Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-ndw9j Total loading time: 0 Render date: 2024-11-09T14:59:47.801Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 August 2016

Jack M. Greenstein
Affiliation:
University of California, San Diego
Get access
Type
Chapter
Information
The Creation of Eve and Renaissance Naturalism
Visual Theology and Artistic Invention
, pp. 219 - 240
Publisher: Cambridge University Press
Print publication year: 2016

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

Abou-El-Haj, Barbara, “The structure of meaning: architectural representations in the later middle ages,” Studies in iconography, vol. 25, 2004, pp. 129–71.Google Scholar
Acar, Rahim, Talking about God and talking about creation: Avicenna’s and Thomas Aquinas’ positions, Islamic philosophy, theology and science, vol. 58, Leiden: Brill, 2005.CrossRefGoogle Scholar
Agaësse, Paul and Solignac, Aime, eds., Augustine, La Genèse au sens littéral en 12 livres = De Genesi ad litteram libri XII, 2 vols., Bibliothèque augustinienne vol. 49, Paris: Desclée de Brouwer, 1970–72.Google Scholar
Al-Hamdani, B. A., “The iconographical sources for the Genesis frescoes once found in San Paolo, f.l.m.,” in Atti del IX Congresso internazionale di archeologia cristiana. Roma, 21–27 settembre 1975. Pontificio Istituto di archeologia cristiana, 2 vols., Studi di antichità cristiana, 32, Città del Vaticano: Pontificio Istituto di archeologia cristiana, 1978, vol. 2: Comunicazioni su scoperte inedite, pp. 1135.Google Scholar
Alberti, Leon Battista, De pictura; in Leon Battista Alberti On painting and on sculpture. The Latin text of De pictura and De statua, London: Phaidon, 1972., ed. and trans. by Grayson, Cecil, London: Phaidon, 1972, pp. 1116. Cited in the notes by text division.Google Scholar
Alberti, Leon Battista, I libri della famiglia; trans. by Watkins, Renée Neu as The family in Renaissance Florence, Columbia, SC: University of South Carolina Press, 1969.Google Scholar
Alberti, Leon Battista, I libri della famiglia; trans. by Guarino, Guido A., as The Albertis of Florence: Leon Battista Alberti’s ‘Della famiglia’, Lewisburg: Bucknell University Press, 1971.Google Scholar
Albertini Ottolenghi, Maria Grazia, “La facciata della chiesa: contributo per un rilettura,” in La Certosa di Pavia e il suo Museo. Ultimi restauri e nuovi studi, atti del Convegno, ed. by Bentivoglio-Ravasio, Beatrice, Lodi, Letizia, and Mapelli, Mari, Milan: Ministero per i beni e le attività culturali, 2008, pp. 5582.Google Scholar
Albertini Ottolenghi, Maria Grazia, “Per i Mantegazza: Note sui capitelli pensili dei chiostri della Certosa di Pavia,” in La scultura decorativa del primo Rinascimento: atti del I convengo internationale di studi, Pavia, 16–18 settembre 1980, Rome: Viella, 1983, pp. 113–28.Google Scholar
Alexandre, Monique, Le commencement du livre, Genèse I–IV: la version de la Septante et sa réception par les Pères, Christianisme antique, 3, Paris: Beauchesne, 1988, pp. 284–87.Google Scholar
Alexander, Philip, “‘In the beginning’: rabbinic and patristic exegesis of Genesis 1:1,” in The exegetical encounter between Jews and Christians in late antiquity, ed. by Grypeou, Emmanouela and Spurling, Helen, Leiden: Brill, 2009, pp. 130.Google Scholar
Alighieri, Dante, “Letter to Cangrande della Scala,” in Dantis Alagherii epistolae: The letters of Dante, ed. and trans. by Jackson Toynbee, Paget, Oxford: Clarendon Press, 1967; online ed., www.danteonline.it/italiano/opere.asp?idope=7&idlang=OR (consulted January 2, 2016).Google Scholar
Alighieri, Dante, Paradiso (Petrocchi, Giorgio ed.); Digital Dante Project at Columbia University, http://digitaldante.columbia.edu/dante/divine-comedy/paradiso/ (consulted January 2, 2016).Google Scholar
Alighieri, Dante, The divine comedy, trans. and ed. by Singleton, Charles S., Bollingen series LXXX, 6 vols., Princeton: Princeton University Press, 1970–75.Google Scholar
Alpers, Svetlana, and Baxandall, Michael,Tiepolo and the pictorial intelligence, New Haven: Yale University Press, 1994.Google Scholar
Ames-Lewis, Francis, The intellectual life of the early Renaissance artist, pb ed., New Haven and London: Yale University Press, 2002 (2000).Google Scholar
Anchor Bible: Genesis, ed. and trans. by Speiser, E. A. [Ephraim Avigdor], Garden City, NY: Doubleday & Co., 1964.Google Scholar
Andaloro, Maria, and Romano, Serena, La pittura medievale a Roma, 312–1431, vol. 4: Riforma e tradizione, 1050–1198, Milan: Jaca Book, 2006.Google Scholar
Andreani, Laura, “Un frammento di statuto del comune di Orvieto (1313–1315). Note in margine,” Bollettino dell’ Istituto storico artistico orvietano, vol. 42–43, 1986–87 (issued 1991), pp. 123–72.Google Scholar
Angelini, Alessandro, “Antonio Federighi e il mito di Ercole,” in Pio II e le arti: la riscoperta dell’antico da Federighi a Michelangelo, ed. by Angelini, Alessandro, Lensini, Andrea, and Lensini, Fabio, Siena: Monte dei paschi di Siena, 2005, pp. 105–49.Google Scholar
LaurentAngliviel de la Beaumelle, , “Ève à l’épreuve des Pères,” in Eve et Pandora: la création de la femme, ed. by Schmitt, Jean-Claude, Paris: Gallimard, 2001, pp. 6988.Google Scholar
Aquinas, Thomas, Commentary on Aristotle’s Physics, trans. by Blackwell, Richard J., Spath, Richard J., and Thirlkel, W. Edmund, introduced by Bourke, Vernon J., London: Routledge & Kegan Paul, 1963.Google Scholar
Aquinas, Thomas, Commento alle “Sentenze” di Pietro Lombardo e testo integrale di Pietro Lombardo, vol. 3: Libro 2, Distinzioni 1–20: La creazione; Gli angeli e i demoni; Gli esseri corporei e l’uomo, trans. by Pandolfi, Carmelo and Coggi, Roberto, Bologna: Studio Domenicano, 2000. Cited in the notes by text division.Google Scholar
Aquinas, Thomas, Summa contra gentiles, ed. and trans. by Anderson, James F., 4 vols., Notre Dame, Ind.: University of Notre-Dame Press, 1975 (first published 1956). Cited in the notes by text division.Google Scholar
Aquinas, Thomas, Summa theologica, trans. by the Fathers of the English Dominican Province. rev. ed., London: B. Oates and Washburne, 1920–24; online edition for New Advent by Kevin Knight, 2008, www.newadvent.org/summa/ (consulted various dates between 2008 and 2016). Cited in the notes by text division.Google Scholar
Argan, Giulio Carlo, “Ideology and iconology,” trans. by West, Rebecca, Critical inquiry, vol. 2, 1975, pp. 297305.CrossRefGoogle Scholar
Aristotle, , De anima; trans. by Smith, A. J. as “On the soul,” in The works of Aristotle, ed. by Ross, W. D. [William David], Great books of the western world, 8, Chicago: Encyclopedia Britannica, Inc., 1952. Cited in the notes by text division.Google Scholar
Aristotle, , Generation of animals (De Generatione Animalium), trans. by Peck, Arthur L., Cambridge, MA: Harvard University Press, 1963. Cited in the notes by text division.Google Scholar
Aristotle, , On the parts of animals (De partibus animalium), trans. with introduction and commentary by Lennox, James G., Aristotle, on the parts of animals I–IV, Clarendon Aristotle series, Oxford: Clarendon Press, 2001.Google Scholar
Auerbach, Erich, “Figura,” in Scenes from the drama of European literature, trans. by Manheim, Ralph, New York: Meridian Books, 1959, pp. 1176.Google Scholar
Auerbach, Erich, Mimesis: the representation of reality in western literature, trans. by Trask, Willard R., Princeton, NJ: Princeton University Press, 1968 (1953; German ed. 1946).Google Scholar
Augustine, , City of God [De civitate Dei], trans. by Dods, Marcus, New York: Modern Library, 1950.Google Scholar
Augustine, , The literal meaning of Genesis (De Genesi ad litteram); trans. by Hill, Edmund in Saint Augustine on Genesis, ed. by Rotelle, John E., The works of Saint Augustine. A translation for the 21st century, Part I, vol. 13, Hyde Park, NY: New City Press, 2002, pp. 168506. Cited in the notes by text division.Google Scholar
Augustine, , On Genesis: a refutation of the Manichees (De Genesi contra Manichaeos); trans. by Hill, Edmund in Saint Augustine on Genesis, ed. by Rotelle, John E., The works of Saint Augustine. A translation for the 21st century, Part I, vol. 13, Hyde Park, NY: New City Press, 2002, pp. 3968. Cited in the notes by text division.Google Scholar
Augustine, , On the Trinity (De trinitate); trans. by Haddan, Arthur West in Nicene and Post-Nicene fathers, first series, Vol. 3, ed. by Schaff, Philip, Buffalo, NY: Christian Literature Publishing Co., 1887; online edition for New Advent by Kevin Knight, www.newadvent.org/fathers/130109.htm (consulted May 4, 2010).Google Scholar
Augustine, , Unfinished literal commentary on Genesis (De Genesi ad litteram liber unus imperfectus); trans. by Hill, Edmund in Saint Augustine on Genesis, ed. by Rotelle, John E., The works of Saint Augustine. A translation for the 21st century, Part I, vol. 13, Hyde Park, NY: New City Press, 2002, pp. 114–51. Cited in the notes by text division.Google Scholar
Bacci, Mina, ed.,Lorenzo Ghiberti materia e ragionamenti, exh. cat., Firenze, Museo dell’ Accademia e Museo di San Marco, 18 ottobre 1978 – 31 gennaio 1979, Florence: Centro Di, 1978.Google Scholar
Baetjer, Katharine, European paintings in the Metropolitan Museum of Art by artists born before 1865: a summary catalogue, New York: Metropolitan Museum of Art, 1995.Google Scholar
Bal, Mieke and Bryson, Norman, “Semiotics and art history,” Art bulletin, vol. 73, 1991, 174208.CrossRefGoogle Scholar
Ballardini, Antonella, “Un oratorio per la Theotokos: Giovanni VII (705-707) committente a San Pietro,” in Medioevo: i committenti, atti del XIII Convegno internazionale di studi, Parma, 21-26 settembre 2010, ed. by Arturo Carlo Quintavalle, Milan: Electa, 2011, pp. 98–116Google Scholar
