaldo-Maria Bracci. Lucca: Pel Benedini, 1750.
Green, Monica. Making Women’s Medicine Masculine: The Rise of Male Authority in Pre-Modern Gynaecology. Oxford: Oxford University Press, 2008.
———. The Trotula: An English Translation of the Medieval Compendium of Women’s Medicine. Philadelphia: University of Pennsylvania Press, 2002.
Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. Chicago: University of Chicago Press, 1984.
Grendler, Paul F. Schooling in Renaissance Italy: Literacy and Learning, 1300–1600. Baltimore: Johns Hopkins University Press, 1989.
Grieco, Allen. “From Roosters to Cocks: Italian Renaissance Fowl and Sexuality.” Erotic Cultures of Renaissance Italy, ed. Sara Matthews-Grieco, 89–140. Aldershot: Ashgate, 2010.
Gronau, Georg. Documenti artistici urbinati. New ed. Urbino: Accademia Raffaello, 2011.
Gross, Kenneth. The Dream of the Moving Statue. University Park: Penn State University Press, 2010.
Guy, Laurie. “‘Naked’ Baptism in the Early Church: The Rhetoric and the Reality.” Journal of Religious History 27 (2003): 133–42.
H
Hairston, Julia L., and Walter Stephens, eds. The Body in Early Modern Italy. Baltimore: Johns Hopkins University Press, 2010.
Hankins, James. Humanism and Platonism in the Italian Renaissance. Rome: Edizioni di storia e letteratura, 2003.
Hartt, Frederick. History of Italian Renaissance Art: Painting, Sculpture and Architecture. 6th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2006.
———. Michelangelo: The Complete Sculpture. New York: Abrams, 1980.
Hay, John. “The Body Invisible in Chinese Art?” Body, Subject, and Power in China, ed. Angela Zito and Tani E. Barlow, 42–74. Chicago: University of Chicago Press, 1994.
Healy, Fiona. “Rubens and the Judgement of Paris: A Question of Choice.” PhD thesis, Berlin: Freie Universität, 1992.
Held, Julius S. “Flora, Goddess and Courtesan.” De Artibus Opuscula XL: Essays in Honour of Erwin Panofsky, ed. Millard Meiss, 201–18. New York: New York University Press, 1961.
Hemsoll, David. “The Conception and Design of Michelangelo’s Sistine Chapel Ceiling: ‘Wishing Just to Shed a Little Light Upon the Whole Rather than Mentioning the Parts.’” Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome, ed. Jill Burke, 263–88. Aldershot: Ashgate, 2012.
Henry, Chriscinda. “‘Whorish Civility’ and Other Tricks of Seduction in Venetian Courtesan Representation.” Sex Acts in Early Modern Italy: Practice, Performance, Perversion, Punishment, ed. Allison M. Levy, 109–24. Farnham: Ashgate, 2010.
Henry, Tom. Luca Signorelli: The Complete Paintings. New York: Rizzoli, 2002.
Hibbard, Howard. Michelangelo. London: Harper & Row, 1985.
Hill, George Francis. A Corpus of Italian Medals of the Renaissance before Cellini. London: British Museum, 1930.
Himmelmann, Nikolaus. Ideale Nacktheit. Wiesbaden: Springer, 1985.
———. “Nudità Ideale.” Memoria dell’antico nell’arte italiana, ed. Salvatore Settis, vol. 2, 199–278. Turin: Einaudi, 1985.
Hirst, Michael. Michelangelo. New Haven and London: Yale University Press, 2011.
———. Michelangelo and his Drawings. New Haven and London: Yale University Press, 1988.
———. “Michelangelo in Florence: ‘David’ in 1503 and ‘Hercules’ in 1506.” Burlington Magazine 142 (2000): 487–92.
———. “Michelangelo in Rome: An Altar-Piece and the ‘Bacchus.’” Burlington Magazine 123 (1981): 581–93.
Holberton, Paul. “The Pastorale or Fête Champêtre in the Early Sixteenth Century.” Studies in the History of Art 45 (1993): 244–62.
Honour, Hugh, and John Fleming. A World History of Art. London: Laurence King, 2005.
Hope, Charles. “Problems of Interpretation in Titian’s Erotic Paintings.” Tiziano e Venezia. Atti del Convegno Internazionale di Studi, Venezia, ed. Massimo Gemin and Giannantonio Paladini, 111–24. Vicenza: Neri Pozza, 1980.
———. Titian. London: Jupiter Books, 1980.
———, ed. Il regno e l’arte. I camerini di Alfonso I d’Este, terzo Duca di Ferrara. Florence: Olschki, 2012.
Horne, Victoria, and Lara Perry. Feminism and Art History Now: Radical Critiques of Theory and Practice. London: I. B. Tauris, 2017.
Howard, Peter. “Painters and the Visual Art of Preaching: The ‘Exemplum’ of the Fifteenth-Century Frescoes in the Sistine Chapel.” I Tatti Studies in the Italian Renaissance 13 (2010): 33–77.
Hughes, Diane Owen. “Sumptuary Law and Social Relations in Renaissance Italy.” Disputes and Settlements: Law and Human Relations in the West, ed. John Bossy, 69–100. Cambridge: Cambridge University Press, 1983.
Humfrey, Peter. “The Patron and Early Provenance of Titian’s Three Ages of Man.” Burlington Magazine 145 (2003): 787–91.
Hunt, Lynn. “Introduction: History, Culture and Text.” The New Cultural History, ed. Aletta Biersack and Lynn Hunt, 1–24. Berkeley: University of California Press, 1989.
I
Infessura, Stefano. Diario della città di Roma, ed. Oreste Tommasini. Rome: Forzani, 1890.
Innocent III. De miseria condicionis humane, ed. Robert E. Lewis. Athens: University of Georgia Press, 1978.
J
Jacobs, Fredrika H. “Aretino and Michelangelo, Dolce and Titian: Femmina, Masculo, Grazia.” The Art Bulletin 82 (2000): 51–67.
———. Defining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism. Cambridge: Cambridge University Press, 1997.
———. The Living Image in Renaissance Art. Cambridge: Cambridge University Press, 2005.
Janick, Jules, and Harry S. Paris. “The Cucurbit Images (1515–1518) of the Villa Farnesina, Rome.” Annals of Botany 97 (2006): 165–76.
Jensen, Robin M. Baptismal Imagery in Early Christianity: Ritual, Visual, and Theological Dimensions. Ada: Baker Academic, 2012.
Johnson, Geraldine A. “A Taxonomy of Touch: Tactile Encounters in Renaissance Italy.” Sculpture and Touch, ed. Peter Dent, 91–106. Aldershot: Ashgate, 2014.
———. “Touch, Tactility, and the Reception of Sculpture in Early Modern Italy.” A Companion to Art Theory, ed. P. Smith and C. Wilde, 61–74. Oxford: Blackwell, 2002.
Jolly, Penny Howell. Made in God’s Image? Eve and Adam in the Genesis Mosaics at San Marco, Venice. Berkeley: University of California Press, 1997.
Joost-Gaugier, C. L. “A Rediscovered Series of Uomini Famosi from Quattrocento Venice.” The Art Bulletin 58 (1976): 184–95.
———. Italian Renaissance Art: Understanding its Meaning. Chichester: Wiley-Blackwell, 2013.
Jullien, François. The Impossible Nude: Chinese Art and Western Aesthetics. Chicago: University of Chicago Press, 2007.
Junkerman, Anne Christine. “The Lady and the Laurel: Gender and Meaning in Giorgione’s ‘Laura.’” Oxford Art Journal 16 (1993): 49–58.
K
Kalof, Linda, and William Bynum, eds. A Cultural History of the Human Body in the Renaissance. London: Bloomsbury Academic, 2010.
Keizer, Joost. “Michelangelo, Drawing, and the Subject of Art.” The Art Bulletin 93 (2011): 304–24.
Kelso, Ruth. Doctrine for the Lady of the Renaissance. Urbana: University of Illinois Press, 1956.
Kennedy, Maev. “Venus Banned from London’s Underworld.” The Guardian, February 13, 2008, www.theguardian.com/artanddesign/2008/feb/13/art1.
King, Catherine. “Drawing and Workshop Practices.” Making Renaissance Art, ed. Kim Woods, 25–59. New Haven and London: Yale University Press, 2007.
King, Helen. The One-Sex Body on Trial: The Classical and Early Modern Evidence. Farnham: Ashgate, 2013.
