WORKS CITED

Adams, James Luther and Wilson Yates., eds. The Grotesque in Art and Literature:
Theological Reflections. Grand Rapids: William B. Eerdmans Publishing
Company, 1997.
Aikema, Bernard. “Hieronymus Bosch and Italy.” Hieronymus Bosch: New Insights Into
His Life and Work. Ed. Jos Koldeweil, Bernard Vermet, Barebera van Kooij,
Rotterdam: Museum Boijmans Van Beuningen, 2001: 25-31.
Alberti, Leon Battista. On Painting. Trans. John R. Spencer. New Haven: Yale
University Press, 1966.
Alexander, J. J. G. Italian Renaissance Illuminations. New York: George Braziller,
1977.
Allen, Denise. “Designed by the Dictates of Ceremony: Cellini’s Cope-Morse for
Clement VII.” Pratum Romanum: Richard Krautheimer zum 100. Geburstag. Ed.
R. Collela et al. Weisbaden: Dr. L. Reichert, 1997: 13-25.
Ames-Lewis, Frances and Mary Rogers., eds. Concepts of Beauty in Renaissance Art.
Hants, England: Ashgate Publishing Limited, 1998.
Andrea del Sarto 1486-1530 Dipinti e disegni a firenze. Exh. cat. Florence: Pallazo Pitti,
8 November 1986 - 1 March 1987. Milan: Ruppo Zelig, 1986.
The Arcimboldo Effect: Transformations of the Face from the 16th to 20th Century. New
York: Abbeville Press, 1987.
Arnauldet, Thomas. “Noël Garnier et Jean Viset, orfèvres-graveurs en taille-douce.”
Archives de l’Art Français (1861): 157-69.
Banker, James R. Death in the Community: Memorialization and Confraternities
in an Italian Commune in the Late Middle Ages. Athens: University of Georgia
Press, 1988.
Barasch, Frances K. The Grotesque: A Study in Meanings. The Hague: Mouton, 1971.
Barasch, Moshe. Giotto and the Language of Gesture. Cambridge: Cambridge University
Press, 1987. 159
Barkan, Leonard. Unearthing the Past: Archaeology and Aesthetics in the Making of
Renaissance Culture. New Haven: Yale University Press, 1999.
Barolsky, Paul. Giotto’s Father and the Family of Vasari’s Lives. University Park:
Pennsylvania State University Press, 1992.
----------. Infinite Jest: Wit and Humor in Italian Renaissance Art. Columbia and
London: University of Missouri Press, 1978.
----------. Why Mona Lisa Smiles and Other Tales by Vasari. University Park:
Pennsylvania State University Press, 1991.
Barocchi, Paola. Scritti d’Arte del Cinquecento. Vol. 32. Milan: Riccardo Ricciardi
Editore, 1971.
----------. Trattati d’arte del cinquecento fra manierismo e contrareforma, 2 vols. Bari:
Gius, Laterza, & Figli, 1960.
Baxandall, Michael. Giotto and the Orators: Humanist Observers of Painting in Italy and
the Discovery of Pictorial Composition, 1350-1450. Oxford: Clarendon Press,
1971.
----------."The Language of Art Criticism." The Language of Art History. Ed. Salim
Kemal and Ivan Gaskell. Cambridge: Cambridge University Press, 1991.
----------. Painting and Experience in Fifteenth Century Italy: A Primer in the Social
History of Pictorial Style. Oxford: Oxford University Press, 1974.
Béguin, Sylvie. “‘La Scuola di Fontainebleau’ ‘Storia antiche e moderne’.” La bottega
dell’artista tra medioevo e rinsacimento. Ed. Roberto Cassanelli. Milan: Jaca
Books, 1998: 275-295.
Bellori, Giovanni Pietro. Le vite de’ pittori, scultori e architetti moderni. Ed. Evelina
Borea. Torino: G. Einaudi, 1996.
----------. The Lives of Annibale and Agostino Carracci. Trans. Catherine Enggass.
University Park: Pennsylvania State University Press, 1968.
Belting, Hans. Hieronymous Bosch: Garden of Earthly Delights. Munich: Prestel, 2002.
Berti, Luciano. Pontormo e il suo tempo. Florence: Banca Toscana, 1993.
Bober, Phyllis Pray and Ruth Rubenstein. Renaissance Artists and Antique Sculpture: A
Handbook of Resources. London: Harvey Miller Publishers and Oxford University
Press, 1986. 160
Boëthius, Axel. The Golden House of Nero: Some New Aspects of Roman Architecture.
Ann Arbor: University of Michigan Press, 1960.
Boorsch, Suzanne, Keith Christiansen, et al. Andrea Mantegna. Exh. cat. New York:
Metropolitan Museum of Art, 5 May 12 - July 1992.
Borsi, Stefano. Giuliano da Sangallo: I disegni di architettura e dell’antico. Rome:
Officina Edizioni, 1985.
Borsook, Eve. The Mural Painters of Tuscany from Cimabue to Andrea del Sarto. 2nd ed.
Oxford: Clarendon Press, 1980.
Bovey, Alixe. Monsters and Grotesques in Medieval Manuscripts. Toronto: University of
Toronto Press, 2002.
Briganti, Giuliano. Italian Mannerism. Trans. Margaret Kunzle. Leipzig: VEB Edition,
1962.