Ballardini, Antonella, and Pogliani, Paola, “A reconstruction of the oratory of John VII (705-7)” in Old Saint Peter’s, Rome, ed. by McKitterick, Rosamond, Osborne, John, Richardson, Carol M., and Story, Joanna, Cambridge, UK: Cambridge University Press, 2013, pp. 190213.CrossRefGoogle Scholar
Bann, Stephen, “Meaning/interpretation” (2003), reprinted in The art of art history, a critical anthology, ed. by Preziosi, Donald, new edition, Oxford History of Art, New York: Oxford University Press, 2009, pp. 256–70.Google Scholar
Barasch, Moshe, Giotto and the language of gesture, Cambridge, UK: Cambridge University Press, 1987.Google Scholar
Bartalini, Roberto, “Il tempo di pio II,” in Francesco di Giorgio e il Rinascimento a Siena, 1450–1500, ed. by Bellosi, Luciano, exh. cat., Siena, Church of San Agostino, Milan: Electa, 1993, pp. 92105.Google Scholar
Barthes, Roland, “Introduction to the structural analysis of narratives,” in Image, music, text, ed. and trans. by Heath, Stephen, New York: Hill and Wang, 1977, pp. 79124.Google Scholar
Barthes, Roland, The responsibility of forms. Critical essays on music, art, and representation, trans. by Howard, Richard, pb ed., New York: Hill and Wang, 1985 (French edition, 1982).Google Scholar
Barthes, Roland, The rustle of language, trans. by Richard Howard, pb ed., New York: Hill and Wang, 1986 (French edition, 1984).Google Scholar
Barthes, Roland, S/Z. An essay, trans. by Miller, Richard, New York: Hill and Wang, 1974 (French edition, 1970).Google Scholar
Baschet, Jérôme, “Ève n’est jamais née. Les représentations médiévales de l’origine du genre humain,” in Ève et Pandora: la création de la première femme, ed. by Schmitt, Jean-Claude, Paris: Gallimard, 2001, pp. 115–62.Google Scholar
Basil the Great, , Nine homilies of the Hexaemeron, trans. by Jackson, Blomfield, in The Nicene and Post-Nicene fathers, second series, vol. 8, ed. by Schaff, Philip and Wace, Henry, Buffalo, NY: Christian Literature Publishing Co., 1895; online edition for New Advent by Kevin Knight, www.newadvent.org/fathers/32013.htm (consulted May 12, 2011).Google Scholar
Baxandall, Michael, “A dialogue on art from the Court of Leonello d’Este: Angelo Decembrio’s De politia litteraria, Pars LXVIII,” Journal of the Warburg and Courtauld institutes, vol. 26, 1963, pp. 304–26; reprinted in idem, Words for pictures, seven papers on Renaissance art and criticism, New Haven and London: Yale University Press, 2003, pp. 3967.Google Scholar
Baxandall, Michael, Giotto and the orators: humanist observers of painting in Italy and the discovery of pictorial composition, 1350–1450, Oxford: Clarendon Press, 1972.Google Scholar
Baxandall, Michael, Painting and experience in fifteenth century Italy: a primer in the social history of pictorial style, new edition, New York: Oxford University Press, 1988 (1972).Google Scholar
Becherucci, Luisa, and Brunetti, Giulia, eds., Il Museo dell’Opera del Duomo a Firenze, 2 vols., Milan: Electa, 1969.Google Scholar
Beck, James H., “A document regarding Domenico da Varignana,” Mitteilungen des Kunsthistorischen Instituts in Florenz, vol. 11, 1964, pp. 193–94.Google Scholar
Beck, James H., Jacopo della Quercia, 2 vols., New York: Columbia University Press, 1991.Google Scholar
Beck, James H., “Jacopo della Quercia’s design for the Porta Magna of San Petronio in Bologna,” Journal of the Society of Architectural Historians, vol. 24, 1965, pp. 115–26.CrossRefGoogle Scholar
Beck, James H., Jacopo della Quercia e il portale di San Petronio a Bologna, Bologna: Alfa, 1970.Google Scholar
Beck, James H., Review of Anna Maria Matteucci Armandi, La porta magna di San Petronio in Bologna, in Art bulletin, vol. 50, 1968, pp. 384–85.Google Scholar
Beck, James H., and Fanti, M., “Un probabile intervento di Michelangelo per la ‘porta magna’ di San Petronio,” Arte antica e moderna, vol. 27, 1964, pp. 349–54.Google Scholar
Bede, , In Pentateuchum commentarii, expositio in primum librum Mosis, Qui dicitur Hebraice Beresith, Graece autem Genesis; in Migne, ed., Patrologia Latina, vol. 91, cols. pp. 189–394.Google Scholar
Bede, , On Genesis, ed. and trans. by Kendall, Calvin B., Translated texts for historians, vol. 48, Liverpool: Liverpool University Press, 2008.Google Scholar
Bellosi, Luciano, “Da Brunelleschi a Masaccio: le origini del Rinascimento,” in Masaccio e le origini del Rinascimento, ed. by Bellosi, Luciano with Cavazzini, Laura and Galli, Aldo, exh. cat., Milan: Skira, 2002, pp. 1552.Google Scholar
Bellosi, Luciano, “Donatello e il recupero della scultura in terracotta,” in Donatello-Studien, ed. by Cämmerer, Monika, Italienische Forschungen, 3rd ser., vol. 16, Munich: Bruckmann, 1989, pp. 130–45.Google Scholar
Bellosi, Luciano, “Donatello’s early works in terracotta,” in Italian Renaissance sculpture in the time of Donatello: an exhibition to commemorate the 600th anniversary of Donatello’s birth and the 100th anniversary of the Detroit Institute of Arts, exh. cat., Detroit: Founders Society, Detroit Institute of Arts, 1985, pp. 95103.Google Scholar
Bellosi, Luciano, “Ipotesi sull’origine delle terrecotte quattrocentesche,” in Jacopo della Quercia fra gottico e rinascimento: atti del Convegno di studi, Siena, 1975, Florence: Centro Di, 1977, pp. 163–79.Google Scholar
Bellosi, Luciano, “I problemi dell’attività giovanile,” in Donatello e i suoi: Scultura fiorentina del primo Rinascimento, ed. by Phipps Darr, Alan and Bonsanti, Giorgio, exh. cat., Florence: La Casa Usher, 1986, pp. 4754.Google Scholar
Bellosi, Luciano and Gentilini, Giancarlo, “Una nuova Madonna in terracotta del giovane Donatello,” Pantheon, vol. 54, 1996, pp. 1926.Google Scholar
Bellosi, Luciano, with Cavazzini, Laura and Galli, Aldo, eds., Masaccio e le origini del Rinascimento, exh. cat., Milan: Skira, 2002.Google Scholar
Belting, Hans, Die Oberkirche von San Francesco in Assisi: ihre Dekoration als Aufgabe und die Genese einer neuen Wandmalerei, Berlin: Mann, 1977.Google Scholar
Benedetti, Alessandro, Historia corporis humani; trans. in Lind, L. R. [Robert Levi], Studies in pre-Vesalian anatomy: biography, translations, documents, Memoirs of the American Philosophical Society, vol. 104, Philadelphia: American Philosophical Society, 1975.Google Scholar
Bergman, Robert P., The Salerno ivories. Ars sacra from medieval Amalfi. Cambridge, MA, and London: Harvard University Press, 1980.CrossRefGoogle Scholar
Bernstein, JoAnne G., “Milanese and antique aspects of the Colleoni Chapel: site and symbolism,” Arte lombarda, n.s., vol. 100, 1992, pp. 4552.Google Scholar
Bertini, Aldo, “Calchi della Fontana Gaia,” Critica d’arte, vol. 15, 1968, pp. 3554.Google Scholar
Bettini, Sergio, Giusto de’ Menabuoi e l’arte del trecento, Padua: “Le Tre Venezie,”1944.Google Scholar
Bettini, Sergio, Le pitture di Giusto de’ Menabuoi nel battistero del duomo di Padova, Saggi e studi di storia dell’arte, 3, Venice: N. Pozza, 1960.Google Scholar
Białostocki, Jan, “Erwin Panofsky (1892–1968): thinker, historian, human being,” Simiolus: Netherlands quarterly for the history of art, vol. 4, 1970, pp. 6889.CrossRefGoogle Scholar
Białostocki, Jan, “The Renaissance concept of nature and antiquity” in The Renaissance and mannerism, Acts of the twentieth International Congress for the History of Art, New York, 1961, Princeton NJ: Princeton University Press, 1963, pp. 1930; reprinted in idem, The message of images: studies in the history of art, Vienna, IRSA, 1988, pp. 64–8.Google Scholar
Le Bibbie atlantiche, il libro delle Scritture tra monumentalità e rappresentazione, ed. by Maniaci, Marilena and Orofino, Giulia, Rome: Ministero per i beni culturali e ambientali, 2000.Google Scholar
Blamires, Alcuin, ed., Woman defamed and woman defended: an anthology of medieval texts, Oxford: Clarendon Press, 1992.CrossRefGoogle Scholar
Boitani, Piero, “The poetry and poetics of creation,” in The Cambridge companion to Dante, ed. by Jacoff, Rachel, 2nd ed., Cambridge, UK, and New York: Cambridge University Press, 2007, pp. 218–35.Google Scholar
Bonaventure, , Commentaria in quatuor libros Sententiarum; in S. Bonaventurae opera omnia, Sixti V, Pontificis Maximi Jessu diligentissime emendate, ed. by Peltier, Adolphe Charles, Paris: Ludovicus Vivès, 1865; Internet Archive scanned copy, https://archive.org/details/srecardinalissbo03bona (consulted December 30, 2014).Google Scholar
Bonelli, Renato, Il Duomo di Orvieto e l’architettura italiana del Duecento Trecento, Città di Castello: Casa Editrice dell’Angelo, 1952; reprinted Rome: Officina Edizioni, 1972.Google Scholar
Bonelli, Renato, “Uno studio inedito di Pericle Perali,” in Il Duomo di Orvieto, ed. by Riccetti, Lucio, Rome: Laterza, 1988, pp.128.Google Scholar
Borsook, Eve, “Notizie su due cappelle di Santa Croce a Firenze,” Rivista d’arte, 3rd ser., vol. 36, 1961–62, pp. 89106Google Scholar
Boskovits, Miklós, “Su Giusto de’ Menabuoi e sul ‘giottismo’ nell’Italia settentrionale,” in Studi di storia dell’arte in onore di Mina Gregori, ed. by Boskovits, Miklós, Cinisello Balsamo: Silvana, 1994, pp. 2634.Google Scholar
Boucher, Bruce, “Detroit and Fort Worth: sculpture in the time of Donatello,” Burlington magazine, vol.128, no. 994, 1986, pp. 6568.Google Scholar
Boucher, Bruce, ed., Earth and fire: Italian terracotta sculpture from Donatello to Canova, exh. cat., New Haven: Yale University Press, 2002.Google Scholar
Boyer, Charles, “Les théorie augustinienne des raisons séminales,” Miscellanea agostiniana. Testi e studi pubblicati a cura dell’Ordine eremitano di S. Agostino nel XV centenario della morte del santo dottore, 2 vols., ed. by Morin, Germain and Casamassa, Antonio, Rome: Tipografia poliglotta vaticana, 1930–31.Google Scholar