King, Margaret L. “Concepts of Childhood: What We Know and Where We Might Go.” Renaissance Quarterly 60 (2007): 371–407.
Klötzer, Ralf. “The Melchoirites [sic] and Münster.” A Companion to Anabaptism and Spiritualism, 1521–1700, ed. John Roth and James Stayer, 217–56. Leiden: Brill, 2007.
Knapp, Fritz. Fra Bartolommeo della Porta und die Schule von San Marco. Halle a. S.: Knapp, 1903.
Knauer, Elfriede Regina. “Portrait of a Lady? Some Reflections on Images of Prostitutes from the Later Fifteenth Century.” Memoirs of the American Academy in Rome 47 (2002): 95–117.
Knod, Gustav. “Jacob Wimpfeling und Daniel Zanckenried. Ein Streit über die Passion Christi.” Archiv für Litteraturgeschichte 14 (1886), 1–16.
Kohl, Benjamin G., Ronald G. Witt, and Elizabeth B. Welles. The Earthly Republic: Italian Humanists on Government and Society. Philadelphia: University of Pennsylvania Press, 1978.
Kolsky, Stephen. Mario Equicola: The Real Courtier. Geneva: Droz, 1991.
Kovesi, Catherine. Sumptuary Law in Italy, 1200–1500. Oxford: Clarendon Press, 2002.
Kraye, Jill, ed. Cambridge Translations of Renaissance Philosophical Texts. Cambridge: Cambridge University Press, 1997.
Kren, Thomas. “Bathsheba Imagery in French Books of Hours Made for Women, c.1470–1500.” The Medieval Book. Glosses from Friends and Colleagues of Christopher de Hamel, ed. James H. Marrow, Richard A. Linenthal, and William Noel, 169–82. Leiden: Hes and De Graaf, 2010.
———. “Looking at Louis XII’s Bathsheba.” A Masterpiece Reconstructed: The Hours of Louis XII, ed. Thomas Kren with Mark Evans, 43–62. Los Angeles: J. Paul Getty Museum, 2005.
———. “The Nude and Christian Art.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
Kren, Thomas, with Stephen J. Campbell and Jill Burke, eds. The Renaissance Nude. Los Angeles: J. Paul Getty Museum, 2018.
Kristeva, Julia. Powers of Horror: An Essay on Abjection, trans. Leon S. Rouliez. New York: Columbia University Press, 1982.
Kruft, Hanno-Walter. A History of Architectural Theory: From Vitruvius to the Present. Princeton: Princeton Architectural Press, 1994.
Kurzel-Runtscheiner, Monica. Töchter der Venus: Die Kurtisanen Roms im 16. Jahrhundert. Munich: Beck, 1995.
Kwakkelstein, Michael W. “The Model’s Pose: Raphael’s Early Use of Antique and Italian Art.” Artibus et Historiae 23 (2002): 37–60.
L
Lactantius. Divinarum institutionum libri septem, Vol. 4, ed. Eberhard Heck and Antonie Wlosok. Berlin and Boston: De Gruyter, 2011.
———. Divine Institutes, trans. Anthony Bowen and Peter Garnsey. Liverpool: Liverpool University Press, 2003.
———. De opificio dei. Leipzig: Melchior Lotter, 1517.
———. “On the Workmanship of God.” The Works of Lactantius: Vol 2, trans. William Fletcher, 49–91. Edinburgh: T. & T. Clark, 1871.
Land, Norman E. The Viewer as Poet: The Renaissance Response to Art. University Park: Penn State University Press, 1994.
Landau, Amy S. “Visibly Foreign, Visibly Female: The Eroticization of zan-i farangi in Seventeenth-Century Persian Painting.” Eros and Sexuality in Islamic Art, ed. Francesca Leoni and Mika Natif, 99–130. Aldershot: Ashgate, 2013.
Landucci, Luca. Diario fiorentino dal 1450 al 1516, ed. Jodoco del Badia. Florence: Sansoni, 1883.
———. A Florentine Diary from 1450 to 1516, trans. Alice de Rosen Jervis. New York and Florence: Arno Press, 1969.
Langdale, Shelley R. Battle of the Nudes: Pollaiuolo’s Renaissance Masterpiece. Cleveland: Cleveland Museum of Art, 2002.
Lanteri, Giacomo. Della economica. Venice: Vincenzo Valgrisi, 1560.
Laqueur, Thomas Walter. Making Sex: Body and Gender from the Greeks to Freud. Cambridge: Harvard University Press, 1990.
Lathers, Marie. Bodies of Art: French Literary Realism and the Artist’s Model. Lincoln: University of Nebraska Press, 2001.
Laurenza, Domenico. “The Vitruvian Man by Leonardo: Image and Text.” Quaderni d’italianistica 27 (2006): 37–56.
Lavin, Marilyn Aronberg. “Art of the Misbegotten: Physicality and the Divine in Renaissance Images.” Artibus et Historiae 30 (2009): 191–243.
Lawe, Kari. “Views on Vannozza de Cattanei and Pope Alexander VI in Manuscripts from the Vatican Library.” Ab Aquilone: Nordic Studies in Honour and Memory of Leonard E. Boyle, O. P., ed. Marie-Louise Rodén, 71–101. Stockholm: Riksarkivet, 2000.
Lawner, Lynne. Lives of the Courtesans: Portraits of the Renaissance. New York: Rizzoli, 1987.
Lazzarini, Elena. “The Nude in Central Italian Painting and Sculpture (1500–1600): Definition, Perception and Representation.” PhD thesis, Leicester: University of Leicester, 2005.
———. Nudo, arte e decoro. Oscillazioni estetiche negli scritti d’arte del Cinquecento. Pisa: Pacini, 2010.
Lazzaro, Claudia. The Italian Renaissance Garden: From the Conventions of Planting, Design, and Ornament to the Grand Gardens of Sixteenth-Century Central Italy. New Haven and London: Yale University Press, 1990.
Lee, Mireille M. Body, Dress, and Identity in Ancient Greece. Cambridge: Cambridge University Press, 2015. Leggi e Memorie Venete sulla Prostituzione fino alla Caduta della Republica. Venice: Visentini, 1870–72.
Leonardo da Vinci. Manuscrit A de l’Institut de France, ed. André Corbeau and Nando de Toni. Grenoble: Roissard, 1972.
———. I manoscritti dell’Institut de France. 12 vols. Florence: Giunti Barbèra, 1987.
———. The Manuscripts of Leonardo da Vinci in the Institut de France: Manuscript A, trans. John Venerella. Milan: Ente Raccolta Vinciana, 1999.
Leppert, Richard D. The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity. Boulder: Westview Press, 2007.
L’Estrange, Elizabeth. Holy Motherhood: Gender, Dynasty and Visual Culture in the Later Middle Ages. Manchester: Manchester University Press, 2008.
Levy, Allison, ed. Sex Acts in Early Modern Italy: Practice, Performance, Perversion, Punishment. Aldershot: Ashgate, 2010.
Lewine, Carol. The Sistine Chapel Walls and the Roman Liturgy. University Park: Penn State University Press, 1993.
Lindquist, Sherry C. M. “The Meanings of Nudity in Medieval Art: An Introduction.” The Meanings of Nudity in Medieval Art, ed. Sherry Lindquist, 1–46. Aldershot: Ashgate, 2012.
Lochrie, Karma. Heterosyncrasies: Female Sexuality When Normal Wasn’t. Minneapolis: University of Minnesota Press, 2005.
Loh, Maria. Titian Remade: Repetition and the Transformation of Early Modern Italian Art. Los Angeles: Getty Research Institute, 2007.
Long, Jane C. “The Survival and Reception of the Classical Nude: Venus in the Middle Ages.” The Meanings of Nudity in Medieval Art, ed. Sherry Lindquist, 47–64. Aldershot: Ashgate, 2012.
Lorenzoni, Piero. Erotismo e pornografia nella letteratura italiana. Milano: Il Formichiere, 1976.
Lotto, Lorenzo. Il “libro di spese diverse”: con aggiunta di lettere e d’altri documenti. Venice and Rome: Istituto per la collaborazione culturale, 1969.
Lowe, Kate. “The Stereotyping of Black Africans in Renaissance Europe.” Black Africans in Renaissance Europe, ed. T. F. Earle and K. J. P. Lowe. Cambridge University Press, Cambridge, 2005, 17–47.
Lowry, Martin. The World of Aldus Manutius: Business and Scholarship in Renaissance Venice. Oxford: Blackwell, 1979.