Britton, Piers Dominic. “Lionizing Leonardo: A Physiognomic Conceit in Vasari’s Vite.”
Source 22, no. 4 (Summer 2003): 10-15.
Brown, Patricia Fortini. Venice & Antiquity: The Venetian Sense of the Past. New Haven:
Yale University Press, 1996.
Bruyn, Eric de. “Hieronymus Bosch’s So-called Prodigal Son Tondo: The Pedlar as
Repentant Sinner.” Hieronymus Bosch: New Insights Into His Life and Work. Ed. Jos
Koldeweil, Bernard Vermet, Barebera van Kooij. Rotterdam: Museum Boijmans Van
Beuningen, 2001: 132-143.
Burroughs, Charles. The Italian Renaissance Palace Façade: Structures in Authority,
Surfaces of Sense. Cambridge: Cambridge University Press, 2002.
Byrne, Janet S. Renaissance Ornament Prints and Drawings. New York: The
Metropolitan Museum of Art, 1981.
Cadogan, Jean K. Domenico Ghirlandaio: Artist and Artisan. New Haven: Yale
University Press, 2000.
Cahill, Jane van Nuis. “A Franco-Flemish Pietà.” The Dayton Art Institute Bulletin 29
(March 1971): 8-16.
Camesasca, Ettore., ed. Raffaello Gli Scritti: Lettere, firme, sonetti, saggi technici e
teorici. Milan: Biblioteca Universale Rizzoli, 1993.
Camille, Michael. Image on the Edge: The Margins of Medieval Art. London: Reaktion
Books Ltd., 1992. 161
Campbell, Stephen J. “Fare una Cosa Morta Parer Viva”: Michelangelo, Rosso, and the
(Un)Divinity of Art.” Art Bulletin 84, no. 4 (December 2002): 596-620.
Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnificence. Metropolitan
Museum of Art, New York; New Haven: Yale University Press, 2002.
Carroll, Eugene. The Drawings of Rosso Fiorentino. New York: Garland Publishing,
1976.
----------. Rosso Fiorentino: Drawings, Prints, and Decorative Arts. Washington:
National Gallery of Art, 1987.
Carroll, Lewis. Alice’s Adventures in Wonderland. London: 1865.
Cavallaro, Anna. “Pinturicchio e il Cardinale Domenico della Rovere.” Umanesimo e
Primo Rinascimento in S. Maria del Popolo. Roma: De Luca Editore, 1981, 61-
67.
Calvesi, Maurizio. “Il gaio classicismo: Pinturicchio e Francesco Collona nella Roma di
Alessandro VI.” Roma, centro ideale della cultura dell’Antico nei secoli XV e
XVI: Da Martino V al Sacco di Roma 1417-1527. Milan: Electa, 1989: 70- 101.
Caroli, Flavio. Storia della Fiognomica: Arte e psicologia da Leonardo a Freud. 2nd ed.
Milan: Leonardo editore, 1995.
----------. Leonardo: Studi di fisiognomica. Milan: Leonardo editore, 1991.
Castiglione, Baldassare. The Book of the Courtier. Trans. George Bull. Harmondsworth:
Penguin Books, 1967.
Cellini, Benvenuto. The Autobiography of Benvenuto Cellini. Trans. George Bull
Baltimore: Penguin Books, 1966.
----------. Benvenuto Cellini Opere. Ed. Bruno Maier. Milan: Rizzoli, 1968.
Cennini, Cennino. The Craftsman’s Handbook: The Italian Il Libro dell’Arte. Trans.
Daniel V. Thompson, Jr. New York: Dover Publications, Inc., 1960.
Chastel, André. The Crisis of the Renaissance: 1520-1600. Trans. Peter Price. Geneva:
Editions d’Art Albert Skira, 1968.
----------. Fables, Forms, Figures. 2 vols. Paris: Flammarion, 1978.
----------. La Grottesque. Paris: Le Promeneur, 1988.
Chiusa, Maria Christina. Parmigianino. Milan: Electa, 2001. 162
Christiansen, Keith. Andrea Mantegna: Padua and Mantua. New York: George Braziller,
1994.
Ciardi Dupré, Maria. “Per la cronologia dei disegni di Baccio Bandinelli fino al 1540.”
Commentari. 17, nos. 1-3 (Jan.-Sept. 1966): 146-170.
Clayton, Martin. Leonardo da Vinci: The Divine and the Grotesque. London: Royal Collection
Enterprises Ltd., 2002.
Coffin, David R. The Villa in the Life of Renaissance Rome. Princeton: Princeton
University Press, 1979.
Cole, Michael. “The Demonic Arts and the Origin of the Medium.” Art Bulletin 84,
no. 4 (December 2002): 621-640.
Cook, John W. “Ugly Beauty in Christian Art.” The Grotesque in Art and Literature:
Theological Reflections. Ed. James Luther Adams and Wilson Yates. Grand
Rapids: William B. Eerdmans Publishing Company, 1997: 125-144.
Cordaro, Michele. “The Most Beautiful Room in the World.” Mantegna’s Camera degli
Sposi. Trans. Huw Evans. Milan: Electa, 1993.
Cox-Rearick, Janet. “Art at the Court of Duke Cosimo I de’ Medici.” The Medici,
Michelangelo, and the Art of Late Renaissance Florence. New Haven: Yale
University Press, 2002: 35-45.