Brady, Ignatius, “Peter Manducator and the oral teachings of Peter Lombard,” Antonianum, vol. 41, 1966, pp. 454–90.Google Scholar
Brady, Jules, “St. Augustine’s theory of seminal reasons,” New Scholasticism, vol. 38, 1964, pp. 141–58.CrossRefGoogle Scholar
Braunfels, Wolfgang, “Giottos Campanile,” Das Münster: Zeitschrift für christliche Kunst und Kunstwissenschaft, vol. 1, 1948, pp. 193210.Google Scholar
Brenk, Bret, “Originalità e innovazione nell’arte medievale,” in Arti e storia nel medioevo, vol. 1: Tempi, spazi, istituzioni, ed. by Castelnuovo, Enrico and Sergi, Giuseppe, Turin: Einaudi, 2002, pp. 369.Google Scholar
Brown, Michelle P., The Holkham Bible picture book, London: The British Museum, 2007.Google Scholar
Büchsel, Martin, “Das Schöpfungsmosaik von San Marco: die Ikonographie der Erschaffung des Menschen in der frühchristlichen Kunst,” Städel-Jahrbuch, vol. 13, 1991, pp. 2980.Google Scholar
Bull, George, ed. and trans., Giorgio Vasari, Lives of the artists, a selection, vol. 1, London: Penguin Books, 1987 (1965, revised 1971).Google Scholar
Burresi, Mariagiulia, ed., Andrea, Nino e Tommaso scultori pisani, exh. cat., Milan: Electa, 1983.Google Scholar
Butzek, Monika, Die Kirchen von Siena. Bd. 3: Der Dom S. Maria Assunta, Architektur, Munich: Deutscher Kunstverlag, 2006.Google Scholar
Cadden, Joan, Meanings of sex difference in the middle ages: medicine, science, and culture, Cambridge UK: Cambridge University Press, 1993.Google Scholar
Cahn, Walter, Romanesque Bible illumination, Ithaca NY: Cornell University Press, 1982.Google Scholar
Caleca, Antonio, “Costruzione e decorazione dalle origini al secolo XV,” in Il Camposanto di Pisa, ed. by Baracchini, Clara and Castelnuovo, Enrico, Biblioteca di storia dell’arte, 27, Turin: Einaudi, 1996, pp. 1348.Google Scholar
Calvin, John, Commentaries on the first book of Moses, called Genesis, vol. 1, trans. by Rev. King, John (1578), Christian Classics Ethereal Library, Grand Rapids, Mich.: Eerdmans, 1847; reprint Grand Rapids, Mich.: Baker, 1996; online edition, www.ccel.org/ccel/calvin/calcom01.html (consulted various dates between 2008 and 2011).Google Scholar
Calzona, Arturo, “Niccolò e Verona,” in Nicholaus e l’arte del suo tempo: in memoria di Cesare Gnudi (atti del seminario tenutosi a Ferrara dal 21 al 24 settembre 1981 organizzato dalla Deputazione provinciale ferrarese di storia patria), ed. by Romanini, Angiola Maria, 2 vols., Ferrara: Corbo, 1985, vol. 2, pp. 441–90.Google Scholar
Cämmerer, Monika, ed., Donatello-Studien, Italienische Forschungen, 3rd ser., vol. 16, Munich: Bruckmann, 1989.Google Scholar
Carli, Enzo, Le Sculture del Duomo di Orvieto, Bergamo: Istituto Italiano d’ Arti Grafiche, 1947.Google Scholar
Carpentier, Elisabeth, Orvieto à la fin du XIIIe sièle: Ville et campagne dans le cadastre de 1292, Paris: Editions du Centre national de la recherche scientifique, 1986.Google Scholar
Cassirer, Ernst,The individual and the cosmos in Renaissance philosophy, trans. by Domandi, Mario, pb ed., Philadelphia: University of Pennsylvania Press, 1979 (1972; German first ed. 1927; English first ed. 1963).Google Scholar
Castiñeiras González, Manuel Antonio, “From chaos to cosmos: the creation iconography in the Catalan Romanesque Bibles,” Arte medievale, vol. 1, 2002, pp. 3550.Google Scholar
The Catholic Encyclopedia, New York: Robert Appleton Company, 1907–12; online edition for New Advent by Knight, Kevin, 1995, www.newadvent.org/cathen/ (consulted various dates between 2005 and 2015).Google Scholar
Cavallaro, Anna, Temi profani e allegorie nell’Italia centrale del quattrocento, Rome: Vecchiarelli, 1995.Google Scholar
Chazelle, Celia, “Pictures, books, and the illiterate: Pope Gregory I’s letters to Serenus of Marseilles,” Word & image, vol. 6, 1990, pp. 138–53.CrossRefGoogle Scholar
Clark, Kenneth, “Transformations of Nereids in the Renaissance,” The Burlington magazine, vol. 97, no. 628, 1955, pp. 214–17.Google Scholar
Clark, Mark J., “Glossing Genesis 1.2 in the twelfth century, or how Andrew of St. Victor and Peter Comestor dealt with the intersection of nova and vetera in the Biblical Glossa ordinaria,” Sacris erudiri, vol. 46, 2007, pp. 241–86.CrossRefGoogle Scholar
Clark, Mark J., “Peter Comestor and Peter Lombard: brothers in deed,” Traditio, vol. 60, 2005, pp. 85142.CrossRefGoogle Scholar
Codell, Julie F., “Giotto’s Peruzzi Chapel frescoes: wealth, patronage and the earthly city,” Renaissance quarterly, vol. 41, 1988, pp. 583613, reprinted in Ladis, Giotto and the world of early Italian art: an anthology of literature, ed. by Andrew Ladis, 4 vols., New York: Garland, 1998, vol. 3, pp. 149–77.CrossRefGoogle Scholar
Coffin Hanson, Anne, Jacopo della Quercia’s Fonte Gaia, Oxford: Clarendon Press, 1965.Google Scholar
Colish, Marcia L., Peter Lombard, 2 vols., New York.: E. J. Brill, 1994.Google Scholar
Comestor, Peter, Historia scholastica, Historia libri Genesis; in Migne, ed., Patrologia Latina, vol. 198, col. 1049–1722Google Scholar
Condivi, Ascanio, “The life of Michelangelo,” in Bull, George, ed. and trans., Michelangelo: life, letters and poetry, Oxford: Oxford University Press, 2008 (1987), pp. 173.Google Scholar
Cook, Eleanor, “The figure of enigma: rhetoric, poetry, history,” Rhetorica, vol. 19, 2001, pp. 349–78.CrossRefGoogle Scholar
Crossley, Paul, “In search of an iconography of medieval architecture,” in Symbolae historiae artium: studia z historii sztuki Lechowi Kalinowskiemu dedykowane, Warsaw: Pan’stwowe Wydawnictwo Naukowe, 1986, pp. 5566.Google Scholar
Crossley, Paul, “Medieval architecture and meaning, the limits of iconography,” The Burlington magazine, vol. 130, 1988, pp. 116–21.Google Scholar
Curtius, Ernst Robert, European literature and the Latin middle ages, trans. by Trask, Willard R., pb ed., Princeton, NJ: Princeton University Press, 1991 (1st ed. 1953).Google Scholar
Cutler, Anthony, The hand of the master: craftsmanship, ivory, and society in Byzantium (9th–11th centuries), Princeton, NJ: Princeton University Press, 1994.Google Scholar
Cutler, Anthony, “On Byzantine boxes,” Journal of the Walters Art Gallery, vol. 42–43, 1984–1985, pp. 3247.Google Scholar
D’Alverny, Marie-Thérèse, “Les anges et les jours,” Cahiers archéologiques, vol. 9, 1957, pp. 271300.Google Scholar
Damisch, Hubert, “Semiotics and iconography” (1975), reprinted in The art of art history: a critical anthology, ed. by Preziosi, Donald, new edition, Oxford History of Art, New York: Oxford University Press, 2009, pp. 236–42.Google Scholar
D’Ancona, Paolo, “Le rappresentazioni allegoriche delle arti liberali nel medio evo e nel Rinascimento,” L’arte, vol. 5, 1902, pp. 137–55, 211–28, 269–89, 370–85.Google Scholar
Darr, Alan Phipps, “The Donatello exhibition at Detroit and Florence: results, perspectives and new directions,” in Donatello-Studien, ed. by Cämmerer, Monika, Italienische Forschungen, 3rd ser., vol. 16, Munich: Bruckmann, 1989, pp. 1123.Google Scholar
Davis, Howard M., “Gravity in the paintings of Giotto,” in Giotto e il suo tempo: atti del Congresso internazionale per la celebrazione del VII centenario della nascità di Giotto, Rome: Di Luca, 1971, pp. 367418, reprinted in Giotto and the world of early Italian art, an anthology of literature, ed. by Andrew Ladis, 4 vols., New York: Garland, 1998, vol. 1, pp. 205–20.Google Scholar
De Francovich, Géza, “Lorenzo Maitani scultore e i bassorilievi della facciata del Duomo di Orvieto,” Bollettino d’arte del Ministero della Pubblica Istruzione, vol. 21 (1927/28), pp. 339–72.Google Scholar
Delaney, Bradley Joseph Jr., “Giusto de’ Menabuoi: iconography and style,” Ph.D. diss., Columbia University, 1972.Google Scholar
Delaney, Bradley Joseph Jr., “Giusto de’ Menabuoi in Lombardy,” Art bulletin, vol. 53, 1976, pp. 1935.CrossRefGoogle Scholar
De Lubac, Henri, Exégèse médiévale, 2 vols., Paris: Aubier, 1959.Google Scholar
Dempsey, Charles, Inventing the Renaissance putto, Bettie Alison Rand lectures in art history, Chapel Hill and London: University of North Carolina Press, 2001.Google Scholar
Demus, Otto, The mosaics of San Marco in Venice, 2 vols in 4, Chicago: University of Chicago Press, 1984.Google Scholar
Deshman, Robert, “Another look at the disappearing Christ: corporeal and spiritual vision in early medieval art,” Art bulletin, vol. 79, 1997, pp. 518–46.Google Scholar
De Tolnay, Charles, Michelangelo, vol. 2: The Sistine ceiling, Princeton, NJ: Princeton University Press, 1945.Google Scholar
De Vecchi, Pierluigi, Michelangelo: the Vatican frescoes, New York: Abbeville Press, 1996.Google Scholar
DeWald, Ernest T., “The iconography of the ascension,” American journal of archaeology, 2nd ser., 19, 1915, pp. 277319.CrossRefGoogle Scholar
Didi-Huberman, Georges, Confronting images, questioning the ends of a certain art history, trans. by Goodman, John, State College: Penn State University Press, 2005 (French ed. 1990).Google Scholar
Dixon, John W. Jr., “The Christology of Michelangelo: the Sistine Chapel,” Journal of the American Academy of Religion, vol. 55, 1987, pp. 503–33.Google Scholar
Duggan, Lawrence G., “Reflections on ‘Was art really the “book of the illiterate”?’,” in Reading images and texts: medieval images and texts as forms of communication; papers from the Third Utrecht Symposium on Medieval Literacy, Utrecht, 7–9 December 2000, ed. by Hageman, Marielle and Mostert, Marco, Turnhout : Brepols, 2005, pp. 109–19.Google Scholar
