Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-rkxrd Total loading time: 0 Render date: 2024-07-17T15:47:25.020Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  04 March 2021

Rebekah Compton
Affiliation:
College of Charleston, South Carolina
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Agrippa, Henry Cornelius. The Three Books of Occult Philosophy or Magic. Edited by Whitehead, Willis F.. New York: AMS Press, 1982.Google Scholar
Alberti, Leon Battista. Opere volgari. Edited by Bonucci, Anicio. Vol. 5. Florence: Galileiana, 1849.Google Scholar
Alberti, Leon Battista. Della pittura. Edited by Malle, Luigi. Florence: Sansoni, 1950.Google Scholar
Alberti, Leon Battista. On Painting. Translated by Spencer, John R.. New Haven, CT: Yale University Press, 1966.Google Scholar
Alberti, Leon Battista. The Family in Renaissance Florence. Translated by Watkins, Renée Neu. Columbia: University of South Carolina Press, 1969.Google Scholar
Alberti, Leon Battista. On the Art of Building in Ten Books. Translated by Rykwert, Joseph, et al. Cambridge, MA: MIT Press, 1988.Google Scholar
Aldrovandi, Ulisse. I nomi antichi et moderni dell’antica citta di Roma. Venice: Segno della Speranza, 1552.Google Scholar
Alighieri, Dante. The Divine Comedy. Translated by Mandelbaum, Allen. 3 Vols. Berkeley: University of California Press, 1980–82.Google Scholar
Alighieri, Dante. Convivio. A Dual-Language Critical Edition. Edited and translated by Frisardi, Andrew. Cambridge: Cambridge University Press, 2018.Google Scholar
Altieri, Marco Antonio. Li nuptiali. Edited by Narducci, Enrico. Rome: Roma nel Rinascimento, 1995.Google Scholar
Apuleius, . Metamorphoses (The Golden Ass), Volume I: Books 1–6. Edited and translated by Hanson, J. Arthur. Loeb Classical Library 44. Cambridge, MA: Harvard University Press, 1996.Google Scholar
Aretino, Pietro. Lettere sull’arte. Edited by Pertile, Fidenzio and Camesasca, Ettore. Vol. 1. Milan: Milione, 1957.Google Scholar
Aretino, Pietro. The Letters of Pietro Aretino. Translated by Chubb, Thomas Caldecot. New Haven, CT: Yale University Press, 1967.Google Scholar
Aretino, Pietro. Lettere. Edited by Erspamer, Francesco. Vol. 1. Parma: U. Guanda, 1995.Google Scholar
Aristotle, . Minor Works (On Marvellous Things Heard). Translated by Hett, W. S.. Loeb Classical Library 307. Cambridge, MA: Harvard University Press, 1938.Google Scholar
Baldinucci, Filippo. Notizie dei professori del disegno da Cimabue in qua per le quali si domostra come, e per chi le belle arti di pittura, scultura e architettura, lasciata la rozzezza delle maniere greca e gotica, si siano in questi secoli ridotte all’antica loro perfezione. Edited by Ranalli, Ferdinando. Vol. 2. Florence: V. Batelli e Compagni, 1846.Google Scholar
Baldovinetti, Alessio. I ricordi (1470–73). Edited by Poggi, Giovanni. Florence: Liberia, 1909.Google Scholar
Barberino, Francesco da. I documenti d’amore. Edited by Albertazzi, Marco. Lavis: La Finestra, 2008.Google Scholar
Belon, Pierre. “De neglecta stirpium cultura, atque earum cognitione libellus.” In Exoticorum libri decem. Edited by de l’Ècluse, Charles. Leiden: Officina Plantiniana, 1605.Google Scholar
Berengario da Carpi, Jacopo. Commentaria cum amplissimis additionibus super anatomiam Mundini una cum textu ejusdem in pristinum et verum nitorem redacto. Bologna: Hieronymum de Benedictis, 1521.Google Scholar
Bicci, Neri di. Le ricordanze (1453–1475). Edited by Santi, Bruno. Pisa: Marlin, 1976.Google Scholar
Biringuccio, Vannoccio. Pirotechnia. Translated by Stanley Smith, Cyril and Gnudi, Martha Teach. New York: American Institute of Mining and Metallurgical Engineers, 1942.Google Scholar
Boccaccio, Giovanni. Geneologia de gli dei: i qvin deci libri. Translated by Betussi, Giuseppe. Venice: Comino da Trino di Monferrato, 1547.Google Scholar
Boccaccio, Giovanni. Teseida. Edited by Battaglia, Salvatore. Florence: G. C. Sansoni, 1938.Google Scholar
Boccaccio, Giovanni. The Nymph of Fiesole. Translated by Donno, Daniel J.. New York: Columbia University Press, 1960.Google Scholar
Boccaccio, Giovanni. The Book of Theseus (Teseida delle Nozze d’Emilia). Translated by McCoy, Bernadette Marie. New York: Medieval Text Association, 1974.Google Scholar
Boccaccio, Giovanni. Tutte le opere. Edited by Branca, Vittore. Vol. 3, Amorosa vision – Ninfale fiesolano – Trattatello in laude di Dante. Milan: Mondadori, 1974.Google Scholar
Boccaccio, Giovanni. Amorosa visione. Translated by Hollander, Robert, Hampton, Timothy, and Frankel, Margherita. Hanover, NH: University Press of New England, 1986.Google Scholar
Boccaccio, Giovanni. Filostrato. Edited by Pernicone, Vincenzo. Translated by apRoberts, Robert P. and Seldis, Anna Bruni. New York: Garland, 1986.Google Scholar
Boccaccio, Giovanni. The Elegy of Lady Fiammetta. Translated by Causa-Steindler, Mariangela and Mauch, Thomas. Chicago: University of Chicago Press, 1990.Google Scholar
Boccaccio, Giovanni. Genealogy of the Pagan Gods, Volume I: Books I–V. Translated by Solomon, Jon. I Tatti Renaissance Library 46. Cambridge, MA: Harvard University Press, 2011.Google Scholar
Borghini, Raffaello. Il riposo. Edited by Rosci, Mario. Vol. 2. Milan: Labor, 1967.Google Scholar
Brantôme, Pierre de Bourdeille. Vies des dames galantes. Paris: Garnier Frères, 1872.Google Scholar
Brantôme, Pierre de Bourdeille. The Book of the Ladies. Translated by Wormeley, Katharine Prescott. New York: P.F. Collier & Son, 1899.Google Scholar
Capellanus, Andreas. The Art of Courtly Love. Translated by Parry, John Jay. New York: Frederick Ungar Publishing, 1959.Google Scholar
Cartari, Vincenzo. Le imagini de i dei de gli antichi. Lyon: Stefano Michele, 1581.Google Scholar
Cellini, Benvenuto. Autobiography. Translated by Bull, George. London: Penguin Books, 1998.Google Scholar
Cennini, Cennino. Il libro dell’arte. Translated by Broecke, Lara. London: Archetype, 2015.Google Scholar
Claudian, . Panegyric on Probinus and Olybrius. Against Rufinus 1 and 2. War against Gildo. Against Eutropius 1 and 2. Fescennine Verses on the Marriage of Honorius. Epithalamium of Honorius and Maria. Panegyrics on the Third and Fourth Consulships of Honorius. Panegyric on the Consulship of Manlius. On Stilicho’s Consulship 1. Translated by Platnauer, M.. Loeb Classical Library 135. Cambridge, MA: Harvard University Press, 1922.Google Scholar
Clement of Alexandria, . “Exhortation to the Heathen.” In Fathers of the Second Century: Hermes, Tatian, Athenagoras, Theophilus, and Clement of Alexandria (Entire). Edited by Schaff, Philip. London: Aeterna Press, 2016.Google Scholar
Cocles, Bartolommeo della Rocca. Chyromantie ac physionomie anastasis cum approbatione Magistri Alexandri de Achillinis. Bologna: Joannem Antonium Platonidem Benedictorum, 1504.Google Scholar
Colombo, Realdo. De re anatomica libri XV. Frankfurt am Main: Johann Wechel, 1590.Google Scholar
Correggio, Niccolò da. Opere: Cefalo, Psiche, Silva, Rime. Edited by Benvenuti, Antonia Tissoni. Bari: Laterza, 1969.Google Scholar
Dolce, Lodovico. Dialogo dei colori. Lanciano: Carabba, 1913.Google Scholar
Ficino, Marsilio. Commentary on Plato’s Symposium on Love. Translated by Jayne, Sears Reynolds. Dallas: Spring Publications, 2000.Google Scholar
Ficino, Marsilio. The Philebus Commentary. Translated by Allen, Michael. Tempe: Arizona Center for Medieval and Renaissance Studies, 2000.Google Scholar
Ficino, Marsilio. Three Books on Life. Translated by Kaske, Carol V. and Clark, John R.. Tempe: Arizona Center for Medieval and Renaissance Studies, 2002.Google Scholar
Ficino, Marsilio. Platonic Theology. Edited by Hankins, James with Bowen, William. Translated by Allen, Michael J. B. and Warden, John. Vol. 4. I Tatti Renaissance Library 23. Cambridge, MA: Harvard University Press, 2004.Google Scholar
Ficino, Marsilio. The Letters of Marsilio Ficino. Translated by Members of the Language Department of the School of Economic Science. Vol. 9. London: Shepheard-Walwyn, 2012.Google Scholar
Filarete (Antonio Averlino). Filarete’s Treatise on Architecture; Being the Treatise by Antonio di Piero Averlino, Known as Filarete. Edited and translated by Spencer, John R.. New Haven, CT: Yale University Press, 1965.Google Scholar
Firenzuola, Angolo. On the Beauty of Women. Translated by Eisenbichler, Konrad and Murray, Jacqueline. Philadelphia: University of Pennsylvania Press, 1971.Google Scholar
Franco, Niccolò. Dialogo dove si ragiona delle Bellezze. Venice: Antonium Gardane, 1542.Google Scholar
Ghiberti, Lorenzo. I commentari. Edited by Morisani, Ottavio. Naples: Ricciardi, 1947.Google Scholar
Giovio, Paolo. Dialogo dell’imprese militari et amorose. Lyon: Guglielmo Rouillio, 1574.Google Scholar
Grazzini, Antonfrancesco. Tutti i trionfi, carri, mascherate, o canti carnascialeschi andati per Firenze dal tempo del Lorenzo de’ Medici. Florence: Lorenzo Torrentino 1559.Google Scholar
Grazzini, Antonfrancesco. Tutti i trionfi, carri, mascherate, o canti carnascialeschi andati per Firenze dal tempo del Lorenzo de’ Medici fino all’anno 1559. Lucca: Pel Benedini, 1750.Google Scholar
Grazzini, Antonfrancesco. Le rime burlesque edite e inedite di Antonfrancesco Grazzini detto Il Lasca. Edited by Verzone, Carlo. Florence: Sansoni, 1882.Google Scholar
The Greek Anthology, Volume V: Book 13: Epigrams in Various Metres. Book 14: Arithmetical Problems, Riddles, Oracles. Book 15: Miscellanea. Book 16: Epigrams of the Planudean Anthology Not in the Palatine Manuscript. Translated by Paton, W. R.. Loeb Classical Library 86. Cambridge, MA: Harvard University Press, 1918.Google Scholar
Greek Mathematical Works, Volume I: Thales to Euclid. Translated by Thomas, Ivor. Loeb Classical Library 335. Cambridge, MA: Harvard University Press, 1939.Google Scholar
Hildegard of Bingen. On Natural Philosophy and Medicine. Selections from Cause et cure. Translated by Berger, Margret. Cambridge: D. S. Brewer, 1999.Google Scholar
Holy Bible. Douay–Rheims Version. Edited by Challoner, Bishop Richard. London: Baronius Press, 2007.Google Scholar
Homeric Hymns. Homeric Apocrypha. Lives of Homer. Translated by West, Martin L.. Loeb Classical Library 496. Cambridge, MA: Harvard University Press, 2003.Google Scholar
Ezra, Ibn, Ben Meir, Avraham. The Beginning of Wisdom (Reshith Hochma). Translated by Eptstein, Meira B.. Las Vegas: ARHAT, 1998.Google Scholar
Isidore of Seville. The Etymologies. Edited and translated by Barney, Stephen A., Lewis, W. J., Beach, J. A., and Berghof, Oliver. Cambridge: Cambridge University Press, 2006.Google Scholar
Leonardi, Camillo. Speculum lapidum, cui accessit Sympathia septem metallorum ac septem selectorum lapidum ad planetas. Petri Arlensis de Scudalupis. Paris: Sevestri et Gillius, 1610.Google Scholar
Leonardi, Camillo. The mirror of stones: in which the nature, generation, properties, virtues and various species of more than 200 different jewels, precious and rare stones, are distinctly described. London: J. Freeman, 1750.Google Scholar
Leonardo da Vinci. The Literary Works of Leonardo da Vinci. Edited by Richter, Jean Paul. London: Low, 1883.Google Scholar
Leonardo da Vinci. On Painting. Edited by Kemp, Martin. New Haven, CT: Yale University Press, 1990.Google Scholar
Leonardo da Vinci. Libro di pittura: edizione in facsimile del Codice Urbinate lat. 1270 nella Biblioteca Apostolica Vaticana. Edited by Pedretti, Carlo. Vol. 1. Florence: Giunti, 1995.Google Scholar
Lirici toscani del Quattrocento. Edited by Lanza, Antonio. 2 vols. Rome: Bulzoni, 1973–75.Google Scholar