----------. The Collection of Francis I: Royal Treasures. New York: Harry N. Abrams,
1996.
----------. The Drawings of Pontormo. Cambridge: Harvard University Press,
1964.
----------. Dynasty and Destiny in Medici Art: Pontormo, Leo X, and the Two Cosimos.
Princeton: Princeton University Press, 1984.
Cropper, Elizabeth. “On Beautiful Women, Pamigianino, Petrarchismo, and the
Vernacular Style.” Art Bulletin 58 (1976): 374-394.
Cunningham, Andrew. The Anatomical Renaissance: The Resurrection of the Anatomical
Projects of the Ancients. Hants, England: Scolar, 1997.
Custoza, Gian Camillo. Giovanni da Udine: La tecnica della decorazione a stucco alla
“Romana” nel Fruili del XVI secolo. Pasian di Prato: Campanotto Editore, 1996.
Dacos, Nicole. La Découverte de la Domus Aurea et la Formation des Grotesques à la
Renaissance. vol. 31. London: Studies of the Warburg Institute, University of London,
1969. 163
----------. “Ghirlandaio et l'Antique.” Bulletin de l’Institut historique belge de Rome
34 (1962): 428-432.
----------. Le Logge di Raffaello. Rome: Istituto Poligrafico dello Stato, 1977.
Dale, Thomas E. A. “Monsters, Corporeal Deformities, and Phantasms in the Cloister of
St-Michel-de-Cuxa.” Art Bulletin 83, no. 3 (September 2001): 402-436.
Davidson, Bernice. Raphael’s Bible: A Study of the Vatican Logge. University Park and
London: The Pennsylvania State University Press, 1985.
Davis, Bruce. Mannerist Prints: International Style in the Sixteenth Century. Exh. cat.
Los Angeles County Museum of Art, 28 July – 9 October 1988. Los Angeles: Los
Angeles County Museum of Art, 1988.
D’Onofrio, Cesare. Castel S. Angelo: Images and History. Rome: Romana Società
Editrice, 1984.
Dunkerton, Jill, Susan Forster, and Nicholas Penny. Dürer to Veronese: Sixteenth-
Century Painting in the National Gallery. New Haven: Yale University Press,
1999.
Ebert-Schifferer, Sybille. Deceptions and Illusions. Washington: National Gallery of Art,
2002.
L’École de Fontainebleau. Paris: Éditions des Musées nationaux, 1972.
Egger, Hermman. Codex Escurialensis. Ein Skizzenbuch aus der Werkstatt Domenico
Ghirlandaio. Vienna: 1906.
Ericani, Giuliana. “Lorenzo Luzzo, Pietro de Marascalchi ed il Cinquecento feltrino.”
Pietro de Marascalchi: Restauri studi e proposte per il Cinquecento feltrino.
Treviso: Canova, 1994.
Ettlinger, Helen. “The Iconography of the Columns in Titian’s Pesaro Altarpiece.” Art
Bulletin 61 (March 1979): 59-67.
Falciani, Carlo. Il Rosso Fiorentino. Florence: Leo S. Olschki, 1996.
Fastenrath Vinattieri, Wiebke. "Finto e Favoloso”: Dekorationssysteme des 16.
Jahrhunderts in Florenz und Rom. Hildesheim: G. Olms, 1995.
Fehl, Philip P. “Saints, Donors, and Columns in Titian’s Pesaro Altarpiece.” Renaissance
Papers (1974): 60-85. 164
Forcione, Varena. “Leonardo’s Grotesques: Originals and Copies.” Leonardo da Vinci
Master Craftsman. Ed. Carmen C. Bambach. Exh. cat. January 22 – March 30, 2003.
New York: Metropolitan Museum of Art, 2003; New Haven: Yale University Press, 2003: 203-
224.
Franklin, David. “New Documents for Rosso Fiorentino in Sansepolcro.” The Burlington
Magazine 131 (1989): 817-827.
----------. Painting in Renaissance Florence, 1500-1550. New Haven: Yale
University Press, 2001.
----------. Rosso in Italy: The Italian Career of Rosso Fiorentino. New Haven:
Yale University Press, 1994.
----------. “The Source for Vasari’s Portrait of Morto da Feltre.” Print Quarterly 14
(March 1997): 78-80.
Fredericksen, Burton B. “A New Painting by Rosso Fiorentino.” Scritti di storia
dell’arte in onore di Federico Zeri. Milan: 1984, 323-331.
Freedberg, Sidney. Painting of the High Renaissance in Rome and Florence. 2 vols. New
York: Harper and Row, 1972.
----------. Painting in Italy: 1500-1600. 1st ed. 1971. New Haven: Yale University
Press, 1993.
French, Roger. Dissection and Vivisection in the European Renaissance. Hants, England:
Ashgate Publishing Ltd., 1999.
The French Renaissance in Prints from the Bibliotèque Nationale de France. Los
Angeles: Grunewald Center for the Graphic Arts, University of California, Los
Angeles, 1994.
Friedman, John Block. The Monstrous Races in Medieval Art and Thought. Cambridge:
Harvard University Press, 1981.
Friedlaender, Walter. Mannerism and Anti-Mannerism in Italian Painting. 1st ed.
1957. New York: Columbia University Press, 1990.
Fuhring, Peter. “Renaissance Ornament Prints: The French Contribution.” The French
Renaissance in Prints from the Bibliotèque Nationale de France. Los Angeles:
Grunewald Center for the Graphic Arts, University of California, Los Angeles,
1994: 153-168.