Duggan, Lawrence G., “Was art really the ‘book of the illiterate’?,” Word & image, vol. 5, 1989, pp. 227–51; reprinted in Reading images and texts medieval images and texts as forms of communication; papers from the Third Utrecht Symposium on Medieval Literacy, Utrecht, 7-9 December 2000, ed. by Marielle Hageman and Marco Mostert, Turnhout : Brepols, 2005, pp. 63–108.CrossRefGoogle Scholar
Eco, Umberto, The role of the reader, explorations in the semiotics of texts, Bloomington: Indiana University Press, 1979.Google Scholar
Edwards, Mary D., and Bailey, Elizabeth, eds., Gravity in art, essays on weight and weightless in painting, sculpture and photography, Jefferson, North Carolina: McFarland & Co., Inc, 2012.Google Scholar
Eisler, Colin, “Kunstgeschichte American style: a study in migration,” in The intellectual migration: Europe and America, 1930–60, ed. by Fleming, Donald and Bailyn, Bernard, Cambridge, MA: Belknap Press of Harvard University Press, 1969, pp. 544629.Google Scholar
Eleen, Luba, “The frescoes of San Paolo fuori le mura in Rome: early Christian or medieval?,” RACAR (Revue d’art canadienne/Canadian Art Review), vol. 12, 1985, pp. 251–59.Google Scholar
Eleen, Luba, The illustrations of the Pauline epistles, Oxford: Clarendon Press, 1982.Google Scholar
Erba, Luisa, ed., La Certosa di Pavia. Il grande racconto della facciata, Pavia: Ponzio, 2010.Google Scholar
Ettlinger, Helen, “A textual source for Ghiberti’s ‘Creation of Eve’,” Journal of the Warburg and Courtauld institutes, vol. 44, 1982, p. 176.CrossRefGoogle Scholar
Evans, Michael, “Allegorical women and practical men: the iconography of the artes reconsidered,” in Medieval women, dedicated and presented to Professor Rosalind M. T. Hill on the occasion of her seventieth birthday, ed. by Baker, Derek, Studies in church history, 1, Oxford: Published for the Ecclesiastical History Society by B. Blackwell, 1978, pp. 305–29.Google Scholar
Fabjan, Barbara and Marani, Pietro C., Il Museo della Certosa di Pavia. Catalogo generale, Florence: Cantini, 1992.Google Scholar
Falk, Ilse, Studien zu Andrea Pisano, Hamburg: Niemann und Moschinski, 1940.Google Scholar
Falletti, Franca, Anglani, Marcella, and Tosone, Augusta, Accademia gallery: the official guide: all of the works, Firenze musei, Florence: Giunti, 1999.Google Scholar
Falschi, Enid T., “Giotto: the literary legend,” Italian studies, vol. 27, 1972, pp. 127.CrossRefGoogle Scholar
Fiderer Moskowitz, Anita, The facade reliefs of Orvieto Cathedral, with photography by David Finn, London and Turnhout: Harvey Miller Publishers, 2009.Google Scholar
Fiderer Moskowitz, Anita, The sculpture of Andrea and Nino Pisano, Cambridge UK: Cambridge University Press, 1986.Google Scholar
Fiderer Moskowitz, Anita, “Trecento classicism and the Campanile hexagons,” Gesta, vol. 22, 1983, pp. 4965.CrossRefGoogle Scholar
Fiedrowicz, Michael, “Introduction” to Augustine, The literal meaning of Genesis; in Saint Augustine on Genesis, ed. by Rotelle, John E., The works of Saint Augustine. A translation for the 21st century, Part I, vol. 13, Hyde Park, NY: New City Press, 2002, pp. 156–66.Google Scholar
Foote, David, Lordship, reform and the development of civil society in medieval Italy: the Bishopric of Orvieto, 1100–1250, Notre Dame, Indiana: University of Notre Dame Press, 2004.Google Scholar
Fortini-Brown, Patricia, Venice and antiquity: the Venetian sense of the past, New Haven and London, 1996.Google Scholar
Franceschini, Enrico, “Origine e stile della bolla ‘Transiturus,’” Aevum, vol. 39, 1965, pp. 218–43.Google Scholar
Freuler, Gaudenz, Bartolo di Fredi Cini. Ein Beitrage zur sienesischen Maleriei des 14. Jahrhunderts, Disentis: Desertina Verlag, 1994.Google Scholar
Freuler, Gaudenz, “Cini: (1) Bartolo di Fredi Cini” in Grove art online, Oxford art online, Oxford University Press, 2007, www.oxfordartonline.com/subscriber/article/grove/art/T017805pg1?q=bartolo+di+fredi+cini&search=quick&source=oao_gao&pos=1&_start=1#firsthit (consulted April 19, 2010)Google Scholar
Fumi, Luigi, Il Duomo di Orvieto e I suoi restauri, Rome: La Societa Laziale Tipografico Editrice, 1891.Google Scholar
Fumi, Luigi, Statuti e regesti dell’Opera di Santa Maria di Orvieto, Rome: Tipografia Vaticana, 1891.Google Scholar
Gaehde, Joachim E., “The Bible of San Paolo fuori le mura in Rome: its date and its relation to Charles the Bald,” Gesta, vol. 5, 1966, pp. 921.CrossRefGoogle Scholar
Gaehde, Joachim E., “Painters of the Carolingian Bible manuscript of San Paolo fuori le mura,” Ph.D. diss., New York University, 1963.Google Scholar
Gaehde, Joachim E., “The Turonian sources of the Bible of San Paolo fuori le mura in Rome,” Frühmittelalterliche Studien, vol. 5, 1971, pp. 359400.CrossRefGoogle Scholar
Galen, , Peri chreias moriōn. De usu partium; trans. by Tallmadge, Margaret May as Galen: on the usefulness of the parts of the body, 2 vols., Ithaca, NY: Cornell University Press, 1968.Google Scholar
Galli, Aldo, “Nel segno del Ghiberti” in La bottega dell’artista: tra medioevo e Rinascimento, ed. by Béguin, Sylvie and Cassanelli, Roberto, Storia dell’arte europea, Milan: Jaca Book, 1998, pp. 87108.Google Scholar
Gandolfo, Francesco, “Note per una interpretazione iconologica delle storie del Genesi di Wiligelmo,” in Romanico padano, Romanico europeo, ed. by Quintavalle, Arturo Carlo, Parma: Università degli studi di Parma, Istituto di storia dell’arte, Centro di studi medioevali, 1982, pp. 323–37.Google Scholar
Garber, Julius, Wirkungen der frühchristlichen Gemäldezyklen der alten Peters- und Pauls-Basiliken in Rom, Berlin: Julius Bard, 1918.Google Scholar
Gardner, Julian, “The facade of the Duomo at Orvieto,” in De l’art comme mystagogie: iconographie du Jugement dernier et des fins dernières à l’époque gothique: actes du colloque de la Fondation Hardt tenu à Genève du 13 au 16 février 1994, ed. by Christe, Yves, Civilisation médiévale, 3. Poitiers: Université de Poitiers, Centre national de la recherche scientifique, Centre d’études supérieures de civilisation médiévale, 1996, pp. 199209.Google Scholar
Gardner, Julian, “Gian Paolo Panini, San Paolo fuori le mura and Pietro Cavallini: some notes on colour and setting,” in Mosaics of friendship: studies in art and history for Eve Borsook, Florence: Centro Di, 1999, pp. 245–54.Google Scholar
Gardner, Julian, “Pope Nicholas IV and the decoration of Santa Maria Maggiore,” Zeitschrift für Kunstgeschichte, vol. 36, 1973, pp. 150.CrossRefGoogle Scholar
Gardner, Julian, “San Paolo fuori le mura: Nicholas III and Pietro Cavallini,” Zeitschrift für Kunstgeschichte, vol. 34, 1971, pp. 240–48.CrossRefGoogle Scholar
Garin, Eugenio, La ‘dignitas hominis’ e la letteratura patristica, Turin: G. Giappichelli Editore, 1972.Google Scholar
Garin, Eugenio, Italian humanism: philosophy and civic life in the Renaissance, trans. by Munz, Peter, New York: Harper and Row, 1965 (German ed. 1947).Google Scholar
Garrison, Edward B., “Note on the iconography of creation and the Fall of man in eleventh- and twelfth-century Rome,” in idem, Studies in the history of medieval Italian painting, vol. 4, Florence: “L’Impronta”, 1960–62, pp. 201–10 at 202; reprinted with the same pagination, London: The Pindar Press, 1993.Google Scholar
Gatti, Angelo, La basilica petroniana, Bologna: P. Neri, 1913.Google Scholar
Genesis Rabbah, The Judaic commentary to the book of Genesis. A new American translation, ed. and trans. by Neusner, Jacob, 3 vols., Atlanta, Georgia: Scholars Press, 1985. Cited in the notes by the text divisions.Google Scholar
Gennadius, Massiliensis, De ecclesiasticis dogmatibus liber; in Migne, ed., Patrologia Latina, vol. 42, cols. 1211–20.Google Scholar
Ghiberti, Lorenzo, I commentarii, ed. by Morisani, Ottavio, Naples: Ricciardi, 1947. Cited in the notes by text division.Google Scholar
Gillerman, David, review of Antje Middeldorf Kosegarten, Die Domfassade in Orvieto: Studien zur Architektur und Skulptur 1290–1330 in Art bulletin, vol. 80, 1998, pp. 568–69.Google Scholar
Gillerman, David, “The evolution of the design of Orvieto Cathedral, ca. 1290–1310,” Journal of the Society of Architectural Historians, vol. 53, 1994, pp. 300–21.CrossRefGoogle Scholar
Gilson, Etienne, Introduction à l’étude de saint Augustin, Paris: Vrin, 1949.Google Scholar
Ginzburg, Carlo, “From Aby Warburg to E. H. Gombrich: a problem of method” (1966), in Myths, emblems, clues, trans. by John, and Tedeschi, Anne C., London: Hutchinson Radius, 1990, pp. 1759.Google Scholar
Giorgi, Piero P., and Pasini, Gian Franco, eds., Anothomia di Mondino de’ Liuzzi da Bologna, XIV secolo, Bologna: Istituto per la storia dell’Università di Bologna, 1992.Google Scholar
Goldschmidt, Adolf and Kurt Weitzmann, , Die byzantinischen Elfenbeinskulpturen des X-XIII. Jahrhunderts, 2 vols. Berlin: Deutscher Verlag für Kunstwissenschaft, 1930, 1934.Google Scholar
Grafton, Anthony, Leon Battista Alberti, master builder of the Italian Renaissance, New York: Hill and Wang, 2000.Google Scholar
Grant, Edward, Planets, stars, and orbs. The medieval cosmos, 1200–1687, New York: Cambridge University Press, 1994.Google Scholar
Grant, Edward, ed., A source book in medieval science, Cambridge, MA: Harvard University Press, 1974.Google Scholar
Grayson, Cecil, ed. and trans., Leon Battista Alberti On painting and on sculpture. The Latin text of De pictura and De statua, London: Phaidon, 1972.Google Scholar
Greenstein, Jack M., “Mantegna, Leonardo and the times of painting,” Word & image, vol. 15, 1999, pp. 217–42.CrossRefGoogle Scholar
Greenstein, Jack M., Mantegna and painting as historical narrative, Chicago: University of Chicago Press, 1992.Google Scholar