Lorris, Guillaume de, and de Meun, Jean. The Romance of the Rose. Translated by Dahlberg, Charles. Princeton, NJ: Princeton University Press, 1971.Google Scholar
Lucian, . Soloecista. Lucius or The Ass. Amores. Halcyon. Demosthenes. Podagra. Ocypus. Cyniscus. Philopatris. Charidemus. Nero. Translated by Macleod, M. D.. Loeb Classical Library 432. Cambridge, MA: Harvard University Press, 1967.Google Scholar
Lucretius, . On the Nature of Things. Translated by Rouse, W. H. D.. Revised by Smith, Martin F.. Loeb Classical Library 181. Cambridge, MA: Harvard University Press, 1924.Google Scholar
Machiavelli, Niccolò. Florentine Histories. Translated by Banfield, Laura F. and Mansfield, Harvey C. Jr. Princeton, NJ: Princeton University Press, 1988.Google Scholar
Macrobius, . Saturnalia. Translated by Davies, Percival Vaughan. New York: Columbia University Press, 1969.Google Scholar
Magnus, Albertus. Book of Minerals. Translated by Wyckoff, Dorothy. Oxford: Clarendon Press, 1967.Google Scholar
Mannucci, Aldo. Vita di Cosimo I. de’ Medici granduca di Toscana. Pisa: Niccolò Capurro, 1823.Google Scholar
Marbode, Bishop of Rennes. Lapidari: la magia delle pietre preziose. Edited by Basile, Bruno. Rome: Carocci, 2006.Google Scholar
Marcotti, Giuseppe. Un mercante fiorentino e la sua famiglia nel secolo XV. Florence: G. Barbèra, 1881.Google Scholar
Martelli, Niccolò. Lettere. Edited by Marconcini, Cartesio. Lanciano: R. Carabba, 1916.Google Scholar
Matasilani, Mario. La felicità del serenissimo Cosimo Medici granduca di Toscana. Florence: Giorgio Marescotti, 1572.Google Scholar
Maternus, Firmicus. Matheseos Libri VIII. Translated by Bram, Jean Rhys. Park Ridge, NJ: Noyes Press, 1975.Google Scholar
Mattioli, Pietro Andrea. I discorsi ne i sei libri della materia medicinale di pedacio Dioscoride Anazarbeo. Sala Bolognese: Forni, 1984.Google Scholar
Medici, Lorenzo de’. Poesie volgari, nuovamente. Venice: Aldus, 1554.Google Scholar
Medici, Lorenzo de’. Selected Poems and Prose. Edited and translated by Thiem, Jon. University Park, PA: Pennsylvania State University Press, 1991.Google Scholar
Medici, Lorenzo de’. The Autobiography of Lorenzo de’ Medici the Magnificent: A Commentary on My Sonnets. Translated by Cook, James Wyatt. Binghamton, NY: Medieval & Renaissance Texts & Studies, 1995.Google Scholar
Mercanti scrittori. Ricordi nella Firenze tra medioevo e rinascimento. Edited by Branca, Vittore. Milan: Rusconi, 1986.Google Scholar
Nardi, Jacopo. Istorie della città di Firenze. Edited by Gelli, Agenore. Vol. 1. Florence: Felice Le Monnier, 1858.Google Scholar
Négociations diplomatiques de la France avec la Toscane (1311–1610). Edited by Canestrini, G.. Vol. 3. Paris: Imprimerie Impèriale, 1865.Google Scholar
Ovid. Heroides. Amores. Translated by Showerman, Grant. Revised by Goold, G. P.. Loeb Classical Library 41. Cambridge, MA: Harvard University Press, 1914.Google Scholar
Ovid. Fasti. Translated by Frazer, James G.. Revised by Goold, G. P.. Loeb Classical Library 253. Cambridge, MA: Harvard University Press, 1931.Google Scholar
Ovid. The Erotic Poems. Translated by Green, Peter. London: Penguin Books, 1982.Google Scholar
Ovid. The Metamorphoses. Translated by Mandelbaum, Allen. New York: Harcourt Brace, 1993.Google Scholar
Pagnini, Giovanni Francesco, ed. Della decima e di varie altre gravezze imposte dal comune di Firenze. 2 vols. Lisbon and Lucca, 1765–66. Reprint. Bologna: Forni, 1967.Google Scholar
Palmieri, Matteo. Della vita civile. Milan: Giovanni Silvestri, 1825.Google Scholar
Parenti, Piero di Marco. Delle nozze di Lorenzo de’ Medici con Clarice Orsini nel 1469. Edited by Milanesi, Gaetano. Florence: Bencini, 1870.Google Scholar
Petrarch, . I trionfi. Edited by Bezzola, Guido. Milan: Rizzoli, 1957.Google Scholar
Petrarch, . The Canzoniere or Rerum vulgarium fragmenta. Translated by Musa, Mark. Bloomington: Indiana University Press, 1996.Google Scholar
Philostratus the Elder, Philostratus the Younger, and Callistratus. Philostratus the Elder, Imagines. Philostratus the Younger, Imagines. Callistratus, Descriptions. Translated by Fairbanks, Arthur. Loeb Classical Library 256. Cambridge, MA: Harvard University Press, 1931.Google Scholar
Picatrix: A Medieval Treatise on Astral Magic. Translated by Attrell, Dan and Porreca, David. University Park, PA: Pennsylvania State University Press, 2019.Google Scholar
Pizan, Christine de. Christine de Pizan’s Letter of Othea to Hector. Translated by Chance, Jane. Cambridge: D. S. Brewer, 1997.Google Scholar
Pizan, Christine de et al. Debate of the Romance of the Rose. Edited and translated by Hult, David F.. Chicago: University of Chicago Press, 2010.Google Scholar
Plato, . Timaeus. Critias. Cleitophon. Menexenus. Epistles. Translated by Bury, R. G.. Loeb Classical Library 234. Cambridge, MA: Harvard University Press, 1929.Google Scholar
Plautus, . The Little Carthaginian. Pseudolous. The Rope. Edited and translated by de Melo, Wolfgang. Loeb Classical Library 260. Cambridge, MA: Harvard University Press, 2012.Google Scholar
Pliny, . Natural History, Volume III: Books 8–11. Translated by Rackham, H.. Loeb Classical Library 353. Cambridge, MA: Harvard University Press, 1940.Google Scholar
Pliny, . Natural History, Volume IX: Books 33–35. Translated by Rackham, H.. Loeb Classical Library 394. Cambridge, MA: Harvard University Press, 1952.Google Scholar
Pliny, . Natural History, Volume X: Books 36–37. Translated by Eichholz, D. E.. Loeb Classical Library 419. Cambridge, MA: Harvard University Press, 1962.Google Scholar
Pliny, . Natural History, Volume VIII: Books 28–32. Translated by Jones, W. H. S.. Loeb Classical Library 418. Cambridge, MA: Harvard University Press, 1963.Google Scholar
Poliziano, Angelo. The Stanze. Translated by Quint, David. University Park, PA: Pennsylvania State University Press, 1993.Google Scholar
Propertius. Elegies. Translated by Goold, G. P.. Loeb Classical Library 18. Cambridge, MA: Harvard University Press, 1990.Google Scholar
Ptolemy. Tetrabiblos. Translated by Robbins, F. E.. Loeb Classical Library 435. Cambridge, MA: Harvard University Press, 1940.Google Scholar
Ricci, Giuliano de. Cronoca (1532–1606). Edited by Sapori, Giuliana. Milan: Riccardo Riccardi, 1972.Google Scholar
Ruscelli, Girolamo. De secreti del reverendo donno Alessio Piemontese. Lyon: Theobaldo Pagano, 1558.Google Scholar
Sacchetti, Franco. Il Trecentonovelle. Edited by Faccioli, Emilio. Turin: Einaudi, 1970.Google Scholar
Savonarola, Girolamo. Sermoni e prediche di F. Giroloamo Savonarola. Prato: R. Guasti, 1846.Google Scholar
Savonarola, Girolamo. Prediche Italiane ai Fiorentini, vol. 1, Novembre e Dicembre del 1494. Edited by Cognasso, Francesco. Perugia: La Nuova Italia, 1930.Google Scholar
Savonarola, Girolamo. Prediche Italiane ai Fiorentini, vol. 3.1, Quaresimale del 1496. Edited by Palmarocchi, Roberto. Florence: La Nuova Italia, 1933.Google Scholar
Savonarola, Girolamo. Prediche sopra Ezechiele. Edited by Ridolfi, Roberto. Vol. 1. Rome: Angelo Belardetti, 1955.Google Scholar
Savonarola, Girolamo. Selected Writings: Religion and Politics, 1490–1498. Edited by Borelli, Anne and Passaro, Maria C. Pastore. New Haven, CT: Yale University Press, 2005.Google Scholar
Savonarola, Michele. Il trattato ginecologico-pediatrico in volgare. Edited by Belloni, Luigi. Milan: Società Italiana di Ostetricia e Ginecologia, 1952.Google Scholar
Scritti d’arte del Cinquecento. Edited by Barocchi, Paola. 9 vols. Turin: G. Einaudi, 1977–79.Google Scholar
Strabo. Geography, Volume VI: Books 13–14. Translated by Jones, Horace Leonard. Loeb Classical Library 223. Cambridge, MA: Harvard University Press, 1929.Google Scholar
Strozzi, Alessandra Macinghi. Lettere di una gentildonna fiorentina del secolo XV ai figliuoli esuli. Edited by Guasti, Cesare. Florence: Sansoni, 1877.Google Scholar
Strozzi, Alessandra Macinghi. Tempo di affetti e di mercanti: lettere ai figli esuli. Milan: Garzanti, 1987.Google Scholar
Strozzi, Alessandra Macinghi. Selected Letters. Translated by Gregory, Heather. Berkeley: University of California Press, 1997.Google Scholar
Tedaldi, Giovanni Battista. “Discorso sopra la pianta dell’aspalato, il musco e l’ambracane.” In Notizie dei secoli XV. e XVI. sull’Italia Polonia e Russia. Edited by Ciampi, Sebastiano. Florence: Leopoldo Allegrini e Giov. Mazzoni, 1833.Google Scholar
Tertullian, . “On the Apparel of Women.” In Fathers of the Third Century: Tertullian, Part Fourth; Minucius Felix; Commodian; Origen, Parts First and Second. Edited by Roberts, Alexander and Donaldson, James. Ante-Nicene Fathers. Vol. 4. Grand Rapids, MI: Eerdmans, 1972.Google Scholar
Theophrastus. Enquiry into Plants, Volume II: Books 6–9. On Odours. Weather Signs. Translated by Hort, Arthur F.. Loeb Classical Library 79. Cambridge, MA: Harvard University Press, 1916.Google Scholar
Trattati d’arte del Cinquecento fra manierismo e Controriforma. Edited by Barocchi, Paola. Vol. 1. Bari: G. Laterza, 1960.Google Scholar
The Trotula. A Medieval Compendium of Women’s Medicine. Translated by Green, Monica H.. Philadelphia: University of Pennsylvania Press, 2001.Google Scholar
Valeriano, Piero. Hieroglyphica. Basel: Thomam Guarinum, 1567.Google Scholar
Varchi, Benedetto. Opere di Benedetto Varchi ora per la prima volta raccolte, con un discorso di A. Racheli intorno alla filologia del secolo XVI e alla vita e agli scritti dell’autore, aggiuntevi le Lettere di Gio. Battista Busini sopra l’assedio di Firenze. 2 vols. Trieste: Sezione Letterario-Artistica del Lloyd Austriaco, 1858–59.Google Scholar
Varchi, Benedetto. Storia Fiorentina. Edited by Milanesi, Gaetano. Vol. 3. Florence: Felice Le Monnier, 1888.Google Scholar
Varro. On the Latin Language, Volume I: Books 5–7. Translated by Kent, Roland G.. Loeb Classical Library 333. Cambridge, MA: Harvard University Press, 1938.Google Scholar
Vasari, Giorgio. Le vite de più eccellenti pittori scultori ed architettori. Edited by Milanesi, Gaetano. 9 vols. Florence: G. C. Sansoni, 1878–85.Google Scholar
Vasari, Giorgio. Lives of the Most Eminent Painters, Sculptors, and Architects. Translated by du C. de Vere, Gaston. 10 vols. London: Macmillan, 1912–15.Google Scholar
Vasari, Giorgio. Der literarische Nachlass Giorgio Vasaris. Edited by Frey, Karl. Vol. 1. Munich: Georg Müller, 1923.Google Scholar
Vasari, Giorgio. Il libro delle ricordanze di Giorgio Vasari. Il carteggio di Giorgio Vasari dal 1563 al 1565. Edited by del Vita, Alessandro. Rome: Reale Istituto d’Archeologia e Storia dell’Arte, 1938.Google Scholar
Vasari, Giorgio. Ragionamenti sopra le invenzioni da lui dipinte in Firenze nel Palazzo vecchio con d. Francesco Medici allora principe di Firenze. Pisa: N. Capurro, 1823.Google Scholar
Villani, Filippo. De origine civitatis florentie et de eiusdem famosis civibus. Edited by Tanturli, Giuliano. Padua: Antenoreis, 1997.Google Scholar
Women’s Secrets: A Translation of Pseudo-Albertus Magnus’s De Secretis Mulierum with Commentaries. Edited by Lemay, Helen Rodnite. Albany, NY: State University of New York Press, 1992.Google Scholar

Secondary Sources

Ajmar-Wollheim, Marta, and Dennis, Flora, eds. At Home in Renaissance Italy. London: Victoria and Albert Museum, 2006.Google Scholar
Alberts, Lindsay. “The studiolo of Francesco I de’ Medici: A Recently-Found Inventory.” ARTHS 2.0 1 (2015): 324.Google Scholar
Albus, Anita. The Art of Arts: Rediscovering Painting. Translated by Robertson, Michael. New York: Alfred A. Knopf, 2000.Google Scholar
Alfano, Marina. “L’armonia di Schifanoia: Allegoria musicale nel Rinascimento.” In Lo Zodiaco del principe: i decani di Schifanoia di Maurizio Bonora. Edited by Bonatti, Elena, 7180. Ferrara: Maurizio Tosi, 1992.Google Scholar