Fulton, Christopher. “Present at the Inception: Donatello and the Origins of Sixteenth-
Century Mannerism.” Zeitschrift für Kunstgeschichte 60 (1997): 166-199. 165
Geiger, Gail L. Filippino Lippi’s Carafa Chapel: Renaissance Art in Rome. Ann Arbor,
MI: Edwards Brothers, 1986.
Gere, J. A. and Nicholas Turner. Drawings by Raphael from the Royal Library, the
Ashmolean, the British Museum, Chatsworth and other English Collections.
London: British Museum Publications, Ltd., 1983.
Gilbert, Creighton. How Fra Angelico and Signorelli Saw the End of the World.
University Park: Pennsylvania State University Press, 2003.
----------. “Uno viso quasiche di furia.” Michelangelo Drawings. Ed. Craig Hugh Smyth.
Washington: National Gallery of Art, 1992, 218-221.
Giononi-Visani. Maria. Giorgio Giulio Clovio: Miniaturist of the Renaissance. London:
Alpine Fine Arts Collection, Ltd., 1993.
Goldner, George R. and Carmen C. Bambach., eds. The Drawings of Filippino Lippi and
His Circle. Exh. cat. Metropolitan Museum of Art, New York, October 28, 1997 –
January 11, 1998. New York: The Metropolitan Museum of Art, 1997.
Golzio, Vincenzo. Raffaello nei documenti, nelle testimonianze dei contemporanei a
nella letteratura del suo secolo. Vatican: 1936.
Gombrich, E. H. “The Grotesque Heads,” The Heritage of Apelles: Studies in the Art of
the Renaissance. Ithaca: Cornell University Press, 1976: 57-75.
----------. “The Style all’antica: Imitation and Assimilation,” in Norm and Form: Studies
in the Art of the Renaissance. London: Phaidon Press, 1966: 122-128.
----------. The Sense of Order: A Study in the Psychology of Decorative Art. The
Wrightsman Lectures delivered under the auspices of the New York University Institute
of Fine Arts. Ithaca: Cornell University Press, 1979.
Gould, Cecil. Parmigianino. New York: Abbeville Press, c. 1994.
Hall, Marcia. After Raphael: Painting in Central Italy in the Sixteenth Century.
Cambridge: Cambridge University Press, 1999.
----------. Color and Meaning: Practice and Theory in Renaissance Painting.
Cambridge: Cambridge University Press, 1992.
Halm, Peter. “Das unvollendate Fresko des Filippino Lippi in Poggio a Caiano.”
Mitteilungen des Kunsthistorisches Institut in Florenz.8, no. 3 (July 1931): 393-
427. 166
Haskell, Francis and Nicholas Penny. Taste and the Antique: The Lure of Classical
Sculpture 1500-1900. New Haven and London: Yale University Press, 1981.
Harpham, Geoffrey Galt. On the Grotesque: Strategies of Contradiction in Art and
Literature. Princeton: Princeton University Press, 1982
Hauser, Arnold. Mannerism: The Crisis of the Renaissance and the Origin of Modern
Art. Cambridge: Belknap Press, 1965.
Hazelton, Roger. “The Grotesque, Theologically Considered.” The Grotesque in Art and
Literature: Theological Reflections. Ed. James Luther Adams and Wilson Yates.
Grand Rapids: William B. Eerdmans Publishing Company, 1997: 75-82
Hemsoll, David. “Beauty as an Aesthetic and Artistic Ideal in Late Fifteenth-Century
Florence.” Concepts of Beauty in Renaissance Art. Ed. Frances Ames-Lewis and
Mary Rogers. Hants, England: Ashgate Publishing Limited, 1998: 66-79.
Hirst, Michael. Michelangelo and His Drawings. New Haven: Yale University Press,
1988.
Hollanda, Francisco de. Four Dialogues on Painting. Trans. Aubrey F. G. Bell. Westport,
CT: Hyperion, 1979.
Horace. The Art of Poetry. Trans. Burton Raffel. Albany: State University of New York
Press, 1974.
Iacopi, Irene. Domus Aurea. Milan: Electa, 2001.
Jaffé, Michael. Renaissance and Baroque Drawings from Chatsworth: A Great Heritage,
Exh. cat. Washington D.C.: National Gallery of Art, 1995.
----------. Old Master Drawings from Chatsworth. London: British Museum Press, 1993.
James, M. R. “Pictor in Carmine,” Archaeologia 94 (1951): 141-166 .
Janson, H. W. Apes and Ape Lore in the Middle Ages and the Renaissance. London: The
Warburg Institute, 1952.
Joannides, Paul. Michelangelo and his Influence: Drawings from Windsor Castle.
Washington: National Gallery of Art, 1996.
Jones, Roger and Nicholas Penny. Raphael. New Haven: Yale University Press, 1983. 167
Joyce, Hetty E. “From Darkness to Light: Annibale Carracci, Bellori, and Ancient
Painting.” Art History in the Age of Bellori: Scholarship and Cultural Politics in
Seventeenth-Century Rome. Ed. Janis Bell and Thomas Willette. Cambridge:
Cambridge University Press, 2002.
Kayser, Wolfgang. The Grotesque in Art and Literature. Trans. Ulrich Weisstein. New
York: Columbia University Press, 1963.