Lucian. Volume III: Soloecista. Lucius or The Ass. Amores. Halcyon. Demosthenes. Podagra. Ocypus. Cyniscus. Philopatris. Charidemus. Nero, trans. M. D. Macleod. Cambridge: Harvard University Press, 1967.
Luciano, Eleonora, ed. Antico: The Golden Age of Renaissance Bronzes. London: Paul Holberton, 2012.
Lücke, Hans-Karl. “Mercurius Quadratus: Anmerkungen zur Anthropometrie bei Cesariano.” Mitteilungen des Kunsthistorischen Institutes in Florenz 35 (1991): 61–84.
Lucretius, Titus Carus. The Way Things Are, trans. Rolfe Humphries. Bloomington: Indiana University Press, 1969.
Luigini, Federico. Il libro della bella donna. Venice: Plinio Pietrasanta, 1554.
Lüttenberg, Thomas. “The Cod-Piece – A Renaissance Fashion between Sign and Artefact.” The Medieval History Journal 8 (2005): 49–81.
Luzio, Alessandro. “Federico Gonzaga, ostaggio alla corte di Giulio II.” Archivio della R. Società Romana di Storia Patria 9 (1887): 509–82.
M
Machiavelli, Niccolò . Florentine Histories, trans. Harvey C. Mansfield Jr. and Laura F. Banfield. Princeton: Princeton University Press, 1988.
———. Le istorie fiorentine, ed. G. Niccolini. Florence: Le Monnier, 1857.
———. Opere di Niccolò Machiavelli: Vol. 3: Lettere, ed. Franco Gaeta. Turin: UTET, 1984.
Mack, Charles R. “The Wanton Habits of Venus: Pleasure and Pain at the Renaissance Spa.” Explorations in Renaissance Culture 26 (2000): 257–76.
Maggi, Armando. “On Kissing and Sighing: Renaissance Homoerotic Love from Ficino’s De amore and Sopra lo amore to Cesare Trevisani’s L’impresa (1569).” Journal of Homosexuality 49 (2005): 315–39.
Manca, Joseph. “Passion and Primitivism in Antonio Pollaiuolo’s Battle of Naked Men.” Source: Notes in the History of Art 20 (2001): 28–36.
Manetti, Giannozzo. De dignitate et excellentia hominis, ed. Elizabeth R. Leonard. Padua: Antenore, 1975.
Manfredi, Girolamo. Opera nova intitulata Il Perche, utilissima ad intendere le cagioni de molte cose et maximamente alla conservatione della sancta. Venice: Bindoni, 1523.
Mansfield, Elizabeth. Too Beautiful to Picture: Zeuxis, Myth, and Mimesis, Minneapolis: University of Minnesota Press, 2007.
Marani, Pietro. “Leonardo, l’antico, il rilievo e le proporzioni dell’uomo e del cavallo.” Leonardo. Dagli studi di proporzioni al Trattato della Pittura, ed. Pietro Marani and Maria Teresa Fiorio, 16–27. Milan: Electa, 2007.
———. “Leonardo, the Vitruvian Man and the De statua Treatise.” Leonardo da Vinci and the Art of Sculpture, ed. Gary M. Radke, 82–93. New Haven and London: Yale University Press, 2009.
Marani, Pietro, and Maria Teresa Fiorio, eds. Leonardo. Dagli studi di proporzioni al Trattato della Pittura. Milan: Electa, 2007.
Mariani, Irene. “The Vespucci Family in Context: Art Patrons in Late Fifteenth-Century Florence.” PhD thesis, Edinburgh: University of Edinburgh, 2015.
Martines, Lauro. Strong Words: Writing and Social Strain in the Italian Renaissance. Baltimore: Johns Hopkins University Press, 2001.
Masquelier, Adeline. “Dirt, Undress, and Difference: An Introduction.” Dirt, Undress, and Difference: Critical Perspectives on the Body’s Surface, ed. Adeline Masquelier, 1–33. Bloomington: Indiana University Press, 2005.
Masson, Georgina. Courtesans of the Italian Renaissance. London: Secker and Warburg, 1975.
Mattei, Francesca, ed. Federico II Gonzaga e le arti. Rome: Bulzoni, 2016.
Matthews-Grieco, Sara. “The Body, Appearance, and Sexuality.” A History of Women in the West: Renaissance and Enlightenment Paradoxes, ed. Natalie Zemon Davis and Arlette Farge, 46–84. Cambridge: Harvard University Press, 1993.
———, ed. Erotic Cultures of Renaissance Italy. Aldershot: Ashgate, 2010.
Mattioli, Pietro Andrea. Il magno palazzo del Cardinale di Trento descritto in ottava rima. Trento: Monauni, 1858.
Maurer, Maria F. “A Love that Burns: Eroticism, Torment and Identity at the Palazzo Te.” Renaissance Studies 30 (2016): 370–88.
Mazzetti di Pietralata, Cecilia, and Adriano Amendola. Giardini storici: artificiose nature a Roma e nel Lazio. Rome: Gangemi, 2009.
McCall, Timothy. “Brilliant Bodies: Material Culture and the Adornment of Men in North Italy’s Quattrocento Courts.” I Tatti Studies in the Italian Renaissance 16 (2013): 445–490.
———. “Traffic in Mistresses: Sexualized Bodies and Systems of Exchange in the Early Modern Court.” Sex Acts in Early Modern Italy: Practice, Performance, Perversion, Punishment, ed. Allison Levy, 125–136. Aldershot: Ashgate, 2010.
McDonald, Helen. Erotic Ambiguities: The Female Nude in Art. London: Routledge, 2001.
McDonald, Mark P. “Burgkmair’s Woodcut Frieze of the Natives of Africa and India.” Print Quarterly 20 (2003): 227–44.
McGann, Michael. “The Reception of Horace in the Renaissance.” The Cambridge Companion to Horace, ed. Stephen Harrison, 305–17. Cambridge: Cambridge University Press, 2007.
McHam, Sarah Blake. Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the Natural History. New Haven and London: Yale University Press, 2013.
———. “Reflections of Pliny in Giovanni Bellini’s Woman with a Mirror.” Artibus et Historiae 29 (2008): 157–71.
Meder, Joseph. The Mastery of Drawing, trans. Winslow Ames. New York: Abaris Books, 1978.
Menchi, Silvana Seidel, Thomas Kuehn, and Anne Jacobson Schutte, eds. Time, Space, and Women’s Lives in Early Modern Europe. Kirksville: Truman State University Press, 2001.
Menegatti, Maria Lucia. “I camerini di Alfonso I. Regesto degli artisti.” Il camerino delle pitture di Alfonso I d’Este: Vol. 1, ed. Alessandro Ballarin, 403–64. Padua: Bertoncello, 2002.
Menetto, L., and G. Zennaro. Storia del malcostume a Venezia nei secoli XVI e XVII. Abano Terme: Piovan Editore, 1987.
Mignolo, Walter. The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization. Ann Arbor: University of Michigan Press, 2003.
Miles, Margaret R. Carnal Knowing: Female Nakedness and Religious Meaning in the Christian West. Tunbridge Wells: Burns & Oates, 1992.
Miller, Stephanie R. “Parenting in the Palazzo: Images and Artifacts of Children in the Italian Renaissance Home.” The Early Modern Italian Domestic Interior, 1400–1700: Objects, Spaces, Domesticities, ed. Erin J. Campbell, Stephanie R. Miller, and Elizabeth Carroll Consavari, 67–88. Farnham: Ashgate, 2013.
Mills, Robert. Seeing Sodomy in the Middle Ages. Chicago: University of Chicago Press, 2015.
———. Suspended Animation: Pain, Pleasure and Punishment in Medieval Culture. London: Reaktion Books, 2005.
Montalboddo, Fracanzano. Paesi novamente retrovati; et novo mondo da Alberico Vesputio florentino intitulato. Vicenza: Zãmaria, 1507.
Moore-Bridger, Benedict. “Naked Venus Banned from the Tube.” London Evening Standard, February 13, 2008. www.standard.co.uk/news/naked-venus-banned-from-the-tube-6669016.html.
Morel, Philippe. “Dionysisme, tempérance et épicurisme dans le camerino d’Alfonso d’Este.” Studiolo: revue d’histoire de l’art de l’Académie de France á Rome 8 (2010): 57–73.
Mormando, Franco. “‘Nudus nudum Christum sequi’: The Franciscans and Differing Interpretations of Male Nakedness in Fifteenth-Century Italy.” Fifteenth Century Studies 33 (2008): 171–97.