Anderson, Christy, Dunlop, Anne, and Smith, Pamela, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750. Manchester: Manchester University Press, 2015.Google Scholar
Anderson, Jaynie. “A ‘Most Improper Picture’: Transformations of Bronzino’s Erotic Allegory.” Apollo 139 (1994): 1928.Google Scholar
Andrews, Lew. “Botticelli’s ‘Primavera’, Angelo Poliziano, and Ovid’s ‘Fasti’.” Artibus et Historiae 32 (2011): 7384.Google Scholar
Arasse, Daniel, de Vecchi, Pierluigi, and Nelson, Jonathan Katz, eds. Botticelli e Filippino: l’inquietudine e la grazia nella pittura fiorentina del Quattrocento. Milan: Skira, 2004.Google Scholar
Arscott, Caroline, and Scott, Katie, eds. Manifestation of Venus: Art and Sexuality. Manchester: Manchester University Press, 2001.Google Scholar
Ascione, Caterina. “L’arte del corallo: mito, storia e lavorazione dall’antichità ai giorni nostri.” In Il corallo rosso in Mediterraneo: arte, storia e scienza. Edited by Cicogna, Fabio and Cattaneo Vietti, Riccardo, 1136. Rome: Ministero delle risorse agricole alimentari e forestali, 1993.Google Scholar
Austin, Herbert D.Dante Notes: III from Matter to Spirit.” Modern Language Notes 38 (1923): 140–48.Google Scholar
Babcock, Robert G.Astrology and Pagan Gods in Carolingian ‘Vitae’ of St. Lambert.” Traditio 42 (1986): 95113.Google Scholar
Bachmann, Hans-Gert. The Lure of Gold: An Artistic and Cultural History. Translated by Lindberg, Steven. New York: Abbeville Press, 2006.Google Scholar
Baker, Patrick. Italian Renaissance Humanism in the Mirror. Cambridge: Cambridge University Press, 2015.Google Scholar
Baldini, Umberto, Primavera: The Restoration of Botticelli’s Masterpiece. New York: Harry N. Abrams, 1986.Google Scholar
Bambach, Carmen. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600. Cambridge: Cambridge University Press, 1999.Google Scholar
Bambach, Carmen. Michelangelo: Divine Draftsman & Designer. New York: Metropolitan Museum of Art, 2018.Google Scholar
Bambach, Carmen, Cox-Rearick, Janet, and Goldner, George R., eds. The Drawings of Bronzino. New Haven, CT: Yale University Press, 2010.Google Scholar
Barasch, Moshe. Light and Color in the Italian Renaissance Theory of Art. New York: New York University Press, 1978.Google Scholar
Bardeschi, Marco Dezzi et al. Lo Stanzino del Principe in Palazzo Vecchio: I concetti, le immagini, il desiderio. Florence: Le Lettere, 1980.Google Scholar
Barolsky, Paul. Infinite Jest: Wit and Humor in Italian Renaissance Art. Columbia, MO: University of Missouri Press, 1978.Google Scholar
Barolsky, Paul. “Botticelli’s ‘Primavera’ and the Poetic Imagination of Italian Renaissance Art.” Arion: A Journal of Humanities and the Classics 8 (2000): 535.Google Scholar
Barolsky, Paul, and Ladis, Andrew. “The ‘Pleasurable Deceits’ of Bronzino’s So-Called London Allegory.” Source 10 (1991): 3236.Google Scholar
Barriault, Anne B. Spalliera Paintings of Renaissance Tuscany. Fables of Poets for Patrician Homes. University Park, PA: Pennsylvania State University Press, 1994.Google Scholar
Baskins, Cristelle L. Cassone Painting, Humanism, and Gender in Early Modern Italy. New York: Cambridge University Press, 1997.Google Scholar
Bass, Marisa. Jan Gossart and the Invention of Netherlandish Antiquity. Princeton, NJ: Princeton University Press, 2016.Google Scholar
Baxandall, Michael. “Bartholomaus Facius on Painting: A Fifteenth-Century Manuscript of De Viris Illustribus.” Journal of the Warburg and Courtauld Institutes 27 (1964): 90107.Google Scholar
Baxandall, Michael. The Limewood Sculptors of Renaissance Germany. New Haven, CT: Yale University Press, 1980.Google Scholar
Baxandall, Michael. Painting and Experience in Fifteenth-Century Italy. 2nd ed. Oxford: Oxford University Press, 1988.Google Scholar
Bayer, Andrea, ed. Art and Love in Renaissance Italy. New Haven, CT: Yale University Press, 2008.Google Scholar
Béhar, Pierre. Les langues occultes de la Renaissance: E ssai sur la crise intellectuelle de l’Europe au XVIe siècle. Paris: Desjonquères, 1996.Google Scholar
Bellini, Luigi. Gallery Bellini. Museo Bellini dal 1756. Florence: Nerbini, 2009.Google Scholar
Bellosi, Luciano. “Il Maestro della Crocifessione Griggs: Giovanni Toscani.” Paragone 17 (1966): 4458.Google Scholar
Beltrami, Luca. “L’annullamento del contratto di matrimonio fra Galeazzo M. Sforza e Dorotea Gonzaga (1463).” Archivio Storico Lombardo 6 (1889): 126–32.Google Scholar
Berdini, Paolo. “Women under the gaze: A Renaissance Genealogy.” Art History 21 (1998): 565–90.Google Scholar
Bering, Jesse. Why Is the Penis Shaped Like That? New York: Farrar, Straus and Giroux, 2012.Google Scholar
Bertozzi, Marco. “Schifanoia: Il salone dei dipinti perduti. Con una appendice su Aby Warburg: lo ‘stile’ del paganesimo antico.” In Lo Zodiaco del principe: i decani di Schifanoia di Maurizio Bonora. Edited by Bonatti, Elena, 2333. Ferrara: Maurizio Tosi, 1992.Google Scholar
Bestor, Jane Fair. “Marriage Transactions in Renaissance Italy and Mauss’s Essay on the Gift.” Past and Present 164 (1999): 646.Google Scholar
Birbari, Elizabeth. Dress in Italian Painting, 1460–1500. London: John Murray, 1975.Google Scholar
Blazekovic, Zdravko. “Music in Medieval and Renaissance Astrological Imagery.” PhD diss., City University of New York, 1997.Google Scholar
Blume, Dieter. Regenten des Himmels: Astrologische Bilder in Mittelalter und Renaissance. Berlin: Akademie, 2000.Google Scholar
Blume, Dieter. “Michael Scot, Giotto, and the Construction of New Images of the Planets.” In Images of the Pagan Gods: Papers of a Conference in Memory of Jean Seznec. Edited by Duits, Rembrandt and Quiviger, François. Warburg Institute Colloquia 14, 129–50. London: Aragno, 2009.Google Scholar
Blume, Dieter. “Picturing the Stars: Astrological Imagery in the Latin West, 1100–1550.” In A Companion to Astrology in the Renaissance. Edited by Dooley, Brendan, 333–98. Leiden: Brill, 2014.Google Scholar
Boas, Marie. Il Rinascimento scientifico 1450–1630. Milan: Feltrinelli, 1973.Google Scholar
Bomford, David, Dunkerton, Jill, Gordon, Dillian, Roy, Ashok, and Kirby, Jo. Art in the Making. Italian Painting before 1400. London: National Gallery Publications, 1989.Google Scholar
Borris, Kenneth, and Rousseau, George, eds. The Sciences of Homosexuality in Early Modern Europe. London: Routledge, 2008.Google Scholar
Bosch, Lynette. “Time, Truth, and Destiny: Some Iconographical Themes in Bronzino’s Primavera and Giustizia.” Zeitschrift für Kunstgeschichte 73 (1983): 7382.Google Scholar
Bosch, Lynette. “Bronzino’s London Allegory: Love Versus Time.” Source 9 (1990): 3035.Google Scholar
Boskovits, Miklós. “Il Maestro di Incisa Scapaccino e alcuni problemi di pittura tardogotica in Italia.” Paragone 501 (1991): 3553.Google Scholar
Boström, Antonia. “Zanobi Lastricati: A Newly Discovered Document.” Burlington Magazine 136 (1994): 835–36.Google Scholar
Boström, Antonia. “A New Addition to Zanobi Lastricati: Fiorenza or the Venus Anadyomene: The Fluidity of Iconography.” The Sculpture Journal 1 (1997): 16.Google Scholar
Bradburne, James M., ed., Bronzino Revealed. The Hidden Secrets of Three Masterpieces. Florence: Alias, 2010.Google Scholar
Branca, Daniela Delcorno. “Un discepolo del Poliziano: Michele Acciari.” Lettere italiane 28 (1976): 464–81.Google Scholar
Brendel, Otto. “Origin and Meaning of the Mandorla.” Gazette des beaux-arts 25 (1944): 524.Google Scholar
Brizza, Maria Teresa Balboni, ed. Botticelli e il ricamo del Museo Poldi Pezzoli. Storia di un restauro. Milan: Museo Poldi Pezzoli, 1990.Google Scholar
Brock, Maurice. Bronzino. Translated by Radzinowicz, David Poole and Schultz-Touge, Christine. Paris: Flammarion, 2002.Google Scholar
Brody, Lisa R. et al. “A ‘Cassone’ Painted in the Workshop of Paulo Uccello and Possibly Carved in the Workshop of Domenico del Tasso.” Yale University Art Gallery Bulletin (2010): 114–17.Google Scholar
Brooks, Jeanice. “Music as Erotic Magic in Renaissance Romance.” Renaissance Quarterly 69 (2007): 1207–56.Google Scholar
Brown, Clifford, and Lorenzoni, Anna Maria. “Lorenzo Costa in Mantua, Five Autograph Letters.” L’Arte 3 (1970): 102–16.Google Scholar
Brownmiller, Susan. Against Our Will: Men, Women, and Rape. Toronto: University of Toronto Press, 1981.Google Scholar
Bucklow, Spike. The Alchemy of Paint: Art, Science, and Secrets from the Middle Ages. London: Marion Boyars, 2009.Google Scholar
Bucklow, Spike. “Lead White’s Mysteries.” In The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750. Edited by Anderson, Christy, Dunlop, Anne, and Smith, Pamela H., 141–59. Manchester: Manchester University Press, 2015.Google Scholar
Bucklow, Spike. Red: The Art and Science of a Colour. London: Reaktion Books, 2016.Google Scholar
Buhler, Stephen M.Marsilio Ficino’s De stella magorum and Renaissance Views of the Magi.” Renaissance Quarterly 43 (1990): 348–71.Google Scholar
Buranelli, Francesco, Mejía, Jorge, and Duston, Allen, eds. The Fifteenth Century Frescoes in the Sistine Chapel. Vatican City: Musei Vaticani, 2003.Google Scholar
Burke, Jill. Changing Patrons: Social Identity and the Visual Arts in Renaissance Florence. University Park, PA: Pennsylvania State University Press, 2004.Google Scholar
Burke, Jill. “Republican Florence and the Arts, 1494–1513.” In Florence. Edited by Ames-Lewis, Francis, 252–89. Cambridge: Cambridge University Press, 2012.Google Scholar
Burke, Jill. The Italian Renaissance Nude. New Haven, CT: Yale University Press, 2018.Google Scholar
Calamandrei, Egidia Polidori. Le vesti delle donne fiorentine nel Quattrocento. Rome: Multigrafica, 1973.Google Scholar
Callmann, Ellen. Apollonio di Giovanni. Oxford: Clarendon Press, 1974.Google Scholar
Callmann, Ellen. “An Apollonio di Giovanni for an Historic Marriage.” Burlington Magazine 119 (1977): 174–81.Google Scholar
Callmann, Ellen. “Masolino da Panicale and Florentine Cassone Painting.” Apollo 150 (1999): 4249.Google Scholar
Callmann, Ellen. “A ‘Cassone’ Painted in the Workshop of Paolo Uccello and Possibly Carved in the Workshop of Domenico del Tasso.” Yale University Art Gallery Bulletin (2010): 114–17.Google Scholar
Camille, Michael. The Medieval Art of Love: Objects and Subjects of Desire. London: Abrams, 1998.Google Scholar
Campbell, Stephen J. The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d’Este. New Haven, CT: Yale University Press, 2004.Google Scholar
Campbell, Stephen J. The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto’s Italy. Chicago: University of Chicago Press, 2019.Google Scholar
Campbell, Stephen J., and Seekins, Sandra, eds. The Body UnVeiled: Boundaries of the Figure in Early Modern Europe. Ann Arbor, MI: Goetzcraft Printers, 1997.Google Scholar
Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnificence. New Haven, CT: Yale University Press, 2002.Google Scholar
Cantelupe, Eugene B. “The Anonymous Triumph of Venus in the Louvre: An Early Renaissance Example of Mythological Disguise.” Art Bulletin 44 (1962): 238–42.Google Scholar
Capodieci, Luisa. “Caterina de’ Medici e la leggenda della Regina nera. Veleni, incantesimi e negromanzia.” In Le donne Medici nel sistema europeo delle corti XVI–XVIII secolo: atti del Convegno internazionale, Firenze, San Domenico di Fiesole, 6–8 ottobre 2005. Edited by Calvi, Giulia and Spinelli, Riccardo. Vol. 1, 195215. Florence: Polistampa, 2008.Google Scholar
Carli, Cecilia de. I deschi da parto e la pittura del primo Rinascimento toscano. Turin: Umberto Allemandi, 1997.Google Scholar