Kemp, Martin and Marina Wallace. Spectacular Bodies: The Art and Science of the
Human Body from Leonardo to Now. Berkeley: Hayward Gallery and the University of
California Press, 2000.
Kenseth, Joy. “The Age of the Marvelous: An Introduction.” The Age of the Marvelous.
Ed. Joy Kenseth. Hanover, NH: Hood Museum of Art/ Dartmouth College, 1991:
25-59.
----------. “The Virtue of Littleness: Small-Scale Sculptures of the Italian Renaissance.”
Looking at Italian Renaissance Sculpture. Ed. Sarah Blake McHam, Cambridge:
Cambridge University Press, 1998.
Kleiner, Diana E. E. Roman Sculpture. New Haven: Yale University Press, 1992.
Kris, Ernst and Otto Kurz. Legend, Myth, and Magic in the Image of the Artist: A
Historical Experiment. Trans. Alastair Lang. New Haven: Yale University Press, 1979.
Kruft, Hanno-Walter. “Concerning the Date of the Codex Escurialensis.” The Burlington
Magazine 112, no. 802 (January 1970): 44-47.
Kusenberg, Kurt. Le Rosso. Paris: Albin Michel, 1931.
Kwakkelstein, Michael. “Leonardo da Vinci’s Grotesque Heads and the Breaking of the
Physiognomic Mould.” Journal of the Warburg and Courtauld Institutes 54 (1991): 127-
136.
Ladis, Andrew. The Brancacci Chapel, Florence. New York: George Braziller, 1993.
---------- and Carolyn Wood., eds. The Craft of Art: Originality and Industry in the Italian
Renaissance and Baroque Workshop, Athens, GA: The University of Georgia
Press, 1995.
----------. Italian Renaissance Maiolica from Southern Collections. Athens: Georgia
Museum of Art, 1989.
Lanciani, Rodolfo. Ancient Rome in the Light of Recent Discoveries. Boston: Houghton,
Mifflin and Company, 1898. 168
Lazzaro, Claudia. The Italian Renaissance Garden: From the Conventions of Planting,
Design, and Ornament to the Grand Gardens of Sixteenth-Century Central Italy.
New Haven: Yale University Press, 1990.
Lehmann, Phyllis Williams. Cyriacus of Ancona’s Egyptian Visit and Its Reflections in
Gentile Bellini and Hieronymus Bosch. Locust Valley, NY: J.J. Augustin, 1977.
Leonardo da Vinci. Leonardo on Painting: An Anthology of Writings by Leonardo da
Vinci with a Selection of Documents Relating to His Career as an Artist. Ed. Martin
Kemp, Trans. and Comp. Martin Kemp and Margaret Walker. New Haven and London: Yale
University Press, 1989.
----------. The Notebooks of Leonardo da Vinci. Ed. Pamela Taylor. New York: New
American Library, 1960.
Liebnitz, G. W., ed. Scriptores Rerum Brunsvicensium. Hanover: 1701.
Lightbown, Ronald. Mantegna with a Complete Catalogue of the Paintings,
Drawings and Prints. 2nd ed. Berkeley, University of California Press, 1986.
Ling, Roger. Roman Painting. Cambridge: Cambridge University Press, 1991.
Lomazzo, Giovanni Paolo. Trattato dell’arte de la pittura. Milan: 1584.
Lugli, Giuseppe. Nero’s Golden House and the Trajan Baths. Trans. John Tickner.
Rome: Bardi Editore, 1968.
MacDonald, William L. and John A. Pinto. Hadrian’s Villa and Its Legacy. New Haven:
Yale University Press, 1995.
Maiorino, Giancarlo. The Portrait of Eccentricity: Arcimboldo and the Mannerist
Grotesque. University Park: Pennsylvania State University Press, 1991.
Mau, August. Pompeii: Its Life and Art. Trans. Francis W. Kelsey. New York: The
Macmillan Company, 1902.
McCorquodale, Charles. The Renaissance: European Paintings 1400-1600. Toronto: The
Gallery, 1999.
McLellan, Dugald. Signorelli’s Orvieto Frescoes: A Guide to the Cappella Nuova of
Orvieto Cathedral. Orvieto: Opera del Duomo di Orvieto, 1998.
Moffit, J. F. “Puer et Senex in Didactic Contrapositum: Two Rhetorical Contexts for
Leonardo’s Grotesque Heads.” Achademia Leonardi Vinci 7 (1994): 124-8. 169
Morel, Philippe. Les Grotesques: Les Figures de L’Imaginaire dans la Peinture Italienne
de la Fin de la Renaissance. Paris: Flammarion, 1997.
Mostra di Disegni di Filippino Lippi e Piero di Cosimo. curated by Maria Fossi, from the
Gabinetto Disegni e Stampe degli Uffizi. Florence: Leo S. Olschki, 1955.
Natali, Antonio. “L’angelo del sesto sigillo e ‘l’altro amico dello sposo.’” Gli Uffizi:
Studi e Ricerche 1. Florence: 1984, 46-54.
Nelson, Jonathan. “Filippino Lippi at the Medici Villa of Poggio a Caiano.” Florentine
Drawing at the Time of Lorenzo the Magnificent. Ed. Elizabeth Cropper. Villa Spelman
Colloquia vol. 4. Bologna: Nuova Alfa Editoriale, 1994: 159-174.