———. The Preacher’s Demons: Bernardino of Siena and the Social Underworld of Early Renaissance Italy. Chicago: University of Chicago Press, 1999.
Moyer, Ann E. “The Wanderings of Poliphilo through Renaissance Studies.” Word & Image 31 (2015): 81–7.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings, ed. Leo Braudy and Marshall Cohen, 833–44. New York: Oxford University Press, 1999.
Murchland, Bernard, ed. Two Views of Man: Pope Innocent III on the Misery of Man. Giannozzo Manetti on the Dignity of Man. New York: F. Ungar Publishing, 1966.
Musacchio, Jacqueline Marie. The Art and Ritual of Childbirth in Renaissance Italy. New Haven and London: Yale University Press, 1999.
———. Art, Marriage, and Family in the Florentine Renaissance Palace. New Haven and London: Yale University Press, 2008.
Mussini, Massimo. Francesco di Giorgio e Vitruvio: le traduzioni del “De architectura” nei Codici Zichy, Spencer 129 e Magliabechiano II.I.141. Florence: L. S. Olschki, 2002.
Myers, Bernard Samuel. Understanding the Arts. New York: Holt, Rinehart and Winston, 1958.
N
Nagel, Alexander. Anachronic Renaissance. New York: Zone Books, 2010.
———. The Controversy of Renaissance Art. Chicago: University of Chicago Press, 2011.
———. “Experiments in Art and Reform in Italy in the Early Sixteenth Century.” The Pontificate of Clement VII: History, Politics, Culture, ed. Sheryl E. Reiss and Kenneth Gouwens, 385–409. Aldershot: Ashgate, 2005.
———. “Michelangelo’s London ‘Entombment’ and the Church of S. Agostino in Rome.” Burlington Magazine 136 (1994): 164–7.
Najemy, John M. Between Friends: Discourses of Power and Desire in the Machiavelli-Vettori Letters of 1513–1515. Princeton: Princeton University Press, 1993.
———. “The Republic’s Two Bodies: Body Metaphors in Italian Renaissance Political Thought.” Language and Images of Renaissance Italy, ed. Alison Brown, 237–62. Oxford: Clarendon Press, 1995.
Naini, F. B., et al. “The Enigma of Facial Beauty: Esthetics, Proportions, Deformity and Controversy.” American Journal of Orthodontics and Dentofacial Orthopedics 130 (2006): 277–282.
Nead, Lynda. The Female Nude: Art, Obscenity and Sexuality. London: Routledge, 1992.
Nelson, Jonathan Katz. “The Florentine Venus and Cupid: A Heroic Female Nude and the Power of Love.” Venere e Amore: Michelangelo e la nuova bellezza ideale, ed. Franca Falletti and Jonathan Katz Nelson, 26–63. Florence: Giunti, 2002.
Newman, Karen. Fashioning Femininity and English Renaissance Drama. Chicago: University of Chicago Press, 1991.
Nichols, Francis Morgan. Mirabilia Urbis Romae = The Marvels of Rome: Or a Picture of the Golden City. London: Ellis and Elvey, 1889.
Nichols, Tom. The Art of Poverty: Irony and Ideal in Sixteenth-Century Beggar Imagery. Manchester: Manchester University Press, 2007.
Nicholson, Oliver. “Caelum Potius Intuemini: Lactantius and a Statue of Constantine.” Studia Patristica 34 (2001): 177–96.
Niero, Antonio. “Decreti pretridentini di due patriarchi di Venezia su stampa di libri.” Rivista di storia della chiesa in Italia 14 (1960): 450–52.
Nochlin, Linda. “Why Have There Been No Great Women Artists?” Women, Art, and Power: And Other Essays, 145–78. Boulder: Westview Press, 1989.
Nonaka, Natsumi. Renaissance Porticoes and Painted Pergolas: Nature and Culture in Early Modern Italy. London: Routledge, 2017.
Nova, Alessandro. Girolamo Romanino. Turin: Umberto Allemandi, 1994.
Nuttall, Paula. “Reconsidering the Nude: Northern Tradition and Venetian Innovation.” The Meanings of Nudity in Medieval Art, ed. Sherry Lindquist, 299–318. Aldershot: Ashgate, 2012.
Nygren, Christopher J. “The Hypnerotomachia Poliphili and Italian Art circa 1500: Mantegna, Antico, and Correggio.” Word & Image 31 (2015): 140–54.
O
O’Connor, Eugene. “Panormita’s Reply to his Critics: The Hermaphroditus and the Literary Defense.” Renaissance Quarterly 50 (1997): 985–1010.
Olson, Roberta J. M. The Florentine Tondo. Oxford: Oxford University Press, 2000.
O’Malley, John. Praise and Blame in Renaissance Rome: Rhetoric, Doctrine, and Reform in the Sacred Orators of the Papal Court, c.1450–1521. Durham: Duke University Press, 1979.
———. “The Theology behind Michelangelo’s Ceiling.” The Sistine Chapel: The Art, the History, and the Restoration, ed. Carlo Pietrangeli et al., 92–148. New York: Harmony Books, 1986.
Ost, Hans. “Tizians sogenannte ‘Venus von Urbino’ und andere Buhlerinnen.” Festschrift für Eduard Trier zum 60. Geburtstag, ed. Justus Müller Hofstede and Werner Spies, 129–49. Berlin: Mann, 1981.
Otten, Rudolf. Giorgiones “Tempesta” im Kontext der Venezianischen Liebesphilosophie des Cinquecento: Die Geburt der Zivilisation. Munich: GRIN, 2014.
Ovid (Publius Ovidius Naso). The Love Books of Ovid: Being the Amores, Ars Amatoria, Remedia Amoris and Medicamina Faciei Femineae. New York: Rarity Press, 1930.
P
Pacteau, Francette. Symptom of Beauty. London: Reaktion Books, 1994.
Palmer, R. “‘In This Our Lightye and Learned Tyme’: Italian Baths in the Era of the Renaissance.” Medical History 34 (1990): 14–22.
Palmieri, Matteo. Della vita civile trattato di Matteo Palmieri cittadino fiorentino, ed. Giuseppe Bencivenni Pelli. Florence: Silvestri, 1825.
Panizza, Letizia. “Lorenzo Valla’s De vero falsoque bono, Lactantius and Oratorical Scepticism.” Journal of the Warburg and Courtauld Institutes 41 (1978): 76–107.
Panofsky, Erwin. “The Early History of Man in a Cycle of Paintings by Piero di Cosimo.” Journal of the Warburg Institute 1 (1937): 12–30.
———. “The History of the Theory of Human Proportions as a Reflection of the History of Styles.” Meaning in the Visual Arts, 55–107. Garden City: Doubleday, 1955.
———. “The Neoplatonic Movement in Florence and North Italy (Bandinelli and Titian).” Studies in Iconology: Humanistic Themes in the Art of the Renaissance, 129–69. New York: Harper & Row, 1962.
Paoletti, John T. Michelangelo’s David: Florentine History and Civic Identity. Cambridge: Cambridge University Press, 2015.
Paoletti, John T., and Gary M. Radke. Art in Renaissance Italy. London: Laurence King, 2011.
Papel, Ira D. “Facial Analysis and Nasal Aesthetics.” Aesthetic Plastic Surgery 26 (2002): 13.
Pardo, Mary. “Artifice as Seduction in Titian.” Sexuality and Gender in Early Modern Europe, ed. James Grantham Turner, 55–89. Cambridge: Cambridge University Press, 1993.
Park, Katharine. “Cadden, Laqueur, and the ‘One-Sex Body.’” Medieval Feminist Forum 46 (2010): 96–100.
———. “Natural Particulars: Medical Epistemology, Practice, and the Literature of Healing Springs.” Natural Particulars: Nature and the Disciplines in Renaissance Europe, ed. Anthony Grafton and Nancy G. Siraisi, 347–68. Cambridge: MIT Press, 1999.
———. Secrets of Women: Gender, Generation, and the Origins of Human Dissection. New York: Zone Books, 2006.
———. “Was There a Renaissance Body?” The Italian Renaissance in the Twentieth Century, ed. Allen Grieco, Michael Rocke, and Fiorella Superbi, 321–35. Florence: Olschki, 2002.
Parker, Deborah. “Bronzino’s Erotic Imagination: The Lesson of ‘Del pennello’.” Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Israëls and Louis A. Waldman, vol. 2, 511–18. Milan: Officina Libraria, 2013.