Cecchi, Alessandro. Botticelli. Milan: Federico Motta, 2005.Google Scholar
Cecchi, Alessandro, and Natali, Antonio, eds. L’officina della maniera: Varietà e fierezza nell’arte fiorentina del Cinquecento fra le due repubbliche 1494–1530. Florence: Giunta, 1996.Google Scholar
Chastel, André. Art et humanisme à Florence au temps de Laurent le Magnifique. Paris: Presses universitaires de France, 1959.Google Scholar
Cheney, Iris. “Bronzino’s London Allegory: Venus, Cupid, Virtue, and Time.” Source 6 (1987): 1218.Google Scholar
Cheney, Liana. Botticelli’s Neoplatonic Images. Potomac, MA: Scripta Humanistica, 1993.Google Scholar
Christopoulos, John. “By ‘Your Own Careful Attention and the Care of Doctors and Astrologers’: Marsilio Ficino’s Medical Astrology and Its Thomist Context.” Bruniana & Campanelliana 16 (2010): 389404.Google Scholar
Clark, Charles W. “A Christian Defense of Astrology in the Twelfth Century: The ‘Liber Cursuum Planetarum’ of Raymond of Marseilles.” International Social Science Review 70 (1995): 93102.Google Scholar
Clark, David Lang. “The Louvre ‘Triumph of Venus’ Panel: A Satire of Misogynists.” Aurora 10 (2009): 112.Google Scholar
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Doubleday, 1956.Google Scholar
Codini, Ewa Karwacka, and Sbrilli, Milletta. Archivio Salviati. Documenti sui beni immobiliari dei Salviati: palazzi, ville, feudi. Piante del territorio. Pisa: Scuola Normale Superiore, 1987.Google Scholar
Cohen, Simona. “The Ambivalent Scorpio in Bronzino’s London Allegory.” Gazette des beaux-arts 135 (2000): 171–88.Google Scholar
Cohen, Simona. Animals as Disguised Symbols in Renaissance Art. Leiden: Brill, 2008.Google Scholar
Colantuono, Anthony. Titian, Colonna and the Renaissance Science of Procreation: Equicola’s Seasons of Desire. Burlington, VT: Ashgate, 2010.Google Scholar
Cole, Bruce. “Three New Works by Cenni di Francesco.” Burlington Magazine 111 (1969): 8183.Google Scholar
Cole, Michael W. Cellini and the Principles of Sculpture. New York: Cambridge University Press, 2002.Google Scholar
Coles, David. Chromatopia: An Illustrated History of Colour. New York: Thames & Hudson, 2019.Google Scholar
Comito, Terry. The Idea of the Garden in the Renaissance. New Brunswick, NJ: Rutgers University Press, 1978.Google Scholar
Compagni, Vittoria Perrone. “La magia ceremoniale del ‘Picatrix’ nel Rinascimento.” Atti dell’Accademia di Scienze Morali e Politiche 88 (1977): 279330.Google Scholar
Compton, Rebekah. “Omnia Vincit Amor: The Sovereignty of Love in Tuscan Poetry & Michelangelo’s Venus and Cupid.” Mediaevalia 33 (2012): 229–60.Google Scholar
Conforti, Claudia. “Il giardino di Castello come immagine del territorio.” In La città effimera e l’universo artificiale del giardino: la Firenze dei Medici e l’Italia del ’500. Edited by Fagiolo, Marcello, 152–61. Rome: Officina, 1980.Google Scholar
Conforti, Claudia. “L’invenzione delle allegorie territoriali e dinastiche del giardino di Castello a Firenze.” In Il giardino come labirinto della storia, 190–97. Palermo: Centro studi di storia e arte dei Giardini, 1984.Google Scholar
Conforti, Claudia. “Acque, condotti, fontane e fronde: le provisioni per la delizia nella villa medicea di Castello.” In Teatro delle acque. Edited by Petruccioli, Attilio and Jones, Dalu, 7689. Rome: Elefante, 1992.Google Scholar
Conforti, Claudia. “Il Castello verde: il giardino di Castello, gli spazi del manierismo.” FMR 12 (1993): 5978.Google Scholar
Connor, Steven. The Book of Skin. Ithaca, NY: Cornell University Press, 2004.Google Scholar
Conway, J. F.Syphilis and Bronzino’s London Allegory.” Journal of the Warburg and Courtauld Institutes 49 (1986): 250–55.Google Scholar
Cooper, Charlotte E.Learning to Read Christine de Pizan’s Epistre Othea.” Pecia. Le livre et l’écrit 17 (2014): 4163.Google Scholar
Copenhaver, Brian. “Scholastic Philosophy and Renaissance Magic in the De vita of Marsilio Ficino.” Renaissance Quarterly 37 (1984): 523–54.Google Scholar
Corli, Gino. “Il testamento di Zanobi Lastricati, scultore fiorentino del Cinquecento.” Mitteilungen des Kunsthistorischen Institutes in Florenz 32 (1988): 580–81.Google Scholar
Costamagna, Philippe. Pontormo. Catalogue raisonné de l’oeuvre peint. Paris: Gallimard, 1994.Google Scholar
Costamagna, Philippe. “Entre Raphaël, Titien et Michel-Ange: les portraits d’Andrea Doria par Sebastiano del Piombo et Bronzino.” In Les portraits du pouvoir: actes du colloque. Edited by Bonfait, Olivier, Desmas, Anne-Lise, and Marin, Brigitte, 2533. Paris: Somogy, 2003.Google Scholar
Costamagna, Philippe. “De la fiorentinità des portraits de Pontormo et de Bronzino.” Paragone 62 (2005): 5075.Google Scholar
Cox-Rearick, Janet. “Themes of Time and Rule at Poggio a Caiano: The Portico Frieze of Lorenzo il Magnifico.” Mitteilungen des Kunsthistorischen Institutes in Florenz 26 (1982): 167210.Google Scholar
Cox-Rearick, Janet. Dynasty and Destiny in Medici Art: Pontormo, Leo X and the Two Cosimos. Princeton, NJ: Princeton University Press, 1984.Google Scholar
Cox-Rearick, Janet. “Sacred to Profane: Diplomatic Gifts of the Medici to Francis I.” Journal of Medieval and Renaissance Studies 24 (1994): 239–58.Google Scholar
Cox-Rearick, Janet. The Collection of Francis I: Royal Treasures. New York: Harry N. Abrams, 1996.Google Scholar
Cox-Rearick, Janet, and Bulgarella, Mary Westerman. “Public and Private Portraits of Cosimo de’ Medici and Eleonora di Toledo: Bronzino’s Paintings of His Ducal Patrons in Ottawa and Turin.” Artibus et Historiae 25 (2004): 101–59.Google Scholar
Cranston, Jodi. The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. University Park, PA: Pennsylvania State University Press, 2010.Google Scholar
Crawford, Katherine. The Sexual Culture of the French Renaissance. Cambridge: Cambridge University Press, 2010.Google Scholar
Cropper, Elizabeth. “On Beautiful Women, Parmigianino, Petrarchismo, and the Vernacular Style.” Art Bulletin 58 (1976): 374–94.Google Scholar
Cuir, Raphaël. The Development of the Study of Anatomy from the Renaissance to Cartesianism: Da Carpi, Vesalius, Estienne, Bidloo. Lewiston, NY: Edwin Mellen Press, 2009.Google Scholar
D’Ambra, Eve. “The Calculus of Venus: Nude Portraits of Roman Matrons.” In Sexuality in Ancient Art: Near East, Egypt, Greece, and Italy. Edited by Kampen, Natalie Boymel, 219–32. Cambridge: Cambridge University Press, 1996.Google Scholar
Damisch, Hubert. The Judgment of Paris. Translated by Goodman, John. Chicago: University of Chicago Press, 1996.Google Scholar
Däubler-Hauschke, Claudia. Geburt und Memoria. Zum italienischen Bildtyp der deschi da parto. Berlin: Deutscher Kunstverlag, 2003.Google Scholar
Davis, Charles. “The Pitfalls of Iconology, or How It Was That Saturn Gelt His Father.” Studies in Iconology 4 (1978): 7994.Google Scholar
Debenedetti, Santorre. “Per la fortuna della Teseida e del Ninfale Fiesolano nel secolo XIV.” Giornale storico della letteratura italiana 40 (1912): 259–64.Google Scholar
Degenhart, Bernhard and Schmitt, Annegrit. Corpus der italienischen Zeichnungen, 1300–1450. Berlin: Mann, 1968.Google Scholar
Del Mare, Cristina. “Corallo in Sicilia dall’XI al XVII secolo: mercanti, tradizione e maestranze ebraiche.” In Mirabilia coralii: capolavori barocchi in corallo tra maestranze ebraiche e trapanesi. Edited by del Mare, Cristina and di Natale, Maria Concetta, 1053. Naples: Arte’m, 2009.Google Scholar
Del Serra, Alfio. “Il restauro della Nascita di Venere.” Gli Uffizi Studi e Ricerche: La Nascita di Venere e l’Annunciazione del Botticelli restaurate 4 (1987): 4957.Google Scholar
Dempsey, Charles. “Mercurius Ver: The Sources of Botticelli’s Primavera.” Journal of the Warburg and Courtauld Institutes 31 (1968): 251–73.Google Scholar
Dempsey, Charles. The Portrayal of Love: Botticelli’s Primavera and Humanist Culture at the Time of Lorenzo the Magnificent. Princeton, NJ: Princeton University Press, 1992.Google Scholar
Dempsey, Charles. Inventing the Renaissance Putto. Chapel Hill: University of North Carolina Press, 2001.Google Scholar
Dempsey, Charles. The Early Renaissance and Vernacular Culture. Cambridge, MA: Harvard University Press, 2012.Google Scholar
DePrano, Maria. Art Patronage, Family, and Gender in Renaissance Florence: The Tornabuoni. Cambridge: Cambridge University Press, 2018.Google Scholar
Deutsch, Monroe E.Caesar and the Pearls of Britain.” The Classical Journal 19 (1924): 503–05.Google Scholar
Draper, J. L. “Vasari’s Decoration in the Palazzo Vecchio: The Ragionamenti Translated with an Introduction and Notes.” PhD diss., University of North Carolina, 1973.Google Scholar
Duits, Rembrandt. Gold Brocade and Renaissance Painting: A Study in Material Culture. London: Pindar, 2008.Google Scholar
Edler de Roover, Florence. “Andrea Banchi, Florentine Silk Manufacturer and Merchant in the Fifteenth Century.” In Studies in Medieval and Renaissance History. Edited by Bowsky, William M.. Vol. 3, 223-85. Lincoln: University of Nebraska Press, 1966.Google Scholar
Edler de Roover, Florence. L’arte della seta a Firenze nei secoli XIV e XV. Edited by Tognetti, Sergio. Florence: Leo S. Olschki, 1999.Google Scholar
Else, Felicia. “‘La Maggior Porcheria Del Mondo’: Documents for Ammannati’s Neptune Fountain.” Burlington Magazine 147 (2005): 487–91.Google Scholar
Else, Felicia. “Bartolomeo Ammannati: Moving Stones, Managing Waterways, and Building an Empire for Duke Cosimo I de’ Medici.” Sixteenth Century Journal 42 (2011): 393425.Google Scholar
Else, Felicia. The Politics of Water in the Art and Festivals of Medici Florence: From Neptune Fountain to Naumachia. London: Routledge, 2018.Google Scholar
Ettlinger, Helen S.The Portraits in Botticelli’s Villa Lemmi Frescoes.” Mitteilungen des Kunsthistorischen Institutes in Florenz 20 (1976): 404407.Google Scholar
Evans, Mark, and Weppelmann, Stefan, eds. Botticelli Reimagined. London: V&A Publishing, 2016.Google Scholar
Even, Yael. “The Heroine as Hero in Michelangelo’s Art.” Woman’s Art Journal 11 (1990): 2933.Google Scholar
Fahy, Everett. “Florence and Naples: A Cassone Panel in the Metropolitan Museum of Art.” In Hommage à Michel Laclotte. Études sur la peinture du Moyen Age et de la Renaissance. Edited by Rosenberg, Pierre, Scailliérez, Cécile, and Thiébaut, Dominique, 231–43. Milan: Electa, 1994.Google Scholar
Falciani, Carlo, and Natali, Antonio, eds. Bronzino: Artist and Poet at the Court of the Medici. Florence: Mandragora, 2010.Google Scholar
Falciani, Carlo, and Natali, Antonio, Pontormo and Rosso Fiorentino: Diverging Paths of Mannerism. Florence: Mandragora, 2014.Google Scholar
Falletti, Franca, and Nelson, Jonathan Katz, eds. Venus and Love: Michelangelo and the New Ideal of Beauty. Florence: Giunti, 2002.Google Scholar
Fazzini, Antonio. “Collezionismo privato nella Firenze del Cinquecento. L’ ‘appartamento nuovo’ di Jacopo di Alamanno Salviati.” Annali della Scuola Normale Superiore di Pisa. Classe di lettere e filosofia 3 (1993): 192224.Google Scholar
Ferguson, Gary. Queer (Re) Readings in the French Renaissance: Homosexuality, Gender, Culture. Aldershot: Ashgate, 2008.Google Scholar
Ferruolo, Arnolfo B. “Botticelli’s Mythologies, Ficino’s De Amore, Poliziano’s Stanze per la Giostra: Their Circle of Love.” Art Bulletin 37 (1955): 1725.Google Scholar
Field, Arthur. The Origins of the Platonic Academy of Florence. Princeton, NJ: Princeton University Press, 1988.Google Scholar
Fisher, Will. “Peaches and Figs: Bisexual Eroticism in the Paintings and Burlesque Poetry of Bronzino.” In Sex Acts in Early Modern Italy: Practice, Performance, Perversion, Punishment. Edited by Levy, Allison, 151–64. Farnham: Ashgate, 2010.Google Scholar