Neilson, Katharine B. Filippino Lippi: A Critical Study. Westport, Conn.: Greenwood
Press, 1972.
Nesselrath, Arnold. “Il Codice Escurialense.” Domenico Ghirlandaio 1449-1494, Atti del
Convegno Internazionale Firenze, 16-18 ottobre 1994. Florence: Centro Di, 1996,
175-198.
----------. “Raffaello e lo studio dell’antico nel Rinascimento.” Raffaello Architetto
Milan: Electa, 1984: 397-399.
L’officina della maniera: Varietà e fierezza nell’arte fiorentina del Cinquecento fra le
due repubbliche 1494-1530. Florence: Giunta regionale Toscana, 1996.
Olszewski, Edward J. “The Subject of Rosso’s Painting of Moses in the Uffizi.” Source 4
(1984): 1-6.
O’Malley, C.D. Andreas Vesalius of Brussels, 1514-1564. Berkeley and Los Angeles:
University of California Press, 1965.
Padovani, Serena., ed. L’Etat di Savonarola Fra Bartolomeo e la Scuola di san Marco.
Venice: Marsilio, 1996.
Panofsky, Dora and Erwin Panofsky. “The Iconography of the Gallerie François 1er at
Fontainebleau.” Gazette des Beaux Arts 6, 4, 52 (September 1958): 113-
177.
Panofsky, Erwin. “Mars vitae testimonium: The Positive Aspects of Death in
Renaissance and Baroque Iconography.” Studien zur Toskanischen Kunst,
Festschridt für Luwig Heinrich Heydenreich zum 23. März, 1963. Munich, 1964:
221-236. 170
Parlato, Enrico. “La decorazione della cappella Carafa: allegoria ed emblematica
negli affreschi di Filippino Lippi alla Minerva.” Roma, centro ideale della cultura
dell’Antico nei secoli XV e XVI: Da Martino V al Sacco di Roma 1417-1527.
Milan: Electa, 1989: 169-184.
Parma, Elena. Perin del Vaga: l’anello mancante. Genoa: Sagep, 1986.
Park, Katherine. “The Criminal and the Saintly Body: Autopsy and Dissection in
Renaissance Italy.” Renaissance Quarterly 47, no. 1 (Spring 1994): 1-33.
Petrarch. Sonnets and Songs. Trans. Anna Maria Armi. New York: AMS Press, Inc.
1978.
Plato. The Republic of Plato. 2nd ed. Trans. Allan Bloom. New York: Basic Books,
1991.
----------. Sophist. Trans. Nicholas P. White. Indianapolis and Cambridge: Hackett
Publishing Company, 1993.
Pliny. The Elder Pliny’s Chapters on the History of Art. Trans. K. Jex-Blake. Chicago:
Argonaut, Inc., 1968.
Pogány-Balás, Edit. The Influence of Rome's Antique Monumental Sculptures on the
Great Masters of the Renaissance. Trans. Árpád Debreczeni. Budapest:
Akadémiai. Kiadó, 1980.
Pollitt, J.J. The Art of Rome c. 753 B.C. – 337 A.D. Englewood Cliffs, NJ: Prentice-Hall,
Inc. 1966.
Pope-Hennessy, John. Cellini. New York: Abbeville Press, 1985.
----------. Italian High Renaissance and Baroque Sculpture, An Introduction
to Italian Sculpture. Vol. 3. 4th ed. London: Phaidon Press, 1996.
Pseudo-Albert the Great. Women's secrets : a translation of Pseudo-Albertus Magnus's
De secretis mulierum. Trans. Helen Rodnite Lemay. Albany, NY: State
University of New York Press, c. 1992.
Pyhrr, Stuart W. and José-A. Godoy. Heroic Armor of the Italian Renaissance: Filippo
Negroli and his Contemporaries. The Metropolitan Museum of Art, New York.
New York: Harry N. Abrams, Inc., 1998.
Quando Gli Dei Si Spogliano: Il bagno di Clemente VII a Castel Sant’ Angelo e le alter
stufe romane del primo cinquecento. Rome: Romana Società Editrice, 1984.
Rabisch, Il grottesca nell’arte del Cinquecento, L’Accademia della Val di Blenio
Lomazzo e l’ambiente Milanese. Milan: Skira, 1998. 171
Randall, Lillian M. C. Images in the Margins of Gothic Manuscripts. Berkeley:
University of California Press, 1966.
Reiss, Jonathan B. The Renaissance Antichrist: Luca Signorelli’s Orvieto Frescoes.
Princeton: Princeton University Press, 1995.
Renouvier, Jules. Des Types et des Maniéres des Maitres Graveurs pour Servir a
L’Histoire de la Gravure en Italie, en Allemagne, dans les Pays-Bas et en France:
Seizième Siècle. Montpellier: Boehm, 1853.
Roettgen, Steffi. Italian Frescoes: the Flowering of the Renaissance, 1470-1510. New
York: Abbeville Press, 1997.
Roma, centro ideale della cultura dell’Antico nei secoli XV e XVI: Da Martino V al
Sacco di Roma 1417-1527. Milan: Electa, 1989.
Il Rosso e Volterra. Exh. cat., Volterra, Pinacoteca comunale, 15-July, 20 October, 1994
Florence: Giunta regionale Toscana, 1994.