———. “Towards a Reading of Bronzino’s Burlesque Poetry.” Renaissance Quarterly 50 (1997): 1011–44.
Parker, Rozsika, and Griselda Pollock. Old Mistresses: Women, Art and Ideology. London: Pandora, 1981.
Pasquale, Tom di. “Michelangelo, the Sistine Last Judgment, and the Reception of the Nude in Italy after 1530.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
Pattanaro, Alessandra. “Garofalo e la corte negli anni di Alfonso I (1505–1534).” Il camerino delle pitture di Alfonso I d’Este: Vol. 1, ed. Alessandro Ballarin, 77–102. Padova: Bertoncello, 2002.
Paulicelli, Eugenia. Writing Fashion in Early Modern Italy: From Sprezzatura to Satire. Aldershot: Ashgate, 2014.
Pecchiai, Pio. Donne del Rinascimento in Roma: Imperia; Lucrezia figlia d’Imperia; La misteriosa Fiammetta. Padua: Cedam, 1958.
Pedrocco, Filippo. “Iconografia delle cortigiane di Venezia.” Le cortigiane di Venezia dal Trecento al Settecento, ed. Doretta Davanzo Poli, 81–93. Milan: Berenice, 1990.
Pelta, Maureen. “Expelled from Paradise and Put to Work: Recontextualizing Castagno’s Adam and Eve.” Journal of Medieval and Renaissance Studies 25 (1995): 73–87.
Perry, Marilyn. “Cardinal Domenico Grimani’s Legacy of Ancient Art to Venice.” Journal of the Warburg and Courtauld Institutes 41 (1978): 215–44.
Persels, Jeff. “Taking the Piss out of Pantagruel: Urine and Micturition in Rabelais.” Meaning and its Objects: Material Culture in Medieval and Renaissance France, 137–51. New Haven and London: Yale University Press, 2006.
Pestilli, Livio. “Michelangelo’s Children’s Bacchanal: An Allegory of the Intemperate Soul?” Renaissance Studies 29 (2015): 338–74.
Petrarch (Francesco Petrarca). The Complete Canzoniere, trans. Anthony S. Kline. London: Poetry in Translation, 2001.
Petrioli Tofani, Annamaria. Il disegno fiorentino del tempo di Lorenzo il Magnifico. Florence: Silvana, 1992.
———. Inventario: Disegni di figura. 2 vols. Florence: L. S. Olschki, 1991.
Pezzini, Grazia Bernini, ed. Raphael invenit: stampe da Raffaello nelle collezioni dell’Istituto nazionale per la grafica. Rome: Edizioni Quasar, 1985.
Pfisterer, Ulrich. Donatello und die Entdeckung der Stile 1430–1445. Munich: Hirmer Verlag, 2002.
———. “Die Erotik der Macht. Visualisierte Herrscher-Potenz in der Renaissance,” Menschennatur und politische Ordnung, ed. Andreas Höfele and Beate Kellner, 177–202. Paderborn: Wilhelm Fink, 2016.
———. “‘Here’s Looking at You’ – Ambiguities of Personalizing the Nude, 1400–1530,” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
———. Kunst-Geburten. Kreativität, Erotik, Körper in der Frühen Neuzeit. Berlin: Klaus Wagenbach Verlag, 2014.
———. “Raffaels Muse – Erotische Inspiration in der Renaissance.” Jahrbuch der Staatlichen Kunstsammlungen Dresden 38 (2012), 62–83.
Phillippy, Patricia. Painting Women: Cosmetics, Canvases, and Early Modern Culture. Baltimore: Johns Hopkins University Press, 2006.
Phillips, Sarah R. Modeling Life: Art Models Speak about Nudity, Sexuality, and the Creative Process. Albany, SUNY Press, 2006.
Philostratus the Elder and Philostratus the Younger. Imagines. Callistratus: Descriptions, trans. Arthur Fairbanks, Cambridge: Harvard University Press, 1931.
Piccolomini, Alessandro. Della nobiltà et eccellenza delle donne. Venice: Giolito de Ferrari, 1549.
———. La Raffaella, Dialogo della bella creanza delle donne, ed. M. Cicogni. Milan: Longanesi, 1969.
Pico della Mirandola, Giovanni. Commentary on a Poem of Platonic Love, trans. Douglas Carmichael. Lanham: University Press of America, 1986.
———. “Commento . . . sopra una canzo de amore composta da Girolamo Benivieni.” De hominis dignitate, Heptaplus, De ente et uno, e scritti vari, ed. Eugenio Garin. 459–581. Florence: Vallecchi, 1942.
———. Oration on the Dignity of Man: A New Translation and Commentary, ed. and trans. Francesco Borghesi, Michael Papio, and Massimo Riva. Cambridge: Cambridge University Press, 2012.
Pincus, Debra, ed. “Introduction.” Studies in the History of Art 62 (2001): 9–13.
———. Small Bronzes in the Renaissance. Washington: National Gallery of Art, 2001.
Plaisance, Michel. Florence in the Time of the Medici: Public Celebrations, Politics, and Literature in the Fifteenth and Sixteenth Centuries, ed. and trans. Nicole Carew-Reid. Toronto: Centre for Reformation and Renaissance Studies, 2008.
Pliny the Elder. Natural History: Vol. X: Books 36–7, trans. Harris Rackham. Cambridge: Harvard University Press, 1952.
Pointon, Marcia R. Naked Authority: The Body in Western Painting, 1830–1908. Cambridge: Cambridge University Press, 1990.
Polizzotto, Lorenzo. “Iustus et palma florebit: Pier Soderini and Florentine Justice.” Rituals, Images, and Words: Varieties of Cultural Expression in Late Medieval and Early Modern Europe, ed. F. W. Kent and Charles Zika, 263–76. Turnhout: Brepols, 2005.
Popham, A. E. The Drawings of Leonardo da Vinci. London: Jonathan Cape, 1946.
Pozzi, Mario. “Il ritratto della donna nella poesia d’inizio Cinquecento e la pittura di Giorgione.” Lettere Italiane 31 (1979): 3–30.
Prager, Frank D. Mariano Taccola and his Book “De ingeneis.” Cambridge: MIT Press, 1972.
Prodger, Phillip. Time Stands Still: Muybridge and the Instantaneous Photography Movement. Oxford: Oxford University Press, 2003.
Q
Quaintance, Courtney. “Defaming the Courtesan: Satire and Invective in Sixteenth-Century Italy.” The Courtesan’s Arts: Cross-Cultural Perspectives, ed. Martha Feldman and Bonnie Gordon, 199–208. Oxford: Oxford University Press, 2006.
———. Textual Masculinity and the Exchange of Women in Renaissance Venice. Toronto: University of Toronto Press, 2015.
Quantz, Amanda D. “Focus on the Family: Bernardino da Siena on the Common Good and the Nefarious Other.” Franciscans and Preaching: Every Miracle from the Beginning of the World Came About Through Words, ed. Timothy Johnson, 297–325. Leiden: Brill, 2012.
Quiviger, Francois. “The Brush in Poetry and Practice: Agnolo Bronzino’s Capitolo del Pennello in Context.” Poetry on Art: Renaissance to Romanticism, ed. Thomas Frangenberg, 101–13. Donington: Shaun Tyas, 2003.
———. The Sensory World of Italian Renaissance Art. London: Reaktion Books, 2010.
Quondam, Amedeo. “Sull’orlo della bella fontana: tipologie del discorso erotico nel primo Cinquecento.” Tiziano: Amor sacro e amor profano, ed. Maria Grazia Bernardini, 65–81. Milan: Electa, 1995.
R
Ragghianti, Carlo Ludovico, and Gigetta Dalli Regoli. Firenze, 1470–1480: disegni dal modello. Pisa: Université di Pisa, 1975.
Randolph, Adrian W. B. Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence. New Haven and London: Yale University Press, 2002.
———. “Gendering the Period Eye: Deschi da Parto and Renaissance Visual Culture.” Art History 27 (2004): 538–62.
Rebecchini, Guido. Un altro Lorenzo: Ippolito de’ Medici tra Firenze e Roma (1511–1535). Venice: Marsilio, 2010.
Ribeiro, Aileen. Facing Beauty: Painted Women and Cosmetic Art. New Haven and London: Yale University Press, 2011.
Richardson, Carol M. “St Joseph, St Peter, Jean Gerson and the Guelphs.” Renaissance Studies 26 (2012): 243–68.
Rijser, David. Raphael’s Poetics: Ekphrasis, Interaction and Typology in Art and Poetry of High Renaissance Rome. Zaandam: Grafax, 2006.