Gregory of Nyssa, “On the making of man”, in A select library of the Nicene and Post-Nicene fathers of the Christian Church, second series, ed. and trans. by Schaff, Philip and Wace, Henry, vol. 5: Gregory of Nyssa: dogmatic treatises, etc., Grand Rapids MI: Wm. B. Eerdmans Publishing Company, 1892; internet edition by Christian Classics Ethereal Library, www.ccel.org/ccel/schaff/npnf205 (consulted June 27, 2012).Google Scholar
Griffiths, Fiona J., The garden of delights: reform and renaissance for women in the twelfth century, Philadelphia: University of Pennsylvania Press, 2007.CrossRefGoogle Scholar
Griffith Mann, C., “From creation to the end of time: the nave frescoes of San Gimignano’s Collegiata and the structure of civic devotion,” Ph.D. diss., Johns Hopkins University, January 2002.Google Scholar
Guarino, Guido A., ed. and trans., The Albertis of Florence: Leon Battista Alberti’s ‘Della famiglia’, Lewisburg: Bucknell University Press, 1971.Google Scholar
Gutberlet, Sophie Helena, Die Himmelfahrt Christi in der bilden Kunst, Strasbourg: Heitz, 1934.Google Scholar
Haines, Margaret, ‘Ghiberti’s trip to Venice’ in Coming about … a festschrift for John Shearman, ed. by Jones, Lars R. and Matthew, Louisa C., Cambridge, MA: Harvard University Art Museums, 2001, pp. 5764.Google Scholar
Harpring, Patricia, The Sienese painter Bartolo di Fredi, London and Toronto, Associated University Presses, 1993.Google Scholar
Hasenmueller, Christine, “Panofsky, iconography and semiotics,” Journal of aesthetics and art criticism, vol. 36, 1978, pp. 289301.CrossRefGoogle Scholar
Heckscher, William S., “The genesis of iconology,” in Stil und Überlieferung in der Kunst des Abendlandes, Acts of the 21st International Congress for the History of Art (Bonn, 1964) Berlin: Gebr. Mann., 1967, vol. 3, pp. 239–62.Google Scholar
Heimann, Adelheid, “Trinitas Creator mundi,” Journal of the Warburg and Courtauld institutes, vol. 2, 1938/39, pp. 4252.CrossRefGoogle Scholar
Herrad of Hohenbourg, Hortus deliciarum, ed. by Green, Rosalie, Evans, Michael, Bischoff, Christine and Curschmann, Michael, 2 vols., Studies of the Warburg Institute, vol. 36, London: Warburg Institute, 1979Google Scholar
Hersey, George, High Renaissance art in St. Peter’s and the Vatican: an interpretive guide, Chicago: University of Chicago Press, 1993.Google Scholar
Hetherington, Paul, Pietro Cavallini. A study in the art of late medieval Rome, London: Sagittarius Press, 1979.Google Scholar
Hibbard, Howard, Michelangelo, pd ed., New York: Harper and Row, 1979 [1974].Google Scholar
Hirshman, Marc, “Origen’s view of ‘Jewish fables’ in Genesis,” in The exegetical encounter between Jews and Christians in late antiquity, Jewish and Christian perspectives, ed. by Grypeou, Emmanouela and Spurling, Helen, Jewish and Christian perspectives series, vol. 18, Leiden and Boston: Brill, 2009, pp. 245–54.Google Scholar
Hollander, Robert, Dante’s epistle to Cangrande, Ann Arbor: University of Michigan Press, 1993.Google Scholar
Holly, Michael Ann, Panofsky and the foundations of art history, Ithaca and London: Cornell University Press, 1984.Google Scholar
Hueck, Irene, “Il programma dei mosaici,” in Il Battistero di San Giovanni a Firenze. The Baptistery of San Giovanni, Florence, ed. by Paolucci, Antonio, Modena: Franco Cosimo Panini, 1994, pp. 229–63.Google Scholar
Hugh of St. Victor, Adnotationes elucidatoriae in Pentateuchon; in Migne, ed., Patrologia Latina, vol. 175, cols. 29–86.Google Scholar
Hugh of St. Victor, De sacramentis legis naturalis et scriptae; in Migne, ed., Patrologia Latina, vol. 176, cols. 17–40.Google Scholar
Hugh of St. Victor, Didascalicon; trans. by Taylor, Jerome, The Didascalicon of Hugh of St. Victor: a medieval guide to the arts, New York: Columbia University Press, 1961, reprinted 1991; digital edition ACLS Humanities e-book, http://hdl.handle.net/2027/heb.06000.0001.001 (consulted June 29, 2012).Google Scholar
Hugh of St. Victor, De sacramentis Christiane fidei; in Migne, ed., Patrologia Latina, vol. 176, cols. 173–618.Google Scholar
Hugh of St. Victor (spurious), Summa sententiarum septem tractatibus distincta; in Migne, ed., Patrologia Latina, vol. 176, cols 41–172.Google Scholar
Iacobone, Pasquale, Mysterium Trinitatis: dogma e iconografia nell’ Italia medievale, Tesi Gregoriana: Serie teologia, no. 28, Rome: Pontificia Università Gregoriana, 1997.Google Scholar
Isidore of Seville, Etymologiarum sive originum, Libri XX; trans. by Barney, Stephen A., Lewis, W. J., Beach, J, and Berghof, Oliver, The etymologies of Isidore of Seville, Cambridge: Cambridge University Press, 2006.Google Scholar
Janson, H. W., History of art, fifth edition, ed. by Janson, Anthony F., New York: Harry N. Abrams, and New Jersey: Prentice Hall, 1995.Google Scholar
Jensen, Robin M., “The economy of the Trinity at the creation of Adam and Eve,” Journal of early Christian studies, vol. 7, 1999, pp. 527–46; digital version, http://muse.jhu.edu/journals/journal_of_early_christian_studies/v007/7.4jensen.html (consulted January 29, 2009).CrossRefGoogle Scholar
Jolly, Penny Howell, Made in God’s image?: Eve and Adam in the Genesis mosaics at San Marco, Venice, Berkeley: University of California Press, 1997.CrossRefGoogle Scholar
Josephus, Flavius, Antiquities of the Jews, in The works of Flavius Josephus, trans. by William Whiston and A.M. Auburn, Buffalo: John E. Beardsley, 1895, digital edition by the Christian Ethereal Classics online www.ccel.org/j/josephus/works/JOSEPHUS.HTM (consulted May 7, 2011).Google Scholar
Kain, E. M., “An analysis of the marble reliefs on the façade of S. Zeno, Verona,” Art bulletin, vol. 43, 1981, pp. 358–74.Google Scholar
Kaiser-Minn, Helga, Die Erschaffung des Menschen auf den spätantiken Monumenten des 3. und 4. Jahrhunderts, Jahrbuch für Antike und Christentum: Ergänzungsband, 6, Munich: Aschendorff, 1981.Google Scholar
Keck, David, Angels & angelology in the middle ages, New York: Oxford University Press, 1998.CrossRefGoogle Scholar
Kemp, Martin, Behind the picture: art and evidence in the Italian Renaissance, New Haven and London: Yale University Press, 1997.Google Scholar
Kermode, Frank, The genesis of secrecy: on the interpretation of narrative, Charles Eliot Norton lectures 1977–78, Cambridge, MA: Harvard University Press, 1979.Google Scholar
Kessler, Herbert L., “L’antica basilica di San Pietro come fonte e ispirazione per la decorazione delle chiese medievali,” in Fragmenta picta: Affreschi e mosaici staccati nel medioevo romano, exh. cat., Rome: Argos, 1989, pp. 4564; reprinted in English as “Old St. Peter’s as the source and inspiration of medieval church decoration,” in idem, Old St. Peter’s and church decoration in medieval Italy, Collectanea 17, Spoleto: Centro italiano di studi sull’alto Medioevo, 2002, pp. 75–96.Google Scholar
Kessler, Herbert L., “‘Caput et speculum omnium ecclesiasrum’: Old St. Peter’s and church decoration in medieval Latium,” in Italian church decoration of the middle ages and early Renaissance. Functions, forms and regional traditions, ed. by Tronzo, William, Colloquia, Villa Spelman, vol. 1, Bologna: Nova Alfa, 1989, pp. 119–46; reprinted in Herbert. L. Kessler, Studies in pictorial narrative, London: The Pindar Press, 1994, pp. 393–432.Google Scholar
Kessler, Herbert L., “Corporeal texts, spiritual paintings, and the mind’s eye,” in idem, Old St. Peter’s and church decoration in medieval Italy, Collectanea 17, Spoleto: Centro italiano di studi sull’alto Medioevo, 2002, pp. 159–79.Google Scholar
Kessler, Herbert L, “The Cotton Genesis and the creation in the San Marco mosaics,” Cahiers archéologiques, vol. 53, 2011, pp. 1732.Google Scholar
Kessler, Herbert L, “An eleventh century ivory plaque from South Italy and the Cassinese revival,” Jahrbuch der Berliner Museen, vol. 8, 1966, pp. 6795.CrossRefGoogle Scholar
Kessler, Herbert L., “Hic hoc formatur: The Genesis frontispieces of the Carolingian Bibles,” Art bulletin, vol. 53, 1971, pp. 143–60.Google Scholar
Kessler, Herbert L., The illustrated Bibles from Tours, Princeton NJ: Princeton University Press, 1977.Google Scholar
Kessler, Herbert L., Old St. Peter’s and church decoration in medieval Italy, Collectanea 17, Spoleto: Centro italiano di studi sull’alto Medioevo, 2002.Google Scholar
Kessler, Herbert L.Séroux’s decadent column capital and other pieces in the puzzle of S. Paolo fuori le mura in Rome,” Arte medievale, N.S. vol. 3, 2004 (2005), pp. 1, 934.Google Scholar
Kessler, Herbert L., “The sources and construction of the Genesis, Exodus, Maesta and Apocalypse illustrations in the ninth-century Touronian Bible,” Ph.D. diss., Princeton University, 1965.Google Scholar
King, Margaret L., “Book lined cells: women and humanism in the early Italian Renaissance,” in Beyond their sex: learned women of the European past, ed. by Labalme, Patrica H., New York: New York University Press, 1980, pp. 6690.Google Scholar
King, Margaret L., Humanism, Venice, and women. Essays on the Italian Renaissance, Variorum collected studies series, 802, Burlington VT and Aldershot UK: Ashgate, 2005.Google Scholar
King, Margaret L., “The religious retreat of Isotta Nogarola (1418–1466): sexism and its consequences in the fifteenth century,” Signs, vol. 3, 1978, pp. 807–22.CrossRefGoogle Scholar
King, Margaret L., “Thwarted ambitions: six learned women of the Italian Renaissance,” Soundings, vol. 59, 1976, pp. 280304.Google Scholar
King, Margaret L. and Rabil, Albert Jr., eds., Her immaculate hand: selected works by and about the women humanists of Quattrocento, Medieval & Renaissance texts and studies, vol. 20, Binghamton, NY: Center for Medieval & Early Renaissance Studies, State University of New York at Binghamton, 1983.Google Scholar