Rowland, Ingrid. The Culture of the High Renaissance: Ancients and Moderns in
Sixteenth-Century Rome. Cambridge: Cambridge University Press, 1998.
Rudolf, Conrad. The “Things of Greater Importance:” Bernard of Clairvaux’s Apologia
and the Medieval Attitude Toward Art. Philadelphia: University of Pennsylvania Press,
1990.
Sale, J. Russell. Filippino Lippi’s Strozzi Chapel in Santa Maria Novella. New York and
London: Garland Publishing, 1979.
Sangallo, Giuliano. Libro di Giuliano da Sangallo, codice Vaticano Barberiniano
latino 4424, riprodotto in fototipia. Turin: G. Molfese, 1910.
----------. Taccuino senese di Giuliano da San Gallo: 50 (i.e.) facsimile [di] disegni
d’architettura, scultura ed arte applicata, Ed. Lodovico Zdekauer. N.p.: A.
Forni, 1979.
Segala, Elisabetta and Ida Sciortino. Domus Aurea. Trans. Colin Swift. Rome: Electa,
2003.
Scarpellini, Pietro. Perugino. Milan: Electa, 1984.
Schultz, Janus. “Pinturicchio and the Revival of Antiquity.” Journal of the Warburg and
Courtauld Institutes 25 (1962): 35-55. 172
Shearman, John. Andrea del Sarto. 2 vols. Oxford: Clarendon Press, 1965.
----------. “The ‘Dead Christ’ by Rosso Fiorentino.” Boston Museum Bulletin 64
(1966): 149-172.
----------. Mannerism. London: Penguin Books, 1967.
----------. Only Connect: Art and the Spectator in the Italian Renaissance. The A. W.
Mellon Lectures in the Fine Arts, 1988. National Gallery of Art, Washington, DC,
Bollingen Series, 35, 37. Princeton: Princeton University Press, 1992.
----------. “Raphael, Rome, and the Codex Escurialensis.” Master Drawings. 15, no. 2
(Summer 1977): 107-146.
Silver, Larry. The Paintings of Quinten Massys with Catalogue Raisonné. Montclair, NJ:
Allanheld and Schram, 1984.
Sinding-Larsen, Staale. “Letters to the Editor: The Columns in Titian’s Pesaro
Altarpiece.” Art Bulletin 62 (June 1980): 303.
----------. “Titian’s Madonna di Ca’Pesaro and its Historical Significance.” Institutum
Romanium Norveigiae, Acta I. 1962, 139-169.
Slatkes, Leonard. “Hieronymus Bosch and Italy.” Art Bulletin 57 (1975): 335-345.
Smith, Graham. “‘Moses and the Daughters of Jethro by Rosso Fiorentino” Pantheon. 35
(1977): 198-204.
----------. “On the Original Location of Rosso Fiorentino’s Descent from the
Cross.” Zeitschrift fur Kunstgeschichte, 39, no. 1 (January 1976): 67-70.
Stechow, Wolfgang. “Hieronymous Bosch: The Grotesque and We.” The Grotesque in
Art and Literature: Theological Reflections. Ed. James Luther Adams and Wilson
Yates. Grand Rapids: William B. Eerdmans Publishing Company, 1997, 113-124.
Strong, Eugénie. Art in Ancient Rome. 2 vols. New York: Charles Scribner’s Sons, 1928.
Suetonius. The Lives of the Twelve Caesars. Ed. Joseph Gavorse. New York: Modern
Library, 1959.
Suitner, Gianna and Chiara Tellini Perina. Palazzo Te in Mantua. Milan: Electa, 1990.
Summers, David. “Contrapposto: Style and Meaning in Renaissance Art.” Art Bulletin
59, no. 3 (September 1977): 336-361. 173
----------. “Maniera and Movement: The Figura Serpentinata.” Art Quarterly 35,
no. 3 (1972): 269-301.
----------. Michelangelo and the Language of Art. Princeton: Princeton University Press,
1981.
Sütterlin, Christa. “Universals in Apotropaic Symbolism: A Behavioral and Comparative
Approach to Some Medieval Sculptures.” Leonardo 22, no. 1 (1989): 65-74.
Syson, Luke and Dora Thornton. Objects of Virtue: Art in Renaissance Italy. Los
Angeles: J. Paul Getty Museum, 2001.
Tacitus. The Annals. Trans. Arthur Murphy. London: A.J. Valpy, 1831.
Terme di Tito e loro interne pitture in Domus Aurea: La Decorazione pittorica del
palazzo neroniano nell’album delle “Terme di Tito” conservato al Louvre, essay by
Marie-Noëlle Pinot de Villechenon. Milan: Franco Maria Ricci, 1998.
Tormo, E. Os desenhos das antigualhas que vio Francisco d’Ollanda. Madrid: 1940.
Townsend, Tiffanie P. “A Reconsideration of Rosso Fiorentino’s Dead Christ.” M.A.
Thesis. Athens: The University of Georgia, 1996.
Vaccaro, Mary. Parmigianino: The Paintings. Turin: Umberto Allemandi, 2002.
----------. “Resplendent Vessels: Parmigianino at Work in the Steccata.” Concepts of
Beauty in Renaissance Art. Ed. Frances Ames-Lewis and Mary Rogers. Hants,
England: Ashgate Publishing Limited, 1998: 134-146.