Flory, Marleen B.Pearls for Venus.” Historia: Zeitschrift für Alte Geschichte 37 (1988): 498500.Google Scholar
Focillon, Henri. The Life of Forms in Art. New York: Zone Books, 1989.Google Scholar
Fowler, Caroline. “Technical Art History as Method.” Art Bulletin 101 (2019): 917.Google Scholar
Fox, Anna. “The New and the Old: The Spread of Syphilis (1494–1530).” In Sex and Gender in Historical Perspective. Edited by Muir, Edward and Ruggiero, Guido, 2645. Baltimore: Johns Hopkins University Press, 1990.Google Scholar
Franklin, David. “Ridolfo Ghirlandaio’s altarpieces for Leonardo Buonafé and the Hospital of S. Maria Nuova in Florence.” Burlington Magazine 135 (1993): 416.Google Scholar
Franklin, David. “Towards a New Chronology for Ridolfo Ghirlandaio and Michele Tosini.” Burlington Magazine 140 (1998): 445–55.Google Scholar
Franklin, David. “Ridolfo Ghirlandaio and the Retrospective Tradition in Florentine Painting.” In Italian Renaissance Masters. Edited by Sawkins, Annemarie, Franklin, David, and Alexander Waldman, Louis, 1721. Milwaukee, WI: Haggerty Museum of Art, 2001.Google Scholar
Freedman, Luba. The Revival of the Olympian Gods in Renaissance Art. Cambridge: Cambridge University Press, 2003.Google Scholar
Freedman, Luba. Classical Myths in Italian Renaissance Painting. Cambridge: Cambridge University Press, 2011.Google Scholar
Freud, Sigmund. Civilization and Its Discontents. Translated and edited by Strachey, James. New York: W. W. Norton & Company, 1961.Google Scholar
Frick, Carole Collier. Dressing Renaissance Florence. Families, Fortunes, & Fine Clothing. Baltimore: Johns Hopkins University Press, 2002.Google Scholar
Frieda, Leonie. Catherine de Medici: Renaissance Queen of France. New York: Harper, 2003.Google Scholar
Galinsky, Karl. Ovid’s Metamorphoses: An Introduction to Its Basic Aspects. Oxford: Blackwell, 1975.Google Scholar
Galletti, Giorgio. “Tribolo maestro delle acque dei giardini.” In Niccolò detto il Tribolo tra arte, architettura e paesaggio. Edited by Pieri, Elisabetta and Zangheri, Luigi, 151–60. Poggio a Caiano: Comune di Poggio a Caiano, 2001.Google Scholar
Garin, Eugenio. Astrology in the Renaissance: Zodiac of Life. Translated by Jackson, Carolyn, Allen, June, and Robertson, Clare. London: Arkana, 1990.Google Scholar
Garrard, Mary. Brunelleschi’s Egg: Nature, Art, and Gender in Renaissance Italy. Berkeley: University of California Press, 2010.Google Scholar
Garzelli, Annarosa. Il ricamo nella attività artistica di Pollaiolo, Botticelli, Bartolomeo di Giovanni. Florence: Edam, 1973.Google Scholar
Gaston, Robert. “Love’s Sweet Poison: A New Reading of Bronzino’s London ‘Allegory’.” I Tatti Studies in the Italian Renaissance 4 (1991): 249–88.Google Scholar
Gell, Alfred. “The Technology and the Enchantment of Technology.” In Anthropology, Art, and Aesthetics. Edited by Coote, Jeremy and Shelton, Anthony, 4063. Oxford: Clarendon Press, 1992.Google Scholar
Gell, Alfred. Art and Agency: An Anthropological Theory. Oxford: Oxford University Press, 1998.Google Scholar
Gettens, Rutherford J., and Fitzhugh, Elisabeth West. “Malachite and Green Verditer.” Studies in Conservation 19 (1974): 223.Google Scholar
Gilbert, Creighton E.The Archbishop on the Painters of Florence, 1450.” Art Bulletin 41 (1959): 7587.Google Scholar
Gilbert, Creighton E.Ghiberti on the Destruction of Art.” I Tatti Studies in the Italian Renaissance 6 (1995): 135–44.Google Scholar
Gill, Meredith. Angels and the Order of Heaven in Medieval and Renaissance Italy. Cambridge: Cambridge University Press, 2014.Google Scholar
Gillies, Jean. “The Central Figure in Botticelli’s ‘Primavera’.” Woman’s Art Journal 2 (1981): 1216.Google Scholar
Gilson, Simon A. Medieval Optics and Theories of Light in the Works of Dante. Lewiston, NY: Edwin Mellen Press, 2000.Google Scholar
Gnignera, Elisabetta. I soperchi ornamenti: copricapi e acconciature femminili nell’Italia del Quattrocento. Siena: Protagon, 2010.Google Scholar
Godman, Peter. From Poliziano to Machiavelli: Florentine Humanism in the High Renaissance. Princeton, NJ: Princeton University Press, 1998.Google Scholar
Goffen, Rona. Titian’s Women. New Haven, CT: Yale University Press, 1997.Google Scholar
Goldthwaite, Richard A.An Entrepreneurial Silk Weaver in Renaissance Florence.” I Tatti Studies in the Italian Renaissance 10 (2005): 69126.Google Scholar
Gombrich, E. H.Botticelli’s Mythologies: A Study in the Neoplatonic Symbolism of His Circle.” Journal of the Warburg and Courtauld Institutes 8 (1945): 760.Google Scholar
Gombrich, E. H. “Apollonio di Giovanni: A Florentine Cassone Workshop Seen through the Eyes of a Humanist Poet.” Journal of the Warburg and Courtauld Institutes 18 (1955): 1634.Google Scholar
González, J. J. Martín. “El Palacio de Aranjuez en el siglo XVI.” Archivo Español de Arte 35 (1962): 237–52.Google Scholar
Greenfield, Amy Butler. A Perfect Red: Empire, Espionage, and the Quest for the Color of Desire. New York: Harper Perennial, 2006.Google Scholar
Gregory, Heather. “Daughters, Dowries and the Family in Fifteenth Century Florence.” Rinascimento 27 (1987): 215–37.Google Scholar
Hagstrom, Aurelie A.The Symbol of the Mandorla in Christian Art: Recovery of a Feminine Archetype.” ARTS 10 (1998): 2529.Google Scholar
Hale, J. R. Florence and the Medici: The Pattern of Control. London: Thames and Hudson, 1977.Google Scholar
Hall, Marcia B. Color and Meaning: Practice and Theory in Renaissance Painting. Cambridge: Cambridge University Press, 1992.Google Scholar
Hall, Marcia B., ed. Color and Technique in Renaissance Painting: Italy and the North. Locust Valley, NY: J. J. Augustin, 1987.Google Scholar
Hankey, Teresa. “Salutati’s Epigrams for the Palazzo Vecchio at Florence.” Journal of the Warburg and Courtauld Institutes 22 (1959): 363–65.Google Scholar
Hatfield, Rab. “The Compagnia de’ Magi.” Journal of the Warburg and Courtauld Institutes 33 (1970): 107–61.Google Scholar
Hatfield, Rab. Botticelli’s Uffizi “Adoration”: A Study in Pictorial Content. Princeton, NJ: Princeton University Press, 1976.Google Scholar
Herald, Jacqueline. Renaissance Dress in Italy 1400–1500. London: Bell & Hyman, 1981.Google Scholar
Herman, Eleanor. The Royal Art of Poison: Filthy Palaces, Fatal Cosmetics, Deadly Medicine, and Murder Most Foul. New York: St. Martin’s Press, 2018.Google Scholar
Hibbard, Howard. Michelangelo: Painter, Sculptor, Architect. New York: Vendome, 1978.Google Scholar
Hills, Paul. The Light of Early Italian Painting. New Haven, CT: Yale University Press, 1987.Google Scholar
Hills, Paul. Veiled Presence: Body and Drapery from Giotto to Titian. New Haven, CT: Yale University Press, 2018.Google Scholar
Hindman, Sandra L. Christine de Pizan’s Epistre Othéa: Painting and Politics at the Court of Charles VI. Studies and Texts 77. Toronto: Pontifical Institute of Mediaeval Studies, 1986.Google Scholar
Hirst, Michael. Michelangelo and His Drawings. New Haven, CT: Yale University Press, 1988.Google Scholar
Hope, Charles. “Bronzino’s Allegory in the National Gallery.” Journal of the Warburg and Courtauld Institutes 45 (1982): 239–43.Google Scholar
Horne, Herbert P. Alessandro Filipepi, Commonly Called Sandro Botticelli, Painter of Florence. Vol. 1. London: G. Bell & Sons, 1908.Google Scholar
Hornik, Heidi J.The Strozzi Chapel by Michele Tosini: A Visual Interpretation of Redemptive Epiphany.” Artibus et Historiae 23 (2002): 97118.Google Scholar
Hornik, Heidi J. Michele Tosini and the Ghirlandaio Workshop in Cinquecento Florence. Portland, OR: Sussex Academic Press, 2009.Google Scholar
Hughes, Graham. Renaissance Cassoni: Masterpieces of Early Italian Art: Painted Marriage Chests 1400–1500. London: Art Books International, 1997.Google Scholar
Hurlbut, Holly S. Daughter of Venice: Caterina Corner, Queen of Cyprus and Woman of the Renaissance. New Haven, CT: Yale University Press, 2015.Google Scholar
Hurtubise, Pierre. Une famille-témoin. Les Salviati. Vatican City: Biblioteca Apostolica Vaticana, 1985.Google Scholar
Innocenti, Clarice, ed. Caterina e Maria de’ Medici: donne al potere. Firenze celebra il mito di due regine di Francia. Florence: Madragora, 2008.Google Scholar
Jacobs, Fredrika H. “Aretino and Michelangelo, Dolce and Titian: Femmina, Masculo, Grazia.” Art Bulletin 82 (2000): 5167.Google Scholar
James, Liz. Light and Colour in Byzantine Art. Oxford: Clarendon Press, 1996.Google Scholar
Janes, Dominic. God and Gold in Late Antiquity. Cambridge: Cambridge University Press, 1998.Google Scholar
Joannides, Paul. Masaccio and Masolino: A Complete Catalogue. London: Harry N. Abrams, 1993.Google Scholar
Johnson, Marguerite. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts. London: Bloomsbury, 2016.Google Scholar
Jurdjevic, Mark. “Politicians and Prophets: Marsilio Ficino, Savonarola, and the Valori Family.” Past and Present 183 (2004): 4177.Google Scholar
Kanter, Laurence B.The ‘cose piccole’ of Paolo Uccello.” Apollo 52 (2000): 1120.Google Scholar
Kanter, Laurence B., and Palladino, Pia, et al. Fra Angelico. New Haven, CT: Yale University Press, 2005.Google Scholar
Kay, Richard. Dante’s Christian Astrology. Philadelphia: University of Pennsylvania Press, 1994.Google Scholar
Keach, William. “Cupid Disarmed or Venus Wounded? An Ovidian Source for Michelangelo and Bronzino.” Journal of the Warburg and Courtauld Institutes 41 (1978): 327–31.Google Scholar
Kemp, Christopher. Floating Gold: A Natural (and Unnatural) History of Ambergris. Chicago: University of Chicago Press, 2012.Google Scholar
Kirby, Jo. “The Price of Quality: Factors Influencing the Cost of Pigments during the Renaissance.” In Revaluing Renaissance Art. Edited by Neher, Gabriele and Shepherd, Rupert, 1942. Aldershot: Ashgate, 2000.Google Scholar
Kirby, Jo, van Bommel, Maarten, and Verhecken, André, eds. Natural Colorants for Dyeing and Lake Pigments. Practical Recipes and Their Historical Sources. London: Archetype, 2014.Google Scholar
Klapisch-Zuber, Christiane. Women, Family, and Ritual in Renaissance Italy. Translated by Cochrane, Lydia. Chicago: University of Chicago Press, 1985.Google Scholar
Kleinbub, Christian. Vision and the Visionary in Raphael. University Park, PA: Pennsylvania State University Press, 2011.Google Scholar
Kline, Katy, ed. Beauty & Duty: The Art and Business of Renaissance Marriage. Brunswick: Bowdoin College Museum of Art, 2008.Google Scholar
Knecht, Robert J. Renaissance Warrior and Patron: The Reign of Francis I. Cambridge: Cambridge University Press, 1994.Google Scholar
Körner, Hans. “‘Più femmine gnude bellissime’. Entkontextualisierung als künstlerische und ökonomische Strategie im Werk von Sandro Botticelli.” In Sandro Botticelli (1445–1510): Artist and Entrepreneur in Renaissance Florence. Proceedings of the International Conference Held at the Dutch University Institute for Art History, Florence, 20–21 June 2014. Edited by Jan van der Sman, Gert and Mariani, Irene, 7599. Florence: Centro Di, 2015.Google Scholar
Kren, Thomas, with Jill Burke, and Campbell, Stephen J., eds. The Renaissance Nude. Los Angeles: J. Paul Getty Museum, 2018.Google Scholar
Kreytenberg, Gert. “Andrea Pisano’s Earliest Works in Marble.” Burlington Magazine 122 (1980): 37, 9.Google Scholar
Kreytenberg, Gert. Andrea Pisano und die toskanishce Skulptur des 14. Jahrhunderts. Munich: Bruckmann, 1984.Google Scholar
Kristeller, Paul Oscar. “The Platonic Academy of Florence.” Renaissance News 14 (1961): 147–59.Google Scholar