Ristori, Roberto. “L’Aretino, Il David di Michelangelo e la ‘modestia fiorentina.’” Rinascimento 26 (1986): 77–97.
Robb, David M., and Jesse Garrison. Art in the Western World. London: Harper and Row, 1953.
Rocke, Michael. Forbidden Friendships: Homosexuality and Male Culture in Renaissance Florence. Oxford: Oxford University Press, 1996.
———. “Gender and Sexual Culture in Renaissance Italy.” Gender and Society in Renaissance Italy, ed. Judith Brown and Robert Davis, 150–70. Harlow: Longman, 1998.
Rodocanachi, Emmanuel. Cortigiane e buffoni di Roma. Studio dei costume romani del XVI secolo. Milan: Pervinca, 1927.
Rogers, Mary. “Beauty and Concepts of the Ideal.” A Cultural History of the Human Body in the Renaissance, ed. Linda Kalof and William Bynum, 125–48. London: Bloomsbury Academic, 2010.
———. “The Decorum of Women’s Beauty: Trissino, Firenzuola, Luigini and the Representation of Women in Sixteenth-Century Painting.” Renaissance Studies 2 (1988): 47–88.
———. “Fashioning Identities for the Renaissance Courtesan.” Fashioning Identities in Renaissance Art, ed. Mary Rogers, 91–105. Aldershot: Ashgate, 2000.
Rogers, Mary, and Paola Tinagli, eds. Women in Italy, 1350–1650: Ideals and Realities, A Sourcebook. Manchester: Manchester University Press, 2005.
Rosand, David. Drawing Acts: Studies in Graphic Expression and Representation. Cambridge: Cambridge University Press, 2002.
———. “Giorgione, Venice and the Pastoral Vision.” Places of Delight: The Pastoral Landscape, ed. Robert C. Cafritz, Lawrence Gowing, and David Rosand, 20–81. London: Weidenfeld and Nicolson, 1988.
———. “So-and-so Reclining on her Couch.” Studies in the History of Art, 45 (1993): 100–19.
Rosenthal, Margaret F. The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice. Chicago: University of Chicago Press, 1992.
Roskill, Mark W. Dolce’s “Aretino” and Venetian Art Theory of the Cinquecento. Toronto: University of Toronto Press, 2000.
Rovetta, Alessandro. “Note introduttive.” Vitruvio, De architectura: Libri II–IV: i materiali, i templi, gli ordini, ed. Alessandro Rovetta, IX–LXI. Milan: Vita e Pensiero, 2002.
Rowland, Ingrid. The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome. Cambridge: Cambridge University Press, 1998.
———. “Render Unto Caesar the Things Which are Caesar’s: Humanism and the Arts in the Patronage of Agostino Chigi.” Renaissance Quarterly 39 (1986): 673–730.
———. The Roman Garden of Agostino Chigi. Groningen: Gerson Lectures Foundation, 2005.
———. “Some Panegyrics to Agostino Chigi.” Journal of the Warburg and Courtauld Institutes 47 (1984): 194–9.
Rozzo, Ugo. “Italian Literature on the Index.” Church, Censorship and Culture in Early Modern Italy, ed. Gigliola Fragnito, 194–222. Cambridge: Cambridge University Press, 2001.
Rubin, Patricia. “‘Che è di questo culazzino!’: Michelangelo and the Motif of the Male Buttocks in Italian Renaissance Art.” Oxford Art Journal 32 (2009): 427–46.
———. “The Seductions of Antiquity.” Manifestations of Venus: Art and Sexuality, ed. Caroline Arscott and Katie Scott, 24–38. Manchester: Manchester University Press, 2000.
Rubin, Patricia, and Alison Wright. Renaissance Florence: The Art of the 1470s. London: National Gallery, 1999.
Rubinstein, Nicolai. “Political Ideas in Sienese Art: The Frescoes by Ambrogio Lorenzetti and Taddeo di Bartolo in the Palazzo Pubblico.” Journal of the Warburg and Courtauld Institutes 21 (1958): 179–207.
Rublack, Ulinka. Dressing Up: Cultural Identity in Renaissance Europe. Oxford: Oxford University Press, 2010.
Ruggiero, Guido. Machiavelli in Love: Sex, Self, and Society in the Italian Renaissance. Baltimore: Johns Hopkins University Press, 2007.
———. “Who’s Afraid of Giulia Napolitana? Pleasure, Fear, and Imagining the Arts of the Renaissance Courtesan.” The Courtesan’s Arts: Cross-Cultural Perspectives, ed. Martha Feldman and Bonnie Gordon, 280–92. Oxford: Oxford University Press, 2006.
Ruscelli, Girolamo, ed. Lettere di principi: le quali ó si scriuono da principió à principi, ò ragionan di principi. Venetia: Ziletti, 1562.
Rutherford, David. “Lactantius Philosophus? Reading, Misreading, and Exploiting Lactantius from Antiquity to the Early Renaissance.” Essays in Renaissance Thought and Letters: In Honor of John Monfasani, ed. Alison Frazier and Patrick Nold, 446–91. Leiden: Brill, 2015.
Ruvoldt, Maria. The Italian Renaissance Imagery of Inspiration: Metaphors of Sex, Sleep, and Dreams. Cambridge: Cambridge University Press, 2004.
S
Salkeld, Duncan. “History, Genre and Sexuality in the Sixteenth Century: The Zoppino Dialogue Attributed to Pietro Aretino.” Mediterranean Studies 10 (2001): 49–116.
Salzberg, Rosa, and Massimo Rospocher. “Street Singers in Italian Renaissance Urban Culture and Communication.” Cultural and Social History 9 (2012): 9–26.
Sannazaro, Jacopo. Arcadia. Venice: [s.n.], 1530.
Santore, Cathy. “Julia Lombardo, ‘Somtuosa Meretrize’: A Portrait by Property.” Renaissance Quarterly 41 (1988): 44–83.
———. “The Tools of Venus.” Renaissance Studies 11 (1997): 179–207.
Saslow, James M. Ganymede in the Renaissance: Homosexuality in Art and Society. New Haven and London: Yale University Press, 1986.
Satō, Dōshin. Modern Japanese Art and the Meiji State: The Politics of Beauty, trans. Hiroshi Nara. Los Angeles: Getty Publications, 2011.
Saunders, Gill. The Nude: A New Perspective. London: Herbert Press, 1989.
Savonarola, Girolamo. Le prediche sopra li salmi. Venetia: [s.n.], 1539.
———. Prediche italiane ai Fiorentini, ed. Francesco Cognasso. Florence: La Nuova Italia, 1930.
———. Prediche sopra Ezechiele, ed. Roberto Ridolfi. Rome: A. Belardetti, 1955.
Savonarola, Michele. Il trattato ginecologico-pedriatrico in volgare ad mulieres ferrarienses de regimine pregnantium et noviter natorum usque ad septennium, ed. Luigi Belloni. Milan: Stucchi, 1952.
Scaglia, Gustina. “A Translation of Vitruvius and Copies of Late Antique Drawings in Buonaccorso Ghiberti’s Zibaldone.” Transactions of the American Philosophical Society 69 (1979): 1–30.
Scala, Bartolomeo. Essays and Dialogues, trans. Renée Neu Watkins. Cambridge: Harvard University Press, 2008.
Scarabello, Giovanni. Meretrices: Storia della prostituzione a Venezia tra il XIII e il XVIII secolo. Venice: Supernova, 2006.
Schäpers, Petra. Die junge Frau bei der Toilette. Ein Bildthema im venezianischen Cinquecento. Frankfurt a. M.: Peter Lang, 1997.
Scheller, Robert, and Michael Hoyle, eds. Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (ca.900–ca.1470). Amsterdam: Amsterdam University Press, 1995.
Schmitter, Monika. “The Quadro da Portego in Sixteenth-Century Venetian Art.” Renaissance Quarterly 64 (2011): 693–751.
Schubring, Paul. Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance. Ein Beitrag zur Profanmalerei im Quattrocento. Leipzig: Karl W. Hiersemann, 1915.
Schweikhart, Gunter. “Von Priapus zu Coridon. Benennungen des Dornausziehers in Mittelalter und Neuzeit.” Würzburger Jahrbücher für die Altertumswissenschaft N.S. III (1977): 243–52.
Scigliano, Eric. Michelangelo’s Mountain: The Quest for Perfection in the Marble Quarries of Carrara. London: Simon and Schuster, 2007.