Valentiner, W. R. “Bandinelli, Rival of Michelangelo.” Art Quarterly 17, no. 3 (1955):
241-263.
Varriano, John. “Leonardo’s Lost Medusa and Other Medici Medusas from the Tazza
Farnese to Caravaggio.” Gazette des Beaux-Arts 6, no. 130 (1997): 73-80.
Vasari, Giorgio. Lives of the Painters, Sculptors and Architects. Trans. Gaston. Du C. de
Vere. Everyman’s Library. New York: Alfred. A. Knopf, 1996.
----------. Vasari on Technique. Trans. Louisa S. Maclehose. New York: Dover
Publications, 1907.
----------. Le Vite de’ piú eccelenti architetti, pittori, et scultori italiani. 2 vols. Turin:
Einaudi, 1986.
----------. Le Vite de’ più eccelenti pittori scultori ed architettori. Ed. Gaetano Milanesi.
Florence: G. C. Sansoni, 1906. 174
Venturi, Adolfo. “Di un quadro inedito de Morto da Feltre,” L’Arte 1 (September 1930):
473-475.
Vesalius, Andreas. De humani corporis fabrica. 1543.
Via, Claudia Cieri. “Sacra effigies e signe arcane: la decorazione di Pinturicchio
nell’appartamento Borgia in Vaticano.” Roma, centro ideale della cultura
dell’Antico nei secoli XV e XVI: Da Martino V al Sacco di Roma 1417-1527.
Milan: Electa, 1989: 185-200.
Virgil. Aeneid. Trans. Robert Fitzgerald. New York: Vintage Books, 1990.
Vitruvius. Ten Books on Architecture. Trans. Ingrid D. Rowland. Cambridge: Cambridge
University Press, 1999.
Voragine, Jacobus de. The Golden Legend: Readings on the Saints. Trans. William
Granger Ryan. 2 vols. Princeton: Princeton University Press, 1993.
Vossilla, Francesco. “Baccio Bandinelli’s Colossus in the Piazza della Signoria.”
Baccio Bandinelli’s Hercules and Cacus, from The Ornament of Florence series.
Florence: Alinea, 1999: 8-45.
Wackernagel, Martin. The World of the Florentine Renaissance Artist. Trans. Alison
Luchs. Princeton: Princeton University Press, 1981.
Waldman, Louis Alexander. “The Origins and Family of Rosso Fiorentino.” The
Burlington Magazine. 142, no. 1171 (October 2000): 607-612.
Wallace, William E. “Instruction and Originality in Michelangelo’s Drawings,” The Craft
of Art: Originality and Industry in the Italian Renaissance and Baroque
Workshop, eds. Andrew Ladis and Carolyn Wood. Athens, GA: The University of
Georgia Press, 1995: 113-133.
.
Warden, P. Gregory. “The Domus Aurea Reconsidered.” Journal of the Society of
Architectural Historians 40, n. 4 (December 1981): 271-278.
Weil-Garris, Kathleen. “On Pedestals: Michelangelo’s David, Bandinelli’s Hercules and
Cacus, and the Sculpture of the Piazza della Signoria.” Römisches Jahrbuch für
Kunstgeschichte. 20 (1983): 373-416; Baccio Bandinelli’s Hercules and Cacus.
Weiss, Roberto. The Renaissance Discovery of Classical Antiquity. Oxford: Basil
Blackwell, 1969.
Wildridge, Thomas Tindall. The Grotesque in Church Art. London: W. Andrews and Co.,
1899. 175
Winkes, Rolf. Roman Paintings and Mosaics. Providence: Museum of Art, Rhode Island
School of Design, 1982.
Wittkower, Rudolf. “Marvels of the East: A Study in the History of Monsters.” Journal
of the Warburg and Courtauld Institutes. 5 (1942): 159-197.
Wittkower, Rudolf and Margot. Born Under Saturn, The Character and Conduct of
Artists: A Documented History from Antiquity to the French Revolution. New
York: W. W. Norton and Company, 1963.
Wohl, Hellmut. The Aesthetics of Italian Renaissance Art: A Reconsideration of Style.
Cambridge: Cambridge University Press, 1999.
Wölfflin, Heinrich. Renaissance and Baroque. Trans. Kathrin Simon. Ithaca: Cornell
University Press, 1996.
Wright, Thomas. A History of Caricature and Grotesques in Literature and Art. New
York: F. Ungon Publishing Company, 1968.
Yates, Wilson. “An Introduction to the Grotesque: Theoretical and Theological
Considerations.” The Grotesque in Art and Literature: Theological Reflections.
Ed. James Luther Adams and Wilson Yates. Grand Rapids: William B. Eerdmans
Publishing Company, 1997, 1-68.
Zanobini, T. Leoni.“Cangiante di Rosso Fiorentino” Critica d’Arte 51 (1986): 92-96.
Zerner, Henri. L’Art de la Renaissance en France: L’Invention du classicisme. Paris:
Flammarion, 1996.
----------. The School of Fontainebleau: Etchings and Engravings. Trans. Stanley Baron.
New York: Harry N. Abrams, Inc., 1969.
Ziegler, Joanna E. Sculpture of Compassion: The Pietà and the Beguines in the Southern
Low Countries, c. 1300-ca. 1600. Instistut Historique Belge de Rome. Etudes
d’histoire de l’Art. Brussels: Brepols, 1992.