Kristeller, Paul Oscar. Renaissance Thought and Its Sources. Edited by Mooney, Michael. New York: Columbia University Press, 1979.Google Scholar
Kristeller, Paul Oscar. “Marsilio Ficino and the Roman Curia.” Humanistica Lovaniensia 34 (1985): 8398.Google Scholar
Kubersky-Piredda, Susanne. “The Market for Painters’ Materials in Renaissance Florence.” In Trade in Artists’ Materials: Markets and Commerce in Europe to 1700. Edited by Kirby, Jo, Nash, Susie, and Cannon, Joanna, 223–43. London: Archetype, 2010.Google Scholar
La Malfa, Claudia. “Firenze e l’allegoria dell’eloquenza: una nuova interpretazione della Primavera di Botticelli.” Storia dell’Arte 97 (1999): 249–93.Google Scholar
Lacan, Jacques. The Four Fundamental Concepts of Psychoanalysis. Edited by Miller, Jacques-Alain. Translated by Sheridan, Alan. London: Kainac, 2004.Google Scholar
Landini, Roberta Orsi, and Niccoli, Bruna. Moda a Firenze, 1540–1580: Lo stile di Eleonora di Toledo e la sua influenza. Florence: Pagliai Polistampa, 2005.Google Scholar
Landor, John. “The Question of Breast Cancer in Michelangelo’s ‘Night’.” Source: Notes in the History of Art 25 (2006): 2729.Google Scholar
Laqueur, Thomas. Making Sex: Body and Gender from the Greeks to Freud. Cambridge, MA: Harvard University Press, 1990.Google Scholar
Laqueur, Thomas. “Amor Veneris, vel Dulcedo Appeletur.” In Feminism & the Body. Edited by Schiebinger, Londa, 5886. Oxford: Oxford University Press, 2000.Google Scholar
Lawner, Lynne. I Modi: The Sixteen Pleasures. An Erotic Album of the Italian Renaissance. Evanston, IL: Northwestern University Press, 1988.Google Scholar
Lazzaro, Claudia. The Italian Renaissance Garden. New Haven, CT: Yale University Press, 1990.Google Scholar
Leach, Eleanor Winsor. “Plautus’ Rudens: Venus Born from a Shell.” Texas Studies in Literature and Language 15 (1974): 915–31.Google Scholar
Lecchini Giovannoni, Simona. Alessandro Allori. Turin: Allemandi, 1991.Google Scholar
Lee, Vernon. Juvenilia: Being a Second Series of Essays on Sundry Aesthetical Questions. Boston: Roberts Brothers, 1887.Google Scholar
Lehmann, Sophie. “Fleshing Out the Body: The ‘Colours of the Naked’ in Workshop Practice and Art Theory, 1400–1600.” Nederlands Kunsthistorisch Jaarboek 58 (2007–2008): 87109.Google Scholar
Lehmann, Sophie. “How Materials Make Meaning.” Nederlands Kunsthistorisch Jaarboek (NKJ/ Netherlands Yearbook for History of Art 62 (2012): 627.Google Scholar
Levey, Michael. “Sacred and Profane Significance in Two Paintings by Bronzino.” In Studies in Renaissance and Baroque Art Presented to Anthony Blunt on His Sixtieth Birthday, 3033. London: Phaidon, 1967.Google Scholar
Levi D’Ancona, Mirella. The Garden of the Renaissance: Botanical Symbolism in Italian Painting. Florence: Leo S. Olschki, 1977.Google Scholar
Levi D’Ancona, Mirella. Botticelli’s Primavera: A Botanical Interpretation Including Astrology, Alchemy and the Medici. Florence: Leo S. Olschki, 1983.Google Scholar
Liebert, Robert. Michelangelo: A Psychoanalytic Study of His Life and Images. New Haven, CT: Yale University Press, 1983.Google Scholar
Lindquist, Sherry C. M., ed. The Meanings of Nudity in Medieval Art. Farnham: Ashgate, 2012.Google Scholar
Long, Jane C.Botticelli’s ‘Birth of Venus’ as Wedding Painting.” Aurora: The Journal of the History of Art 9 (2008): 127.Google Scholar
Long, Jane C.The Survival and Reception of the Classical Nude: Venus in the Middle Ages.” In The Meanings of Nudity in Medieval Art. Edited by Lindquist, Sherry C. M., 4764. Farnham: Ashgate, 2012.Google Scholar
Luchinat, Cristina Acidini, ed. Fiorenza in Villa. Florence: Alinari, 1987.Google Scholar
Luchinat, Cristina Acidini, and Galletti, Giorgio. Le ville e i giardini di Castello e Petraia a Firenze. Ospedaletto: Pacini, 1992.Google Scholar
Maclagan, Eric, and Longhurst, Margaret H.. Catalogue of Italian Sculpture. Text. London: Victoria and Albert Museum, 1932.Google Scholar
Mahnke, Dietrich. Unendliche Sphäre und Allmittelpunkt. Beitrage zur Genealogie der mathematischen Mystik. Halle an der Saale: M. Neimeyer, 1937.Google Scholar
Marchi, Piero. I blasoni delle famiglie toscane conservati nella raccolta Ceramelli-Papiani. Rome: Athena, 1992.Google Scholar
Markale, Jean. Courtly Love: The Path of Sexual Initiation. Translated by Graham, Jon. Rochester, VT: Inner Traditions, 2000.Google Scholar
Markey, Lia. Imagining the Americas in Medici Florence. University Park, PA: Pennsylvania State University Press, 2016.Google Scholar
Marle, Raimond van. Iconographie de l’art profane au Moyen-Age et à la Renaissance et la décoration des demeures. Vol. 2. Hague: Nijhoff, 1932.Google Scholar
Mather, Frank J.A Quattrocento Toilet Box in the Louvre.” Art in America 11 (1922): 4551.Google Scholar
Matteini, Mauro, and Moles, Archangelo. “La Primavera, Tecnica di esecuzione e stato di conservazione.” In Metodo e scienza operatività e ricerca nel restauro (Firenze 23 giugno 1982–6 gennaio 1983). Edited by Baldini, Umberto, 226–33. Florence: Sansoni, 1983.Google Scholar
Matteini, Mauro, and Moles, Archangelo. “Indagine sui materiali e le stesure pittoriche del dipinto.” Gli Uffizi Studi e Ricerche: La Nascita di Venere e l’Annunciazione del Botticelli restaurate 4 (1987): 7582.Google Scholar
Matthew, Louisa C. “‘Vendecolori a Venezia’: The Reconstruction of a Profession.” Burlington Magazine 144 (2002): 680–86.Google Scholar
Matthews-Grieco, Sara F., and Brevaglieri, Sabina, eds. Monaca Moglie Serva Cortigiana: Vita e immagine delle donne tra Rinascimento e Controriforma. Florence: Morgana Edizioni, 2001.Google Scholar
Maylender, Michele. Storia delle Accademie d’Italia. Vol. 4. Bologna: Licinio Cappelli, 1929.Google Scholar
Mazzi, Curzio. Due provvisioni suntuarie fiorentine (29 novembre 1464, 29 febbraio 1471 [1472]). Florence: C. Mazzi, 1908.Google Scholar
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): 445–90.Google Scholar
McCall, Timothy, Roberts, Sean, and Fiorenza, Giancarlo, eds. Visual Cultures of Secrecy in Early Modern Europe. Kirksville, MI: Truman State University Press, 2013.Google Scholar
McHam, Sarah Blake. Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the “Natural History”. New Haven, CT: Yale University Press, 2013.Google Scholar
Meadows, J. W.Pliny on the Smaragdus.” The Classical Review 59 (1945): 5051.Google Scholar
Meiss, Millard. “The Earliest Work of Giovanni di Paolo.” Art in America 24 (1936): 137–43.Google Scholar
Meiss, Millard. French Painting in the Time of Jean de Berry. The Limbourgs and Their Contemporaries. London: Thames and Hudson, 1974.Google Scholar
Melchior-Bonnet, Sabine. The Mirror: A History. Translated by Jewett, Katharine H.. New York: Routledge, 2001.Google Scholar
Mendelsohn, Leatrice. “Saturnian Allusions in Bronzino’s London Allegory.” In Saturn from Antiquity to the Renaissance. Edited by Ciavolella, Massimo and Iannucci, Amilcare, 101–50. Toronto: Dovehouse, 1992.Google Scholar
Mendelsohn, Leatrice. “The Sum of the Parts: Recycling Antiquities in the Maniera Workshops of Salviati and His Colleagues.” In Francesco Salviati et la bella maniera: actes des colloques de Rome et de Paris, 1998. Edited by Goguel, Catherine Monbeig, Costamagna, Philippe, and Hochmann, Michel, 107–48. Rome: École Française de Rome, 2001.Google Scholar
Mensger, Ariane, ed. Weibsbilder: Eros, Macht, Moral und Tod um 1500. Berlin: Deutscher Kunstverlag, 2017.Google Scholar
Meoni, Lucia. Gli arazzi nei musei fiorentini. La collezione medicea. Livorno: Sillabe, 1998.Google Scholar
Meoni, Lucia, ed. The Myth of Venus. Milan: Silvana, 2003.Google Scholar
Merrifield, Mary P. Original Treatises on the Arts of Painting. Vol. 2. New York: Dover, 1967.Google Scholar
Milanesi, Gaetano. “Della Venere baciata da Cupido, dipinta dal Pontormo sul cartone di Michelangiolo Buonarroti.” In Le opere di Giorgio Vasari. Vol. 4, 291–95. Florence: Sansone, 1881.Google Scholar
Miziolek, Jerzy. “The Awakening of Paris and the Beauty of the Goddesses: Two Cassoni from the Lanckoronski Collection.” Mitteilungen des Kunsthistorischen Institutes in Florenz 51 (2007): 299336.Google Scholar
Moffitt, John F.A Hidden Sphinx by Agnolo Bronzino, ‘Ex Tabula Cebetis Thebani’.” Renaissance Quarterly 46 (1993): 277307.Google Scholar
Moffitt, John F. “An Exemplary Humanist Hybrid: Vasari’s ‘Fraud’ with Reference to Bronzino’s ‘Sphinx’.” Renaissance Quarterly 49 (1996): 303–33.Google Scholar
Molà, Luca. The Silk Industry of Renaissance Venice. Baltimore: Johns Hopkins University Press, 2000.Google Scholar
Mondor, Henri. Anatomistes et chirurgiens. Edited by Mondor, Henri. Paris: Editions Fragrance, 1949.Google Scholar
Monson, Don A. Andreas Capellanus, Scholasticism, & the Courtly Tradition. Washington, DC: The Catholic University of America Press, 2005.Google Scholar
Moskowitz, Anita Fiderer. The Sculpture of Andrea and Nino Pisano. Cambridge: Cambridge University Press, 1986.Google Scholar
Motti, G., and Ricceri, C.. “Piante e fiori nella ‘Primavera’.” In Metodo e scienza operativita’ e ricerca nel restauro (Firenze 23 giugno 1982–6 gennaio 1983). Edited by Baldini, Umberto, 217–55. Florence: Sansoni, 1983.Google Scholar
Mozzati, Tommaso. “Il tempio di Cnido. Il nudo e il suo linguaggio nell’età di Giambologna.” In Giambologna. Gli dei, gli eroi. Genesi e fortuna di uno stile europeo nella scultura. Catalogo della mostra (Firenze, 2 Marzo–15 giugno 2006). Edited by Zikos, Dimitrios and Strozzi, Beatrice Paolozzi, 6687. Florence: Giunti, 2006.Google Scholar
Muccini, Ugo, and Cecchi, Alessandro. The Apartments of Cosimo in Palazzo Vecchio. Florence: Le Lettere, 1991.Google Scholar
Munro, John H. “The Medieval Scarlet and the Economics of Sartorial Splendour.” In Cloth and Clothing in Medieval Europe. Edited by Carus-Wilson, E. M., Ponting, Kenneth G., and Harte, N. B., 1370. London: Heinemann, 1983.Google Scholar
Müntz, Eugène. Les collections des Médicis au XVe siècle. Paris: Jules Rouam, 1888.Google Scholar
Murphy, Caroline P. Murder of a Medici Princess. Oxford: Oxford University Press, 2008.Google Scholar
Musacchio, Jacqueline Marie. “Imaginative Conceptions in Renaissance Italy.” In Picturing Women in Renaissance and Baroque Italy. Edited by Johnson, Geraldine A. and Grieco, Sara F. Matthews, 4260. Cambridge: Cambridge University Press, 1997.Google Scholar
Musacchio, Jacqueline Marie. The Art and Ritual of Childbirth in Renaissance Italy. New Haven, CT: Yale University Press, 1999.Google Scholar
Musacchio, Jacqueline Marie. Art, Marriage, & Family in the Florentine Renaissance Palace. New Haven, CT: Yale University Press, 2008.Google Scholar
Nagel, Alexander. “Gifts for Michelangelo and Vittoria Colonna.” Art Bulletin 79 (1997): 647–68.Google Scholar
Nagler, A. M. Theatre Festivals of the Medici, 1539–1637. New Haven, CT: Yale University Press, 1964.Google Scholar
Nauert, Charles G. Humanism and the Culture of Renaissance Europe. Cambridge: Cambridge University Press, 2006.Google Scholar
Negro, Angela. Venere e Amore di Michele di Ridolfo del Ghirlandaio: Il mito di una Venere di Michelangelo fra copie, repliche e pudiche vestizioni. Rome: Campisano, 2001.Google Scholar
Nelson, Jonathan Katz. “Putting Botticelli and Filippino in Their Place: The Intended Height of Spalliera Paintings and Tondi.” In Invisibile agli occhi. Atti della giornata di studi in ricordo di Lisa Venturini, Firenze, Fondazione Roberto Longhi, 15 dicembre 2005. Edited by Baldini, Nicoletta, 5363. Florence: Fondazione di studi di storia dell’arte Roberto Longhi, 2007.Google Scholar