Scott, Katie, and Caroline Arscott. “Introducing Venus.” Manifestations of Venus: Art and Sexuality, ed. Katie Scott and Caroline Arscott, 1–23. Manchester: Manchester University Press, 2000.
Sebregondi, Ludovica. “Clothes and Teenagers: What Young Men Wore in Fifteenth-Century Florence.” The Premodern Teenager: Youth in Society, 1150–1650, ed. Konrad Eisenbichler. Toronto: CRRS, 2002.
Seidel, Max. Padre e figlio: Nicola e Giovanni Pisano. Venice: Marsilio, 2012.
Sercambi, Giovanni. Novelle, ed. Giovanni Sinicropi. Bari: G. Laterza, 1972.
Settis, Salvatore, ed. Memoria dell’antico nell’arte italiana. Turin: Einaudi, 1984.
Setton, Kenneth Meyer. The Papacy and the Levant, 1204–1571. Vol. 2: The Fifteenth Century. Philadelphia: American Philosophical Society, 1978.
Seymour, Charles. Michelangelo’s David: A Search for Identity. Pittsburgh: University of Pittsburgh Press, 1967.
Shearman, John. “Die Loggia der Psyche in der Villa Farnesina und die Probleme der letzten Phase von Raffaels graphischem Stil.” Jahrbuch der Kunsthistorischen Sammlungen in Wien 60 (1964): 59–100.
———. Raphael in Early Modern Sources 1483–1602. 2 vols. New Haven and London: Yale University Press, 2003.
Shemek, Deanna. Ladies Errant: Wayward Women and Social Order in Early Modern Italy. Durham: Duke University Press, 1998.
Shephard, Tim. Echoing Helicon: Music, Art, and Identity in the Este Studioli, 1440–1530. Oxford: Oxford University Press, 2014.
Sickert, Walter. “The Naked and the Nude.” The New Age 7 (1910): 276–7.
Simons, Patricia. “Anatomical Secrets: Pudenda and the Pudica Gesture.” Das Geheimnis am Beginn der europäischen Moderne, ed. Gisela Engel et al., 302–27. Frankfurt a. M.: Klostermann, 2002.
———. “Lesbian (in)visibility in Italian Renaissance Culture: Diana and Other Cases of donna con donna.” Journal of Homosexuality 27 (1994): 81–122.
———. The Sex of Men in Premodern Europe: A Cultural History. Cambridge: Cambridge University Press, 2011.
Singleton, Charles Southward. Canti carnascialeschi del Rinascimento. Bari: Scrittori d’Italia, 1936.
Siraisi, Nancy G. Medieval and Early Renaissance Medicine: An Introduction to Knowledge and Practice. Chicago: University of Chicago Press, 1990.
———. “Vesalius and Human Diversity in De humani corporis fabrica.’ Journal of the Warburg and Courtauld Institutes 57 (1994): 60–88.
Smith, Alison. The Victorian Nude: Sexuality, Morality and Art. Manchester: Manchester University Press, 1996.
Smith, Mark. “Signorelli’s Court of Pan: A Search for the Subject of a Familiar Masterpiece.” Konsthistorisk Tidskrift/Journal of Art History 80 (2011): 193–206.
Snow-Smith, Joanne. “Michelangelo’s Christian Neoplatonic Aesthetic of Beauty in his Early Oeuvre: The Nuditas Virtualis Image.” Concepts of Beauty in Renaissance Art, ed. Francis Ames-Lewis, 147–62. Aldershot: Ashgate, 1998.
Spicer, Jacqueline. “‘A fare bella’: The Visual and Material Culture of Cosmetics in Renaissance Italy (1450–1540).” PhD thesis, Edinburgh: University of Edinburgh, 2015.
Stark, Caroline. “Renaissance Anthropologies and the Conception of Man.” New Worlds and the Italian Renaissance: Contributions to the History of European Intellectual Culture, ed. Andrea Moudarres and Christiana Purdy Moudarres, 173–94. Leiden: Brill, 2012.
Stark, James J., and Jonathan Katz Nelson. “The Breasts of ‘Night’: Michelangelo as Oncologist.” New England Journal of Medicine 343 (2000): 1577–8.
Steele, Brian D. “In the Flower of Their Youth: ‘Portraits’ of Venetian Beauties ca.1500.” The Sixteenth Century Journal 28 (1997): 481–502.
Stefaniak, Regina. Mysterium Magnum: Michelangelo’s Tondo Doni. Leiden: Brill, 2008.
———. “Replicating Mysteries of the Passion: Rosso’s Dead Christ with Angels.” Renaissance Quarterly 45 (1992): 677–738.
Steinberg, Leo. The Sexuality of Christ in Renaissance Art and in Modern Oblivion. London: Faber, 1984.
Stinger, Charles L. Humanism and the Church Fathers: Ambrogio Traversari (1386–1439) and the Revival of Patristic Theology in the Early Italian Renaissance. Albany: SUNY Press, 1977.
———. The Renaissance in Rome. Bloomington: Indiana University Press, 1998.
Storey, Tessa. Carnal Commerce in Counter-Reformation Rome. Cambridge: Cambridge University Press, 2008.
———. “Clothing Courtesans: Fabrics, Signals, and Experiences.” Clothing Culture, 1350–1650, ed. Catherine Richardson, 95–108. Aldershot: Ashgate, 2004.
———. “Courtesan Culture: Manhood, Honour, and Sociability.” Erotic Cultures of Renaissance Italy, ed. Sara Matthews-Grieco, 247–73. Aldershot: Ashgate, 2010.
Symonds, John Addington. The Life of Michelangelo Buonarroti: Based on Studies in the Archives of the Buonarroti Family at Florence. 2 vols. Philadelphia: University of Pennsylvania Press, 2002.
Syson, Luke. “Belle: Picturing Beautiful Women.” Art and Love in Renaissance Italy, ed. Andrea Bayer, 246–54. New York: Metropolitan Museum of Art, 2008.
———, ed. Pisanello: Painter to the Renaissance Court. London: National Gallery, 2001.
———, ed. Renaissance Siena: Art for a City. London: National Gallery, 2007.
———. “Antico, Spinario.” “Recent Acquisitions, A Selection: 2010–2012.” The Metropolitan Museum of Art Bulletin 70 (2012).
Syson, Luke, and Dora Thornton. Objects of Virtue: Art in Renaissance Italy. London: British Museum Press, 2001.
T
Taddei, Ilaria. Fanciulli e giovani: crescere a Firenze nel Rinascimento. Florence: Olschki, 2001.
———. “Puerizia, adolescenza and giovinezza: Images and Conceptions of Youth in Florentine Society During the Renaissance.” The Premodern Teenager: Youth in Society, 1150–1650, ed. Konrad Eisenbichler, 15–26. Toronto: CRRS, 2002.
Talvacchia, Bette. “Bronzino’s Del pennello and the Pleasures of Art.” Frame—Journal of Literary Studies 24 (2011): 21–38.
———. Taking Positions: On the Erotic in Renaissance Culture. Princeton: Princeton University Press, 1999.
Tavernor, Robert. Smoot’s Ear: The Measure of Humanity. New Haven and London: Yale University Press, 2007.
Thomas, Anabel. The Painter’s Practice in Renaissance Tuscany. Cambridge: Cambridge University Press, 1995.
Thornton, Dora. The Scholar in his Study: Ownership and Experience in Renaissance Italy. New Haven and London: Yale University Press, 1997.
Tinagli, Paola. Women in Italian Renaissance Art: Gender, Representation, Identity. Manchester: Manchester University Press, 1997.
Trexler, Richard C.Correre la terra. Collective Insults in the Late Middle Ages.” Mélanges de l’École Française de Rome. Moyen Age, Temps Modernes 96 (1984): 845–902.
———. “Gendering Jesus Crucified.” Iconography at the Crossroads, ed. Brendan Cassidy, 107–20. Princeton: Princeton University Press, 1990.
———. Naked Before the Father: The Renunciation of Francis of Assisi. New York: Lang, 1989.
———. Public Life in Renaissance Florence. New York: Academic Press, 1980.
Trinkaus, Charles Edward. In Our Image and Likeness: Humanity and Divinity in Italian Humanist Thought. London: Constable, 1970.
———. “Themes for a Renaissance Anthropology.” The Renaissance: Essays in Interpretation, ed. André Chastel, 83–125. London: Routledge, 1982.