King, Margaret L., and Robin, Diana, eds. and trans., Isotta Nogarola, complete writings. Letterbook, Dialogue on Adam and Eve, Orations, Chicago: University of Chicago Press, 2004.Google Scholar
Kleinbub, Christian, “At the boundaries of sight,” in Renaissance theories of vision, ed. by Hendrix, John Shannon and Carman, Charles H., Farnham, Surrey, England and Burlington VT: Ashgate, 2010, pp. 117–34.Google Scholar
Kloesel, Christian J. W., ed., Writings of Charles S. Peirce: a chronological edition, vol. 5: 1884–1886, Bloomington and Indianopolis: Indiana University Press, 1993.Google Scholar
Knapp Fengler, Christie, “Bartolo di Fredi’s Old Testament frescoes in S. Gimignano,” Art bulletin, vol. 63, 1981, pp. 374–84.Google Scholar
Knox, Giles, “The Colleoni Chapel in Bergamo and the politics of urban space,” Journal of the Society of Architectural Historians, vol. 60, 2001, pp. 290309.CrossRefGoogle Scholar
Koenen, Ulrike, Das “Konstantinskreuz” im Lateran und die Rezeption frühchristlicher Genesiszyklen im 12. und 13. Jahrhundert, Manuskripte zur Kunstwissenschaft in der Wernerschen Verlagsgesellschaft, Bd. 46, Worms: Wernersche Verlagsgesellschaft, 1995.Google Scholar
Koshi, Koichi, Die Genesisminaturen in de Wiener “Histoire Universelle” (Cod. 2576), Vienna: Holzhausen, 1973.Google Scholar
Kötzsche-Beitebruch, Lieselotte, Die bemalte Behang in der Abegg-Stiftung in Riggisberg. Eine alttestamentliche Bildfolge des 4. Jahrhunderts, Riggisberger Berichte, 11, Riggisberg: Abegg Stiftung, 2004.Google Scholar
Krautheimer, Richard, “Introduction to an ‘Iconography of medieval architecture’,” Journal of the Warburg and Courtauld institutes, vol. 5, 1942, pp. 133; reprinted in idem, Studies in early Christian, medieval, and Renaissance Art, ed. by James S. Ackerman and Elisabeth B. MacDougall, New York: New York University Press, 1969.CrossRefGoogle Scholar
Krautheimer, Richard, review of James H. Beck, Jacopo della Quercia e il portale di San Petronio a Bologna, in Renaissance quarterly, vol. 25, 1972, pp. 321–26.Google Scholar
Krautheimer, Richard, in collaboration with Krautheimer-Hess, Trude, Lorenzo Ghiberti, Princeton monographs in art and archaeology, XXXI, Princeton, NJ: Princeton University Press, 1982 (1956).Google Scholar
Kreytenberg, Gert, Andrea Pisano und die toskanische Skulptur des 14. Jahrhunderts, Munich: Bruckmann, 1984.Google Scholar
Kristeller, P. O., “Ficino and Pomponazzi on the place of man in the universe,” Journal of the history of ideas, vol. 5, 1944, pp. 220–06; reprinted in Studies in Renaissance thought and letters, vol. 1, Rome: Edizioni di Storia e di Letteratura, 1956, pp. 279–86.CrossRefGoogle Scholar
Kristeller, P. O., “The humanist Bartolomeo Facio and his unknown correspondence,” in From the Renaissance to the Counter-Reformation: essays in honor of Garrett Mattingly, ed. by Carter, Charles H., New York: Random House, 1965, pp. 5674.Google Scholar
Kristeller, P. O., “The philosophy of man in the Italian Renaissance,” Italica, vol. 24, 1947, pp. 93112; reprinted in Studies in Renaissance thought and letters, vol. 1, Rome: Edizioni di Storia e di Letteratura, 1956, pp. 261–78.CrossRefGoogle Scholar
Krohm, Helmut, “Die Skulptur der Querhausfassaden an der Kathedrale von Rouen,” Aachener Kunstblätter, vol. 40, 1971, pp. 40153.Google Scholar
Lactantius, , The divine institutes; trans. by Fletcher, William in the Ante-Nicene Fathers, vol. 7, ed. by Roberts, Alexander, Donaldson, James, and Coxe, Arthur Cleveland, Buffalo, NY: Christian Literature Publishing Co.,1886. Online edition for New Advent by Kevin Knight, www.newadvent.org/fathers/07012.htm (consulted August 8, 2010).Google Scholar
Lactantius, , On the workmanship of God or the formation of man (De opificio dei); trans. by Fletcher, William, The works of Lactantius, 2 vols., Christian, Ante-Nicene Library, vol. XXII, Edinburgh: T & T. Clark, 1871, vol. 2, pp. 4991.Google Scholar
Ladis, Andrew, ed., Giotto and the world of early Italian art: an anthology of literature, 4 vols., New York: Garland, 1998Google Scholar
Landauer, Carl, “Erwin Panofsky and the renascence of the Renaissance,” Renaissance quarterly, vol. 47, 1994, pp. 255–81.CrossRefGoogle Scholar
Lang, Helen S., Aristotle’s physics and its medieval varieties, Albany, NY: State University of New York Press, 2002.Google Scholar
Lang, Helen S., The order of nature in Aristotle’s physics: place and the elements, New York: Cambridge University Press, 1998.CrossRefGoogle Scholar
Laqueur, Thomas, Making sex. Body and gender from the Greeks to Freud, Cambridge, MA: Harvard University Press, 1990.Google Scholar
Lasinio, Giovanni Paolo, Raccolta di sarcofagi, urne e altri monumenti di scultura del Campo Santo di Pisa intagliati da Paolo Lasinio figlio, Pisa: Co Caratteri di Didot, 1814; available online through the Hathi Trust Digital Library, http://hdl.handle.net/2027/njp.32101077988127 (consulted April 27, 2012).Google Scholar
Lavermicocca, Nino, “Affreschi della Cripta del ‘Peccato Originale’ a Matera” in Le aree omogenee della civiltà rupestre nell’ambito dell’Impero Bizantino: La Cappadocia: atti del quinto Convegno internazionale di studio sulla civiltà rupestre medioevale nel Mezzogiorno d’Italia (Lecce-Nardò, 12-16 ottobre 1979), ed. by Fonseca, Cosimo Damiano, Galatina: Congedo, 1981.Google Scholar
Lazzarini, Andrea, “La manacata effettuazione della bolla ‘Transiturus,’” Archivio storico italiano, vol. 110, 1952, pp. 205–15.Google Scholar
Lazzarini, Andrea,Il miracolo di Bolsena; testimonianze e documenti dei secoli 13 e 14, 2nd ed., Temi e testi, 1, Rome: Edizioni di storia e letteratura, 1952.Google Scholar
Lebensztejn, Jean-Claude, “Tardemah,” in Schefer, Jean Louis, Saffery, Henri and Lebensztein, Jean Claude, La création d’Ève, Paris: Desclée de Brouwer, 2001, pp. 75120.Google Scholar
Le Goff, Jacques, “L’immaginario in Wiligelmo,” in Wiligelmo e Lanfranco nell’Europa romanica, Modena: Panini, 1989, pp. 1322.Google Scholar
Lerer, Seth, ed., Literary history and the challenge of philology: the legacy of Erich Auerbach, Stanford: Stanford University Press, 1996.CrossRefGoogle Scholar
Lexikon der christlichen Ikonographie, 8 vols., ed. by Kirschbaum, Engelbert, Bandmann, Günter, Braunfels, Wolfgang, et al., Rome: Herder, 1968–1976.Google Scholar
Lloyd, Genevieve, The man of reason: “male” and “female” in Western philosophy, Minneapolis: University of Minnesota Press, 1984.Google Scholar
Lombard, Peter, The sentences. Book 2: On creation, trans. by Silano, Giulio, Medieval sources in translation 43, Toronto: Pontifical Institute of Medieval Studies, 2008 (reprinted 2010). Cited in the notes by text division.Google Scholar
Lombard, Peter, Sententiarum quatuor libri, in Migne, ed., Patrologia Latina, vol. 192, cols 703–4.Google Scholar
Longhi, Roberto, “Tracciato orvietano,” Paragone, vol. 13, no. 149, 1962, pp. 314.Google Scholar
Loseries, Wolfgang, “Le sculture della cappella di San Giovanni Battista,” in Le sculture del duomo di Siena, ed. by Lorenzoni, Mario, Cinisello Balsamo (Milan): Silvana Editoriale, 2009, pp. 148–53.Google Scholar
Lowden, John, “Concerning the Cotton Genesis and other illustrated manuscripts of Genesis,” Gesta, vol. 31, 1992, pp. 4153.CrossRefGoogle Scholar
Lowden, John, review of Weitzmann and Kessler, The Cotton Genesis, in Art bulletin, vol. 70, 1988, pp. 346–47.Google Scholar
Lowden, John, “The beginnings of Biblical Illustration,” in Imaging the early Medieval Bible, ed. by Williams, John W., University Park, PA: Pennsylvania State University Press, 1999, pp. 959.Google Scholar
Lowden, John, The Octateuchs: a study in Byzantine manuscript illustration, University Park, PA: Pennsylvania State University Press, 1992.Google Scholar
Lowden, John, review of Weitzmann and Bernabò, The Byzantine Octateuchs, in Burlington magazine, vol. 142, 2000, pp. 502–03.Google Scholar
Luttikhuizen, Gerard P., ed., The creation of man and woman: interpretations of Biblical narratives in Jewish and Christian traditions, Leiden: Brill, 2000.CrossRefGoogle Scholar
Maclean, Ian, The Renaissance notion of woman: a study in the fortunes of scholasticism and medical science in European intellectual life, New York: Cambridge University Press, 1980.CrossRefGoogle Scholar
Malaguzzi-Valeri, Francesco, Gio. Antonio Amadeo: scultore e architetto lombardo (1447–1522), Bergamo: Istituto italiano d’arti grafiche, 1904.Google Scholar
Manca, Joseph, “Moral stance in Italian Renaissance art,” Artibus et historiae, vol. 44, 2001, pp. 5176.CrossRefGoogle Scholar
Manetti, Giannozzo, De dignitate et excellentia hominis, ed. by Leonard, Elizabeth R., Thesaurus mundi, 12, Padua: Antenore, 1975.Google Scholar
Maraschio, Nicoletta, “Aspetti del bilinguismo albertiano nel ‘De pictura’,” Rinascimento, second series, vol. 12, 1972, pp. 183228.Google Scholar
Marian, Wenzel, review of Kurt Weitzmann and Herbert L. Kessler, The Cotton Genesis: British Library Codex Cotton Otho B. VI, in Burlington magazine, vol. 130, 1988, pp. 631–32.Google Scholar
Markow, Deborah, “The iconography of the soul in medieval art,” Ph.D. diss., New York University, 1984.Google Scholar
Martindale, Andrew, Simone Martini, Oxford: Phaidon, 1987.Google Scholar
Martini, L., “La rinascità della terracotta,” in Lorenzo Ghiberti: Materia e ragionamenti, ed. by Bacci, Mina, exh. cat., Firenze, Museo dell’ Accademia e Museo di San Marco, 18 ottobre 1978 – 31 gennaio 1979, Florence: Centro Di, 1978, pp. 208–24.Google Scholar