Neri, Enrica Lusanna. “Un ciclo di affreschi dominicano e l’attività tarda di Pietro di Miniato.” Arte Cristiana 710 (1985): 301–14.Google Scholar
Nesi, Alessandro. Ciano profumiere: un personaggio stravagante della corte di Cosimo de’ Medici. Florence: Maniera, 2015.Google Scholar
Nethersole, Scott. Art and Violence in Early Renaissance Florence. New Haven, CT: Yale University Press, 2018.Google Scholar
Nethersole, Scott. Art of Renaissance Florence: A City and Its Legacy. London: Laurence King Publishing, 2019.Google Scholar
Norman, Diana, ed. Siena, Florence and Padua: Art, Society and Religion 1280–1400. Vol. 1. New Haven, CT: Yale University Press, 1995.Google Scholar
Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500. New Haven, CT: Yale University Press, 2004.Google Scholar
Palagi, Giuseppe. Di Zanobi Lastricati, scultore e fonditore fiorentino del secolo XVI. Ricordi e documenti. Florence: Le Monnier, 1871.Google Scholar
Panofsky, Dora, and Panofsky, Erwin. “The Iconography of the Galerie François Ier at Fontainebleau.” Gazette des Beaux-Arts 1(1958): 114–90.Google Scholar
Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York: Harper & Row, 1962.Google Scholar
Panofsky, Erwin, and Saxl, Fritz. “Classical Mythology in Mediaeval Art.” Metropolitan Museum Studies 4 (1933): 228–80.Google Scholar
Paoletti, John. “Michelangelo’s Masks.” Art Bulletin 74 (1992): 423–40.Google Scholar
Paolini, Claudio, Parenti, Daniela, and Sebregondi, Ludovica, eds. Virtù d’amore. Pittura nuziale nel Quattrocento fiorentino. Florence: Giunti, 2010.Google Scholar
Parker, Deborah. Bronzino: Renaissance Painter as Poet. Cambridge: Cambridge University Press, 2000.Google Scholar
Parker, Deborah. “The Poetry of Patronage: Bronzino and the Medici.” Renaissance Studies 17 (2003): 135–45.Google Scholar
Pastoureau, Michel. Green: The History of a Color. Translated by Gladding, Jody. Princeton, NJ: Princeton University Press, 2014.Google Scholar
Pastoureau, Michel. Red: The History of a Color. Translated by Gladding, Jody. Princeton, NJ: Princeton University Press, 2016.Google Scholar
Pendergrast, Mark. Mirror, Mirror: A History of the Human Love Affair with Reflection. New York: Basic Books, 2003.Google Scholar
Perlman, Julia Branna. “Venus, Myrrha, Cupid and/as Adonis: Metamorphoses 10 and the Artistry of Incest.” In Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe. Edited by Keith, Alison and Rupp, Stephen, 223–38. Toronto: Centre for Reformation and Renaissance Studies, 2007.Google Scholar
Pierguidi, Stefano. “Botticelli and Protogenes: An Anecdote from Pliny’s Naturalis Historia.” Source 21 (2002): 1518.Google Scholar
Pisetzky, Rosita Levi. Storia del costume in Italia. Vol. 2. Milan: Istituto Editoriale Italiano, 1964.Google Scholar
Plazzotta, Carol, and Keith, Larry. “Bronzino’s ‘Allegory’: New Evidence of the Artist’s Revisions.” Burlington Magazine 14 (1999): 8999.Google Scholar
Pollard, John Graham. Renaissance Medals. The Collections of the National Gallery of Art Systematic Catalogue. Vol. 2. Washington, DC: National Gallery of Art, 2007.Google Scholar
Poncet, Christopher. La scelta di Lorenzo: La Primavera di Botticelli tra poesia e filosofia. Pisa: Fabrizio Serra, 2012.Google Scholar
Poncet, Christopher. “Ficino’s Little Academy of Careggi.” Bruniana & Campanelliana 19 (2013): 6776.Google Scholar
Pope-Hennessy, John. Giovanni di Paolo, 1403–1483. New York: Oxford University Press, 1938.Google Scholar
Pope-Hennessy, John. Catalogue of Italian Sculpture in the Victoria and Albert Museum. Volume I: Text. Eighth to Fifteenth Century. London: Her Majesty’s Stationery Office, 1964.Google Scholar
Previtali, Giovanni. Gotico a Siena: miniature, pitture oreficerie, oggetti d’arte. Florence: Centro Di, 1982.Google Scholar
Prizer, William. “Games of Venus: Secular Vocal Music in the Late Quattrocento and Early Cinquecento.” Journal of Musicology 9 (1991): 356.Google Scholar
Prosperetti, Leopoldine. Landscape and Philosophy in the Art of Jan Brueghel the Elder (1568–1625). Aldershot: Ashgate, 2009.Google Scholar
Quinlan-McGrath, Mary. Influences: Art, Optics, and Astrology in the Italian Renaissance. Chicago: University of Chicago Press, 2013.Google Scholar
Randolph, Adrian W. B. Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence. New Haven, CT: Yale University Press, 2002.Google Scholar
Randolph, Adrian W. B.Gendering the Period Eye: Deschi da Parto and Renaissance Visual Culture.” Art History 27 (2004): 538–62.Google Scholar
Randolph, Adrian W. B. Touching Objects: Intimate Experiences of Italian Fifteenth-Century Art. New Haven, CT: Yale University Press, 2014.Google Scholar
Rasmussen, Ann Marie. “Hybrid Creatures: Moving Beyond Sexuality in the Medieval Sexual Badges.” In From Beasts to Souls: Gender and Embodiment in Medieval Europe. Edited by Burns, Jane E. and McCracken, Peggy, 221–47. Notre Dame, IN: University of Notre Dame Press, 2013.Google Scholar
Reale, Giovanni. Botticelli. La “Primavera” o le “Nozze di Filologia e Mercurio”? Rilettura di carattere filosofico ed ermeneutico del capolavoro di Botticelli con la prima presentazione analitica dei personaggi e di particolari simbolici. Rimini: Idea Libri, 2001.Google Scholar
Refini, Eugenio. The Vernacular Aristotle: Translation as Reception in Medieval and Renaissance Italy. Cambridge: Cambridge University Press, 2020.Google Scholar
Ribeiro, Aileen. Facing Beauty: Painted Women & Cosmetic Art. New Haven, CT: Yale University Press, 2011.Google Scholar
Ricci, Lucia Battaglia. “Gardens in Italian Literature during the Thirteenth and Fourteenth Centuries.” In The Italian Garden: Art, Design and Culture. Edited by Hunt, John Dixon, 633. Cambridge: Cambridge University Press, 1996.Google Scholar
Riddle, John M.Pomum ambrae: Amber and Ambergris in Plague Remedies.” Sudhoff’s Archiv für Geschichte der Medizin und der Naturwissenschaften 48 (1964): 111–22.Google Scholar
Rigobello, Maria Beatrice, and Autizi, Francesco. Palazzo della Ragione di Padova: Simbologie degli astri e rappresentazioni del governo. Padua: Il Poligrafo, 2008.Google Scholar
Rijks, Marlise. “‘Unusual Excrescences of Nature’: Collected Coral and the Study of Petrified Luxury in Early Modern Antwerp.” Dutch Crossing: Journal of Low Countries Studies 10 (2017): 129.Google Scholar
Riordan, Teresa. Inventing Beauty: A History of the Innovations that Have Made Us Beautiful. New York: Broadway Books, 2004.Google Scholar
Rocke, Michael. Forbidden Friendships: Homosexuality and Male Culture in Renaissance Florence. Oxford: Oxford University Press, 1996.Google Scholar
Rogers, Mary, and Tinagli, Paolo, eds. Women in Italy, 1350–1650. Ideals and Realities. Manchester: Manchester University Press, 2005.Google Scholar
Roscoe, William. The Life of Lorenzo de’ Medici: called the Magnificent. 8th ed. London: Henry G. Bohn, 1865.Google Scholar
Rosenberg, Charles. “Alfonso I d’Este, Michelangelo and the Man Who Bought Pigs.” In Revaluing Renaissance Art. Edited by Neher, Gabriele and Shepherd, Rupert, 8999. Cambridge: Cambridge University Press, 2000.Google Scholar
Ross, Janet. Florentine Villas. New York: Dutton, 1901.Google Scholar
Rostislava, Todorova Georgieva. “The Migrating Symbol: Vesica Piscis from the Pythagoreans to Christianity.” In Harmony of Nature and Spirituality in Stone, 217–28. Belgrade, Serbia: Stone Studio Association, 2011.Google Scholar
Rostislava, Todorova Georgieva. “Visualizing the Divine Mandorla as a Vision of God in Byzantine Iconography.” Ikon 6 (2013): 287–96.Google Scholar
Rousseau, Claudia. “Cosimo I de’ Medici and Astrology: The Symbolism of Prophecy.” PhD diss., Columbia University, 1983.Google Scholar
Roy, Ashok, ed. Artists’ Pigments: A Handbook of Their History and Characteristics. Vol. 2. Oxford: Oxford University Press, 1993.Google Scholar
Rubin, Patricia Lee. “‘Che è di questo culazzino!’: Michelangelo and the Motif of the Male Buttocks in Italian Renaissance Art.” Oxford Art Journal 32 (2009): 427–46.Google Scholar
Rubin, Patricia Lee. Seen from Behind: Perspectives on the Male Body and Renaissance Art. New Haven, CT: Yale University Press, 2018.Google Scholar
Rubin, Patricia Lee, and Wright, Alison. Renaissance Florence: The Art of the 1470s. London: National Gallery Publications Ltd, 1999.Google Scholar
Rubinstein, Nicolai. “Vasari’s Painting of The Foundation of Florence in the Palazzo Vecchio.” In Essays in the History of Architecture Presented to Rudolf Wittkower. Edited by Fraser, Douglas, Hibbard, Howard, and Lewine, Milton J.. Vol. 1, 6473. London: Phaidon, 1967.Google Scholar
Ruvoldt, Maria. “Michelangelo’s Dream.” Art Bulletin 85 (2003): 86113.Google Scholar
Ruvoldt, Maria. The Italian Renaissance Imagery of Inspiration: Metaphors of Sex, Sleep, and Dreams. Cambridge: Cambridge University Press, 2004.Google Scholar
Safarik, Eduard A., and Milantoni, Gabriello, eds. Catalogo sommario della Galleria Colonna in Roma: dipinti. Busto Arsizio: Bramante, 1981.Google Scholar
Saslow, James. Ganymede in the Renaissance: Homosexuality in Art and Society. New Haven, CT: Yale University Press, 1986.Google Scholar
Saslow, James. “‘A Veil of Ice between My Heart and the Fire’: Michelangelo’s Sexual Identity and Early Modern Constructs of Homosexuality.” Genders 2 (1988): 7790.Google Scholar
Saunders, David, Spring, Marika, and Meek, Andrew, eds. The Renaissance Workshop. London: Archetype, 2013.Google Scholar
Schabacker, Peter, and Jones, Elizabeth. “Jan van Eyck’s ‘Woman at Her Toilet’: Proposals concerning Its Subject and Context.” Annual Report (Fogg Art Museum) 1974/1976 (1974–76): 5678.Google Scholar
Schubring, Paul. Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance. Leipzig: K. W. Hiersemann, 1915.Google Scholar
Schultz, James A. Courtly Love, the Love of Courtliness, and the History of Sexuality. Chicago: University of Chicago Press, 2006.Google Scholar
Schumacher, Andreas, ed. Botticelli: Likeness, Myth, Devotion. Frankfurt: Städel Museum, 2010.Google Scholar
Schutte, Anne Jacobson. “‘Trionfo delle donne’: Tematiche di rovesciamento dei ruoli nella Firenze rinascimentale.” Quaderni storici 44 (1980): 474–96.Google Scholar
Sebregondi, Ludovica, and Parks, Tim, eds. Money and Beauty: Bankers, Botticelli and the Bonfire of the Vanities. Florence: Giunti, 2011.Google Scholar
Seznec, Jean. The Survival of the Pagan Gods: The Mythological Tradition and Its Place in Renaissance Humanism and Art. Princeton, NJ: Princeton University Press, 1972.Google Scholar
Shaw, Carl. Satyric Play: The Evolution of Greek Comedy and Satyr Drama. Oxford: Oxford University Press, 2014.Google Scholar
Shaw, James, and Welch, Evelyn. Making and Marketing Medicine in Renaissance Florence. New York: Rodopi, 2011.Google Scholar
Shearman, John. “The Collections of the Younger Branch of the Medici.” Burlington Magazine 117 (1975): 12, 14–27.Google Scholar
Silver, Nathaniel. “‘Among the Most Beautiful Works He Made.’ Botticelli’s Spalliera Paintings.” In Botticelli Heroines + Heroes. Edited by Silver, Nathaniel, 3255. London: Paul Holberton Publishing, 2019.Google Scholar
Simon, Robert B.Cosimo I de’ Medici as Orpheus.” Philadelphia Museum of Art Bulletin 81 (1985): 1627.Google Scholar
Simonetta, Marcello. Caterina de’ Medici: Storia segreta di una faida famigliare. Milan: Rizzoli, 2018.Google Scholar
Simons, Patricia. “Homosociality and Erotics in Italian Renaissance Portraiture.” In Portraiture: Facing the Subject. Edited by Woodall, Joanna, 2951. Manchester: Manchester University Press, 1997.Google Scholar