Trissino, Giovanni Giorgio. I ritratti del Trissino. Rome: Lodovico degli Arrighi Vicentino, 1524.
Tsoumis, Karine. “Bernardino Licinio: Portraiture, Kinship, and Community in Renaissance Venice.” PhD thesis, Toronto: University of Toronto, 2013.
Turner, James Grantham. Eros Visible: Art, Sexuality, and Antiquity in Renaissance Italy. New Haven and London: Yale University Press, 2017.
———. “Invention and Sexuality in the Raphael Workshop: Before the Modi.” Art History 36 (2013): 72–99.
———. “Marcantonio’s Lost Modi and Their Copies.” Print Quarterly 21 (2004): 363–84.
———. “I Modi and Aretino II. The ‘Toscanini Volume’ Reexamined.” The Book Collector 61 (2012): 39–54.
U
Unglaub, Jonathan. “The ‘Concert Champêtre’: The Crises of History and the Limits of Pastoral.” Arion: A Journal of Humanities and the Classics 5 (1997): 46–96.
V
Valeriano, Pierio. Hieroglyphica, sive, De sacris Aegyptiorvm literis commentarii. Basel: Michael Isengrin, 1556.
Varoli-Piazza, Rosalia, ed. Raffaello. La loggia di Amore e Psiche alla Farnesina. Milan: Silvana, 2002.
Vasari, Giorgio. Le vite—edizioni Giuntina e Torrentiniana. Pisa: Centro ricerche informatiche per i beni culturali, 1999. Available at http://vasari.sns.it.
———. Vasari on Technique, ed. G. Baldwin Brown and trans. Louisa S. Maclehose. Mineola: Dover Publications, 2012.
Verdon, Timothy. “Michelangelo and the Body of Christ: Religious Meaning in the Florence Pietà.” Michelangelo’s Florence Pietà, ed. Jack Wasserman, 127–48. Princeton: Princeton University Press, 2003.
Vergil, Polydore. On Discovery, ed. Brian P. Copenhaver. Cambridge: Harvard University Press, 2002.
Verheyen, Egon. The Palazzo del The in Mantua: Images of Love and Politics. Baltimore: Johns Hopkins University Press, 1977.
Vicary, Grace. “Visual Art as Social Data: The Renaissance Codpiece.” Cultural Anthropology 4 (1989): 3–25.
Vickers, Brian. “Leisure and Idleness in the Renaissance: The Ambivalence of otium.” Renaissance Studies 4 (1990): 1–37.
Vidas, Marina. “The Copenhagen cassoni: Constructing Narrative Images for Quattrocento Audiences.” Analecta Romana Instituti Danici 29 (2003): 55–65.
Vigarello, Georges. Concepts of Cleanliness: Changing Attitudes in France Since the Middle Ages. Cambridge: Cambridge University Press, 1988.
Vitruvius. On Architecture, trans. Frank Granger. 2 vols. Cambridge: Harvard University Press, 1970.
———. Vitruvio ferrarese: De architectura: la prima versione illustrata, ed. Claudio Sgarbi. Modena: F. C. Panini, 2004.
W
Waddington, Raymond B. “Pisanello’s Paragoni.” Perspectives on the Renaissance Medal: Portrait Medals of the Renaissance, ed. Stephen K. Scher, 27–46. London: Routledge, 2013.
Wallace, William E. “‘Dal disegno allo spazio’: Michelangelo’s Drawings for the Fortifications of Florence.” Journal of the Society of Architectural Historians 46 (1987): 119–34.
———. Michelangelo: The Artist, the Man, and his Times. Cambridge: Cambridge University Press, 2010.
———, ed. Michelangelo, Selected Scholarship in English, Vol. 2: The Sistine Chapel. London: Garland, 1995.
———. “Michelangelo’s Risen Christ.” The Sixteenth Century Journal 28 (1997): 1251–80.
Waller, Susan. The Invention of the Model: Artists and Models in Paris, 1830–1870. Aldershot: Ashgate, 2006.
Walters, Margaret. The Nude Male: A New Perspective. New York: Paddington Press, 1978.
Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. New Haven and London: Yale University Press, 2011.
Welch, Evelyn. “Art on the Edge: Hair and Hands in Renaissance Italy.” Renaissance Studies 23 (2009): 241–68.
White, Ian. “Multiple Words, Multiple Meanings, in the Hypnerotomachia.” Word & Image 31 (2015): 74–80.
Wiesner, Merry E. Women and Gender in Early Modern Europe. Cambridge: Cambridge University Press, 1993.
Williams, Robert. “‘Virtus Perficitur’: On the Meaning of Donatello’s Bronze David.” Mitteilungen des Kunsthistorischen Institutes in Florenz 53 (2009): 217–28.
Williamson, Paul. European Sculpture at the Victoria and Albert Museum. London: Victoria and Albert Museum, 1996.
Willsher, Kim. “Art of Diplomacy: How French Schools Abroad Cope with Censorship.” The Guardian, June 14, 2015, www.theguardian.com/world/2015/jun/14/art-of-diplomacy-how-french-schools-abroad-cope-with-censorship.
Wilson-Okamura, David Scott. Virgil in the Renaissance. Cambridge: Cambridge University Press, 2010.
Winckelmann, Johann Joachim. History of the Art of Antiquity. Los Angeles: Getty Research Institute, 2006.
Wittkower, Rudolf. Architectural Principles in the Age of Humanism. London: Tiranti, 1962.
Wolf-Bonvin, Romaine. “Un vêtement sans l’être. La chemise.” Le Nu et le Vêtu au Moyen Age, 383–94. Marseille: Presses universitaires de Provence, 2001.
Wolfthal, Diane. “From Venus to Witches: The Female Nude in Northern Europe.” The Renaissance Nude, ed. Thomas Kren with Stephen J. Campbell and Jill Burke. Los Angeles: J. Paul Getty Museum, 2018.
———. Images of Rape: The “Heroic” Tradition and its Alternatives. Cambridge: Cambridge University Press, 1999.
———. In and Out of the Marital Bed: Seeing Sex in Renaissance Europe. New Haven and London: Yale University Press, 2010.
Wolk-Simon, Linda. “‘Rapture to the Greedy Eyes’: Profane Love in the Renaissance.” Art and Love in Renaissance Italy, ed. Andrea Bayer, 43–58. New York: Metropolitan Museum of Art, 2008.
Wood, Christopher. “Indoor/Outdoor: The Studio Around 1500.” Inventions of the Studio: Renaissance to Romanticism, ed. Mary Pardo and Michael Cole, 36–72. Chapel Hill: University of North Carolina Press, 2005.
Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist. New Haven and London: Yale University Press, 1998.
Woodward, William Harrison. Studies in Education during the Age of the Renaissance 1400–1600. Cambridge: Cambridge University Press, 1967.
Wright, Alison. “Life in the ‘Anonymous’ Box.” Nameless: Anonymous Drawings of 15th and 16th Century Italy, ed. Alison Wright, 4–9. Findhorn: Moray Art Centre, 2010.
———. The Pollaiuolo Brothers: The Arts of Florence and Rome. New Haven and London: Yale University Press, 2005.
Y
Young, Iris Marion. “Pregnant Embodiment: Subjectivity and Alienation.” On Female Body Experience: “Throwing like a Girl” and Other Essays, 46–61. Oxford: Oxford University Press, 2005.
Z
Zapperi, Roberto. “Alessandro Farnese, Giovanni della Casa and Titian’s Danae in Naples.” Journal of the Warburg and Courtauld Institutes 54 (1991): 159–71.
Zöllner, Frank. Leonardo da Vinci, 1452–1519. Cologne: Taschen, 2000.
———. Vitruvs Proportionsfigur: quellenkritische Studien zur Kunstliteratur im 15. und 16. Jahrhundert. Worms: Werner, 1987.
Zorach, Rebecca. Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance. Chicago: University of Chicago Press, 2005.
———. “Renaissance Theory: A Selective Introduction.” Renaissance Theory, ed. James Elkins and Robert Williams, 3–36. London: Routledge, 2008.
Zorzi, Andrea. “The Judicial System in Florence in the Fourteenth and Fifteenth Centuries.” Crime, Society, and the Law in Renaissance Italy, ed. Trevor Dean and Kate Lowe, 40–58. Cambridge: Cambridge University Press, 1994.
Zorzi, Niccolò. “Demetrio Mosco e Mario Equicola: un volgarizzamento delle ‘Imagines’ di Filostrato per Isabella d’Este.” Giornale storico della letteratura italiana 174 (1997): 523–72.