Matteucci Armandi, Anna Maria, La Porta magna di San Petronio in Bologna, L’arte in Emilia, 4, Bologna: R. Pàtron, 1966.Google Scholar
Matthiae, Guglielmo, Mosaici medioevali delle chiese di Roma, Rome: Istituto poligrafico dello Stato, Libreria dello Stato, 1967.Google Scholar
Mayer, Cornelius, “Creatio, creator, creatura,” in Augustinus-Lexikon, ed. by Mayer, Cornelius and Feldmann, Erich, Basel: Schwabe, 1986, vol. 2, pp. 56116.Google Scholar
McKeough, Michael John, “The meaning of the rationes seminales in St. Augustine,” Ph.D. diss., Department of Philosophy, Catholic University of America, 1926.Google Scholar
Meuwese, Martine, “Jacob van Maerlant’s Spiegel historiael: iconography and workshop,” in Flanders in a European perspective: manuscript illumination around 1400 in Flanders and abroad, ed. by Smeyers, Maurits and Cardon, Bert, Leuven: Peeters, 1995, pp. 445–50.Google Scholar
Middeldorf Kosegarten, Antje, Die Domfassade in Orvieto: Studien zur Architektur und Skulptur 1290–1330, Munich: Deutscher Kunstverlag, 1996.Google Scholar
The Midrash Rabbah, ed. and trans, by Freedman, Harry and Simon, Maurice, 5 vols., New York et al.: The Soncino Press, 1977. Cited in notes by the text divisions.Google Scholar
Migne, Jacques-Paul, ed., Patrologia cursus completus, series Latina, 221 vols., Paris, 1854–55, 1862–65; digital edition by Proquest LLC, 1996–2015 http://pld.chadwyck.com/ (consulted at various dates between 2005 and 2015). Cited in the notes as Migne, ed., Patrologia Latina.Google Scholar
Milanesi, Gaetano, Documenti per la storia dell’arte Senese, 4 vols., Siena: Onorato Porri, 1854–1856, 1898; reprinted Soest, Holland: Davaco, 1969.Google Scholar
Mitchell, W. J. T., Picture theory, Chicago and London: University of Chicago Press, 1994.Google Scholar
Morgan, Charles, The life of Michelangelo, New York: Reynal & Company, 1960.Google Scholar
Morscheck, Charles R., “Relief sculpture for the facade of the Certosa di Pavia, 1473–1499,” Ph.D. diss., New York: Garland, 1978.Google Scholar
Müller, Rebecca, Kessler, Herbert L., and Büchsel, Martin, eds., Das Atrium von San Marco in Venedig. Die Genese der Genesismosaiken und ihre mittelalterliche Wirklichkeit/The atrium of San Marco in Venice: the Genesis of the Genesis mosaics and their medieval reality, Neue Frankfurter Forschungen zur Kunst, vol. 15, Berlin: Gebr. Mann, 2014.Google Scholar
Münster, Ladislao, “Alcuni episodi sconosciuti or poco noti sulla vita e sull’attività di Bartolomeo Varignana,” Castalia: Rivista di storia della medicina, vol. 10, 1954, pp. 207–15.Google Scholar
Murray, Linda, Michelangelo, pb ed., London and New York: Thames and Hudson, 1992 [first published 1980].Google Scholar
Murray, Peter, “Notes on some early Giotto sources,” Journal of the Warburg and Courtauld institutes, vol. 16, 1953, pp. 5880.CrossRefGoogle Scholar
Nagel, Alexander and Wood, Christopher S., Anachronic Renaissance, New York: Zone Books, 2010.CrossRefGoogle Scholar
Natalini, Vincenzo, “Il Capitolo del duomo di Orvieto ed i suoi statuti inediti (1260–1458),” Rivista della storia della chiesa in Italia, vol. 9, 1955, pp. 177232.Google Scholar
Neu Watkins, Renée, ed. and trans., The family in Renaissance. A translation … of ‘I libri della famiglia’ by Leon Battista Alberti, Columbia, SC: University of South Carolina Press, 1969.Google Scholar
Noort, Ed, “The creation of man and woman in Biblical and Near Eastern Traditions,” in The creation of man and woman: interpretations of Biblical narratives in Jewish and Christian traditions, ed. by Luttikhuizen, Gerard P., Leiden: Brill, 2000, pp. 118.Google Scholar
Norman, Diane, “The art of knowledge: two artistic schemes in Florence,” in Siena, Florence and Padua. Art, society and religion, 1280–1400, 2 vols., New Haven and London: Yale University Press, 1995, vol. 2, pp. 217–42, 276–77.Google Scholar
Nussbaum, Martha C., and Rorty, Amélie, eds., Essays on Aristotle’s De anima, Oxford and New York: Clarendon Press, 1992.Google Scholar
Nys, Ludovic, “Le testament artistique de Giotto: les reliefs hexagonaux du campanile de Florence,” in Le verbe, l’image et les représentations de la société urbaine au moyen-Age: Actes du colloque international tenu à Marche-en-Famenne du 24 au 27 octobre 2001, ed. by Boone, Marc, Lecuppre-Desjardin, Elodie, and Sosson, Jean-Pierre, Antwerp: Garant, 2002, pp. 87105.Google Scholar
O’Rourke Boyle, Marjorie, Senses of touch: human dignity and deformity from Michelangelo to Calvin, Studies in medieval and Reformation thought, vol. 71, Leiden and Boston: Brill, 1998.CrossRefGoogle Scholar
O’Toole, Christopher, The philosophy of creation in the writings of St.Augustine, Washington, DC: The Catholic University Press, 1944.Google Scholar
Ovid, (Publius Ovidius Naso), Metamorphoses, trans. by Martin, Charles, New York and London: W. W. Norton, 2004.Google Scholar
Ovitt, George Jr., The restoration of perfection: labor and technology in medieval culture, New Brunswick, NJ: Rutgers University Press, 1986.Google Scholar
Pacchierotti, Lucia Simona, “Scultura di gesso in mostra,” in Il segreto della civiltà. La mostra dell’ Antica Arte Senese del 1904 cento anni dopo, ed. by Cantelli, Giuseppe, Pacchierotti, Lucia Simona and Pulcinelli, Beatrice, exh. cat., Siena, Palazzo Pubblico, Museo Civico, 18 dicembre 2005–5 marzo 2006, Siena: Protagon, 2005, pp. 203–20.Google Scholar
Pace, Valentino, “Dieci secoli di affreschi e mosaici romani: osservazioni sulla mostra ‘Fragmenta picta’, Roma, Castel Sant’Angelo, dicembre 1989–marzo 1990 e sul suo catalogo,” Bollettino d’arte, ser. 6, vol. 76, 1991, pp. 199207.Google Scholar
Pace, Valentino, “Pittura del duecento e del trecento a Roma e nel Lazio,” in La pittura in Italia: il Duecento e il Trecento, ed. by Castelnuovo, Enrico, 2 vols., Milan: Electa, 1986. vol. 2, pp. 423–42Google Scholar
Pächt, Otto, “Panofsky’s ‘Early Netherlandish painting’ II,” Burlington magazine, vol. 98, no. 641, pp. 266–77, 279.Google Scholar
Pagella, Enrica, “Vedere, copiare, interpretare: artisti e circolazione di modelli nell’ ambito ecclessiatico, in Arti e storia nel Medioevo, vol. 1: Tempi, spazi, istituzioni, ed. by Castelnuovo, Enrico and Sergi, Giuseppe, Turin: Einaudi, 2002, pp. 473511.Google Scholar
Panofsky, Erwin, Early Netherlandish painting, its origins and character (1951), The Charles Eliot Norton Lectures 1947–48, Icon edition, 2 volumes, New York: Harper and Row Publishers, 1971.Google Scholar
Panofsky, Erwin, “Iconography and iconology: an introduction to the study of Renaissance art,” in idem, Meaning in the visual arts, papers in and on art history, Garden City: Doubleday Anchor Books, 1955, pp. 2653.Google Scholar
Panofsky, Erwin, Studies in iconology: humanistic themes in the art of the Renaissance (1939), Icon edition, New York: Harper and Row, 1972.Google Scholar
Panofsky, Erwin, “Three decades of art history in the United States, Impressions of a transplanted European,” in idem, Meaning in the visual arts, papers in and on art history, Garden City: Doubleday Anchor Books, 1955, pp. 321–46.Google Scholar
Panofsky, Erwin, “Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst,” Logos, vol. 21, 1932, pp. 103–09.Google Scholar
Paoletti, John T., “Antonio Federighi: A documentary re-evaluation,” Jahrbuch der Berliner Museen, vol. 17, 1975, pp. 87143.CrossRefGoogle Scholar
Paoletti, John T., “Quercia and Federighi,” Art bulletin, vol. 50, 1968, pp. 281–84.Google Scholar
Paolucci, Antonio, “I rilievi del Campanile: una teologia del lavoro,” in Alla riscoperta di Piazza del Duomo in Firenze: saggi per una lettura storico-artistico-religiosa dei suoi monumenti, ed. by Verdon, Timothy, vol. 2: La Cattedrale di Santa Maria del Fiore, Florence: Centro Di, 1993, pp. 6587.Google Scholar
Paravicini Bagliani, Agostino, “La mobilità della curia romana nel secolo XIII. Riflessi locali,” in Società e istituzioni dell’Italia communale: l’esempio di Perugia (secoli XII-XIV), Perugia, 1988, vol. 1, pp. 155278; reprinted with additional material as “La mobilità della corte papale nel secolo XIII,” in Sandro Carocci, ed., Itineranza pontificia: la mobilità della Curia papale in Lazio, secoli XII–XIII, Rome: Istituto storico italiano per il Medio evo, 2003, pp. 3–77.Google Scholar
Pelikan, Jaroslav, The Christian tradition. A history of the development of doctrine, vol. 5: The emergence of the Catholic tradition (100–600), Chicago: University of Chicago Press, 1971.CrossRefGoogle Scholar
Perioni, Adriano, Pavia Musei Civici del Castello Visconteo, Musei d’Italia-Meravalgie d’Italia, ed. by Ragghianti, Carlo L., Bologna: Calderini, 1975.Google Scholar
Peyrafort-Huin, Monique, La bibliothèque médiévale de l’abbaye de Pontigny (XIIe-XIXe siècles): Histoire, inventaires anciens, manuscripts, Documents, Études et Répertoires publiés par l’Institut de Recherche et d’Histoire des Textes, 60, Paris: CNRS, 2001.Google Scholar
Pfeiffer, Heinrich, The Sistine Chapel: a new vision, New York: Abbeville Press, 2007.Google Scholar
Pichler, Wolfram, “Der Dom von Orvieto als Residenz und Reliquiar: Baupolitik und Bedeutungswandel in der Genese eines städtischen Monuments,” Wiener Jahrbuch für Kunstgeschichte, vol. 49, 1996, pp. 137–63.CrossRefGoogle Scholar
Plato, , Cratylus; trans. by Jowett, Benjamin in Plato: the collected dialogues including the letters, ed. by Hamilton, Edith and Cairns, Huntington, Bollingen series LXXI, Princeton NJ: Princeton University Press, 1971, pp. 421–74.Google Scholar
Plato, , Protagoros; trans. by Jowett, Benjamin in Plato: the collected dialogues including the letters, ed. by Hamilton, Edith and Cairns, Huntington, Bollingen series LXXI, Princeton NJ: Princeton University Press, 1971, pp. 308–52.Google Scholar