Simons, Patricia. “Anatomical Secrets: Pudenda and the Pudica Gesture.” In Das Geheimnis am Beginn der Moderne. Edited by Engel, Gisela, Range, Brita, Reichert, Klaus, and Wunder, Heide, 302–27. Frankfurt: Vittorio Klostermann, 2002.Google Scholar
Simons, Patricia. “Giovanna and Ginevra: Portraits for the Tornabuoni Family by Ghirlandaio and Botticelli.” I Tatti Studies in the Italian Renaissance 14/15 (2011–12): 103–35.Google Scholar
Simons, Patricia. The Sex of Men in Premodern Europe: A Cultural History. New York: Cambridge University Press, 2014.Google Scholar
Smith, Bruce R. The Key of Green. Passion and Perception in Renaissance Culture. Chicago: University of Chicago Press, 2009.Google Scholar
Smith, Graham. “Bronzino’s Use of Prints: Some Suggestions.” Print Collectors 9 (1978): 110–13.Google Scholar
Smith, Graham. “Jealousy, Pleasure, and Pain in Agnolo Bronzino’s ‘Allegory of Venus and Cupid’.” Pantheon 39 (1981): 250–59.Google Scholar
Smith, Joanne. The Primavera of Sandro Botticelli. New York: Peter Lang, 1993.Google Scholar
Smith, Webster. “On the Original Location of the Primavera.” Art Bulletin 57 (1975): 3140.Google Scholar
Spallanzani, Marco. “The Courtyard of the Palazzo Tornabuoni-Ridolfi and Zanobi Lastricati’s Bronze Mercury.” The Journal of the Walters Art Gallery 37 (1978): 621.Google Scholar
Spallanzani, Marco, and Bertelà, Giovanna Gaeta. Libro d’inventario dei beni di Lorenzo il Magnifico. Florence: Associazione Amici del Bargello, 1992.Google Scholar
Spike, John T., and Cecchi, Alessandro. Botticelli and the Search for the Divine: Florentine Painting between the Medici and the Bonfires of the Vanities. Williamsburg, VA: Muscarelle Museum of Art, 2017.Google Scholar
Standen, Edith Appleton. European Post-Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art. Vol. 1. New York: The Metropolitan Museum of Art, 1985.Google Scholar
Stapleford, Richard. Lorenzo de’ Medici at Home. The Inventory of the Palazzo Medici in 1492. University Park, PA: Pennsylvania State University Press, 2013.Google Scholar
Stark, James J., and Nelson, Jonathan Katz. “The Breasts of ‘Night’: Michelangelo as Oncologist.” New England Journal of Medicine 343 (2000): 1577–78.Google Scholar
Starn, Randolph, and Partridge, Loren. Arts of Power: Three Halls of State in Italy, 1300–1600. Berkeley: University of California Press, 1992.Google Scholar
Steegman, Mary. Bianca Cappello. London: Constable and Company, 1913.Google Scholar
Strathern, Paul. The Medici: Power, Money, and Ambition in the Italian Renaissance. London: Pegasus, 2017.Google Scholar
Talvacchia, Bette. Taking Positions: On the Erotic in Renaissance Culture. Princeton, NJ: Princeton University Press, 1999.Google Scholar
Talvacchia, Bette. “Bronzino’s Corpus between Ancient Models and Modern Masters.” In Agnolo Bronzino: Medici Court Artist in Context. Edited by Gáldy, Andrea M., 5166. Newcastle: Cambridge Scholars Publishing, 2013.Google Scholar
Tambling, Jeremy. “‘Nostro peccato fu ermafrodito’: Dante and the Moderns.” Exemplaria 6 (1994): 405–27.Google Scholar
Thode, Henry. Michelangelo Kritische Untersuchungen über seine Werke. Vol. 2. Berlin: G. Grote, 1908.Google Scholar
Thompson, Daniel V. The Materials and Techniques of Medieval Painting. New York: Dover Publications, 1956.Google Scholar
Tinagli, Paola. “Claiming a Place in History: Giorgio Vasari’s Ragionamenti and the Primacy of the Medici.” In The Cultural Politics of Duke Cosimo I de’ Medici. Edited by Eisenbichler, Konrad, 6376. Aldershot: Ashgate, 2001.Google Scholar
Tolnay, Charles de. Michelangelo, Volume 3: The Medici Chapel. Princeton, NJ: Princeton University Press, 1948.Google Scholar
Tosi, C. O.Cosimo I e la R. Villa di Castello.” L’Illustratore Fiorentino 5 (1907): 3346.Google Scholar
Trachtenberg, Marvin. The Campanile of Florence Cathedral: “Giotto’s Tower. New York: New York University Press, 1971.Google Scholar
Testaverde, Anna Maria. “Spectacle, Theatre, and Propaganda at the Court of the Medici.” In The Medici, Michelangelo, and the Art of Late Renaissance Florence. Edited by Luchinat, Cristina Acidini, 123–31. New Haven, CT: Yale University Press, 2002.Google Scholar
Trinkaus, Charles. The Poet as Philosopher: Petrarch and the Formation of Renaissance Consciousness. New Haven, CT: Yale University Press, 1979.Google Scholar
Trottein, Gwendolyn. Les enfants de Vénus: art et astrologie à la renaissance. Paris: Lagune, 1993.Google Scholar
Tucker, Mark S.Discoveries Made during the Treatment of Bronzino’s ‘Cosimo I de’ Medici as Orpheus’.” Philadelphia Museum of Art Bulletin 81 (1985): 2831.Google Scholar
Turner, James Grantham. Eros Visible: Art, Sexuality and Antiquity in Renaissance Italy. New Haven, CT: Yale University Press, 2017.Google Scholar
Turner, James Grantham, ed. Sexuality and Gender in Early Modern Europe: Institutions, Texts, Images. Cambridge: Cambridge University Press, 1993.Google Scholar
Ullman, Berthold L.Cleopatra’s Pearls.” The Classical Journal 52 (1957): 193201.Google Scholar
Ulrich, Richard. “The Temple of Venus Genetrix in the Forum of Caesar in Rome: The Topography, History, Architecture, and Sculptural Program of the Monument.” PhD diss., Yale University, 1984.Google Scholar
Van der Sman, Gert Jan. “Sandro Botticelli at Villa Tornabuoni and a Nuptial Poem by Naldo Naldi.” Mitteilungen des Kunsthistorischen Institutes in Florenz 51 (2007): 159–86.Google Scholar
Van der Sman, Gert Jan. Lorenzo and Giovanna: Timeless Art and Fleeting Lives in Renaissance Florence. Translated by Webb, Diane. Florence: Mandragora, 2010.Google Scholar
Veen, Henk Th. van. Cosimo I de’ Medici and His Self-Representation in Florentine Art and Culture. Translated by McCormick, Andrew P.. New York: Cambridge University Press, 2006.Google Scholar
Velter, André, Lamothe, Marie José, and Marquis, Jean. Les outils du corps. Milan: Ambrosiana, 1978.Google Scholar
Vidas, Marina. “The Copenhagen Cassoni. Construction Narrative Images for Quattrocento Audiences.” Analecta Romana 29 (2003): 5565.Google Scholar
Waddington, Raymond B. “A Satirist ‘Impresa’: The Medals for Pietro Aretino.” Renaissance Quarterly 42 (1985): 655–81.Google Scholar
Waddington, Raymond B.The Bisexual Portrait of Francis I: Fontainebleau, Castiglione, and the Tone of Courtly Mythology.” In Playing with Gender: A Renaissance Pursuit. Edited by Brink, Jean R., Horowitz, Maryanne C., and Coudert, Allison P., 99132. Chicago: University of Illinois Press, 1991.Google Scholar
Waddington, Raymond B. Aretino’s Satyr: Sexuality, Satire, and Self-Projection in Sixteenth-Century Literature and Art. Toronto: University of Toronto Press, 2004.Google Scholar
Waldman, Louis A. “Botticelli and His Patrons: The Arte del Cambio, the Vespucci, and the Compagnia dello Spirito Santo in Montelupo.” In Sandro Botticelli and Herbert Horne: New Research. Edited by Hatfield, Rab, 105–35. Florence: S.E.I. srl, 2009.Google Scholar
Wallace, William E.Instruction and Originality in Michelangelo’s Drawings.” In The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop. Edited by Ladis, Andrew, Wood, Carolyn, and Eiland, William, 113–33. Athens, GA: University of Georgia Press, 1995.Google Scholar
Wallace, William E. “Michelangelo’s Leda: The Diplomatic Context.” Renaissance Studies 15 (2001): 473–99.Google Scholar
Warburg, Aby. “Sandro Botticelli’s Birth of Venus and Spring: An Examination of Concepts of Antiquity in the Italian Early Renaissance (1893).” In The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance. Translated by Britt, David, 88156. Los Angeles: Getty Research Institute, 1999.Google Scholar
Watson, Paul. “Boccaccio’s Ninfale Fiesolano in Early Florentine Cassone Painting.” Journal of the Warburg and Courtauld Institutes 34 (1971): 331–33.Google Scholar
Watson, Paul. The Garden of Love in Tuscan Art of the Early Renaissance. Philadelphia: Art Alliance Press, 1979.Google Scholar
Welch, Evelyn. “Art on the Edge: Hair and Hands in Renaissance Italy.” Renaissance Studies 23 (2009): 241–68.Google Scholar
Wellman, Kathleen. Queens and Mistresses of Renaissance France. New Haven, CT: Yale University Press, 2013.Google Scholar
Wheeler, Jo. Renaissance Secrets: Recipes and Formulas. London: Victoria and Albert Museum, 2009.Google Scholar
Wiles, Bertha. The Fountains of Florentine Sculptors and Their Followers from Donatello to Bernini. New York: Hacker Art Books, 1975.Google Scholar
Wilkins, David. “Maso di Banco and Cenni di Francesco: A Case of Late Trecento Revival.” Burlington Magazine 111 (1969): 8385.Google Scholar
Wilson, Bronwen. “Bedroom Politics: The Vexed Spaces of Late Medieval Public Making.” History Compass 10 (2012): 608–21.Google Scholar
Wilson, Timothy. “Un ‘intricamento’ tra Leonardo ed Acrimboldo.” Ceramica Antica 15 (2005): 1044.Google Scholar
Wilson-Chevalier, Kathleen. “Women on Top at Fontainebleau.” Oxford Art Journal 16 (1993): 3448.Google Scholar
Witt, Ronald G. In the Footsteps of the Ancients”: Origins of Humanism from Lovato to Bruni. Leiden: Brill, 2000.Google Scholar
Witthoft, Brucia. “Marriage Rituals and Marriage Chests in Quattrocento Florence.” Artibus et Historiae 3 (1982): 4359.Google Scholar
Wolfthal, Diane. “‘A Hue and A Cry’: Medieval Rape Imagery and Its Transformation.” Art Bulletin 75 (1993): 3964.Google Scholar
Wolfthal, Diane. In and Out of the Marital Bed: Seeing Sex in Renaissance Europe. New Haven, CT: Yale University Press, 2010.Google Scholar
Woudhuysen-Keller, Renate, and Woudhuysen, Paul. “Thoughts on the Use of the Green Glaze Called ‘Copper Resinate’ and Its Colour-changes.” In Looking through Paintings: The Study of Painting Techniques and Materials in Support of Art Historical Research. Edited by Hermens, Erma, 133–46. London: Archetype, 1998.Google Scholar
Wrapson, Lucy, ed. In Artists’ Footsteps: The Reconstruction of Pigments and Paintings. Studies in Honour of Renate Woudhuysen-Keller. London: Archetype, 2012.Google Scholar
Wright, David Roy. “The Medici Villa at Olmo a Castello: Its History and Iconography.” PhD diss., Princeton University, 1976.Google Scholar
Zanker, Paul. The Power of Images in the Age of Augustus. Ann Arbor: University of Michigan Press, 1990.Google Scholar
Zanrè, Domenico. “Ritual and Parody in Mid-Cinquecento Florence: Cosimo de’ Medici and the Accademia del Piano.” In The Cultural Politics of Duke Cosimo I de’ Medici. Edited by Eisenbichler, Konrad, 189204. Aldershot: Ashgate, 2001.Google Scholar
Zirpolo, Lilian. “Botticelli’s ‘Primavera’: A Lesson for the Bride.” Women’s Art Journal 12 (1991): 2428.Google Scholar
Zorach, Rebecca. Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance. Chicago: University of Chicago, 2006.Google Scholar
Zorach, Rebecca. “Love, Truth, Orthodoxy, Reticence; or, What Edgar Wind Didn’t See in Botticelli’s Primavera.” Critical Inquiry 34 (2007): 190220.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Rebekah Compton, College of Charleston, South Carolina
  • Book: Venus and the Arts of Love in Renaissance Florence
  • Online publication: 04 March 2021
  • Chapter DOI: https://doi.org/10.1017/9781108913393.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Rebekah Compton, College of Charleston, South Carolina
  • Book: Venus and the Arts of Love in Renaissance Florence
  • Online publication: 04 March 2021
  • Chapter DOI: https://doi.org/10.1017/9781108913393.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Rebekah Compton, College of Charleston, South Carolina
  • Book: Venus and the Arts of Love in Renaissance Florence
  • Online publication: 04 March 2021
  • Chapter DOI: https://doi.org/10.1017/9781108913393.009
Available formats
×