Plato, , Timeaus; trans. by Jowett, Benjamin in Plato: the collected dialogues including the letters, ed. by Hamilton, Edith and Cairns, Huntington, Bollingen series LXXI, Princeton NJ: Princeton University Press, 1971, pp. 1151–211.Google Scholar
Podro, Michael, The critical historians of art, New Haven: Yale University Press, 1982.Google Scholar
Poggi, Giovanni, Catalogo del Museo dell’Opera del Duomo, Florence: Barbèra, 1904.Google Scholar
Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi: copying and the Italian Renaissance print, New Haven: Yale University Press, 2004.Google Scholar
Pope-Hennessy, John, Italian Gothic sculpture, An introduction to Italian sculpture, pt. 1, 2nd ed., London: Phaidon, 1972 (1st ed. 1955), pb edition, New York: Vintage Books, 1985.Google Scholar
Pöpper, Thomas, “Zum Stifterbild Johannes’ VI. (Levita) im verlorenen Apostelzyklus von Alt-St. Paul in Rom (BAV, Cod. Barb. lat. 4406, fol. 119),” Arte medievale, N. S. vol. 3, 2004 (2005), pp. 3548.Google Scholar
Previtali, Giovanni, Giotto e la sua bottega, Milan: Fabbri, 1967.Google Scholar
Preziosi, Donald, ed., The art of art history, a critical anthology, new edition, Oxford History of Art, New York: Oxford University Press, 2009.Google Scholar
Preziosi, Donald, Rethinking art history: meditations on a coy science, New Haven and London: Yale University Press, 1989.Google Scholar
Quay, Paul M., “Angels and demons: the teaching of IV Lateran,” Theological studies, vol. 81, pp. 20–45.CrossRefGoogle Scholar
Radeglia, Daila, “Osservazioni sulla primitiva disposizione delle scene veterotestamentarie della croce stazionale di S. Giovanni in Laterano,” in Federico II e l’arte del Duecento italiano. Atti, ed. by Romanini, Angiola Maria, Galatina: Congedo, 1980, vol. 2, pp. 153–58.Google Scholar
Raggio, Olga, “The myth of Prometheus: its survival and metamorphoses up to the eighteenth century,” Journal of the Warburg and Courtauld institutes, vol. 21, 1958, pp.4462.CrossRefGoogle Scholar
Rathfon Post, Chandler and Wethey, Harold E., A history of Spanish painting, 14 vols., Cambridge, MA: Harvard University Press, 1930–66.Google Scholar
Réau, Louis, Iconographie de l’art chrétien, 3 vols., Paris: Presses Universitaires de France, 1955–59.Google Scholar
Riccetti, Lucio, “La facciata del Duomo di Orvieto. Cronologia, cantieri, committenza (1290-1310),” Nuova rivista storica, vol. 91, 2007, pp. 164 36–40.Google Scholar
Riccetti, Lucio, Opera piazza cantiere. Quattro saggi sul Duomo di Orvieto, Foligno: Dedicit, 2007.Google Scholar
Riccetti, Lucio, “L’uopera de Sancta Maria Maghure. Protasi ad una storia sociale dell’Opera del Duomo di Orvieto,” in Saggi in onore di Renato Bonelli., ed. by Bozzoni, Corrado, Carbonara, Giovanni, and Villetti, Gabriella, Quaderni dell’Istituto di storia dell’architettura, nuova ser., fasc. 15–20. Roma: Multigrafica editrice, 1992, pp. 169–80.Google Scholar
Riccetti, Lucio, “Il vescovo Francesco e l’avvio del cantiere di Santa Maria del Fiore (1295–1301),” in Atti del VII centenario del Duomo di Firenze, ed. by Verdon, Timothy and Innocenti, Annilisa, Florence: Edifir, 2001, pp. 195226.Google Scholar
Richter, Elinor Margaret, “A chip off whose block? Michelangelo’s Sienese predecessor,” in Watching art: writings in honor of James Beck, ed. by Catterson, Lynn and Zucker, Mark, Todi: Ediart, 2006, pp. 207–15.Google Scholar
Richter, Elinor Margaret, “Pulling out all the stoups: a newly-discovered ‘Acquasantiera’ by Antonio Federighi,” Artibus et historiae, vol. 29, 2008, pp. 927.Google Scholar
Richter, Elinor Margaret, “The sculpture of Antonio Federighi,” Ph.D. diss., Columbia University, 1984.Google Scholar
Richter, Elinor Margaret, La Scultura di Antonio Federighi, Archivi di arte antica, Turin: Umberto Allemandi & Co, 2002.Google Scholar
Riess, Jonathan, Political ideals in medieval Italian art. The frescoes in the Palazzo dei Priori, Perugia (1297), Studies in the fine arts: iconography, no. 1, Ann Arbor, MI: UMI Research Press, 1981.Google Scholar
Röll, Johannes, Giovanni Dalmata, Römische Studien der Bibliotheca Hertziana, vol. 10, Worms am Rhein: Wernersche Verlagsgesellschaft, 1994.Google Scholar
Romano, Serena, “Il cantieri di San Paolo fuori le mura: il contatto con i prototipi,” in Medioevo: i modelli, ed. by Quintavalle, Arturo Carlo, del Convegno, Atti internationale di studi, 1999, Parma: Electa, 2002, pp. 615–30.Google Scholar
Rossi Caponeri, Marilena, “Il duomo e l’attività edilizia dei Signori Sette (1295 - 1313),” in Il Duomo di Orvieto, ed. by Riccetti, Lucio, Rome: Laterza, 1988, pp. 2980.Google Scholar
Rossi, Umberto, Catalogo del Museo di Santa Maria del Fiore, Florence: G. Carnesecchi, 1891.Google Scholar
Rothstein, Bret, “Vision, cognition, and self-reflection in Rogier van der Weyden’s Bladelin Triptych,” Zeitschrift für Kunstgeschichte, vol. 64, 2001, pp. 3755.CrossRefGoogle Scholar
Rubin, Miri, Corpus Christi: the eucharist in late medieval culture, Cambridge UK: Cambridge University Press, 1991.Google Scholar
Rudolph, Conrad, “In the beginning: theories and images of creation in Northern Europe in the twelfth century,” Art history, vol. 22, 1999, pp. 355.CrossRefGoogle Scholar
Sartori, Antonio, Documenti per la storia dell’arte a Padova, Fonti e studi per la storia del Santo a Padova, 4, Vicenza: N. Pozza,1976.Google Scholar
Scarpellini, Pietro, “Osservazioni sulla decorazione pittorica della Sala dei Notari,” in Il Palazzo dei Priori di Perugia, ed. by Federico Mancini, Francesco, Ponte San Giovanni, Perugia: Quattroemme, 1997, pp. 211–33.Google Scholar
Schade, Herbert, “Das Paradies und die Imago Dei,” in Bauer, Hermann, ed., Wandlungen des Paradiesischen und Utopischen Studien zum Bild eines Ideals, Probleme der Kunstwissenschaft, vol. 2, Berlin: De Gruyter, 1966, pp. 79182.CrossRefGoogle Scholar
Schapiro, Meyer, “The image of the disappearing Christ: The ascension in English art around the year 1000,” Gazette des beaux-arts, 6th ser., vol. 23, 1943, pp. 135–52; reprinted in idem, Late antique, early Christian and mediaeval art, Selected papers, vol. 3, New York: George Braziller, 1979, pp. 266–87.Google Scholar
Schiller, Gertrud, Iconography of Christian art, 2 vols., trans. by Seligman, Janet, Greenwich, CT: New York Graphic Society 1971–72.Google Scholar
Schiller, Gertrud, Ikonographie der christlichen Kunst, 5 vols., Gütersloh: Gütersloher Verlagshaus G. Mohn, 1966–1991.Google Scholar
Schlicht, Markus, La cathédrale de Rouen vers 1300: un chantier majeur de la fin du moyen âge. Portail des libraires, portail de la Calende, chapelle de la Vierge, Mémoires de la Société des antiquaires de Normandie, 41, Caen: Société des antiquaires de Normandie, 2005.Google Scholar
Schmarsow, Adolf, “Antonio Federighi de’ Tolomei, ein sienesischer Bildhauer des Quattrocento,” Repertorium für Kunstwissenschaft, vol. 12, 1889, pp. 277–99.Google Scholar
Schmarsow, August, Ramo di Paganello; il primo progetto per la facciata del Duomo di Orvieto e i rilievi dei quattro piloni, Siena: Officina tip. Ex combattenti, 1928.Google Scholar
Schneider, Laurie, “The iconography of the Peruzzi Chapel,” L’arte, vol. 18, 1972, pp. 91104, reprinted in Giotto and the world of early Italian art: an anthology of literature, ed. by Andrew Ladis, 4 vols., New York: Garland, 1998, vol. 3, pp. 131–47.Google Scholar
Schofield, Richard V., “Avoiding Rome: an introduction to Lombard sculptors and the antique,” Arte lombarda, n.s., vol. 100, 1992, pp. 2944.Google Scholar
Schofield, Richard and Burnett, Andrew, “The decoration of the Colleoni Chapel,” Arte lombarda, n.s., vol. 126, 1999, pp. 6189.Google Scholar
Schofield, Richard V., Shell, Janice, and Sironi, Grazioso, Giovanni Antonio Amadeo: documents = i documenti, Como: New Press, 1989.Google Scholar
Schrade, Hubert, “Zur Ikonographie der Himmelfahrt Christi,” Vorträge der Bibliothek Warburg, 1928–29, Leipzig: B. G. Teubner, 1930, pp. 66190.Google Scholar
Schreiner, Susan, “Eve, the mother of history: reaching for the reality of history in Augustine’s later exegesis of Genesis,” in Genesis 1–3 in the history of exegesis: intrigue in the garden, ed. by Robbins, Gregory Allen, Lewiston, N.Y.: E. Mellen Press, 1988, pp. 135–86.Google Scholar
Settis, Salvatore, “The iconography of Italian art 1100–1500: an approach,” in The history of Italian art, vol. 2, trans. by Dorey, Claire, Cambridge: Polity Press, 1994, pp. 206–27; reprinted in Giotto and the world of early Italian art: an anthology of literature, ed. by Andrew Ladis, 4 vols., New York: Garland, 1998, vol. 2, pp. 318–342.Google Scholar
Seymour, Charles Jr., Jacopo della Quercia sculptor, Yale publications in the history of art, 23, New Haven and London: Yale University Press, 1973.Google Scholar
Seymour, Charles Jr., Sculpture in Italy 1400 to 1500, The Pelican history of art, Baltimore, Maryland: Penguin Books, 1966.Google Scholar
Shatzmiller, Joseph, “The jurisprudence of a dead body: medical practitioners at the service of civic and legal authorities,” Micrologus, vol. 7, 1999, pp. 223–30.Google Scholar
Shell, Janice, “Amadeo, the Mantegazza, and the façade of the Certosa di Pavia,” in Giovanni Antonio Amadeo: scultura e architettura del suo tempo, ed. by Janice Shell and Liana Castelfranchi, pp. 189–212.Google Scholar
Shell, Janice and Castelfranchi, Liana, eds., Giovanni Antonio Amadeo: scultura e architettura del suo tempo, Milano: Cisalpino, 1993.Google Scholar
Shell, Janice, “The Mantegazza brothers, Martino Benzoni, and the Colleoni tomb,” Arte lombarda, n. s., vol. 100, 1992, pp. 5360.Google Scholar
Shin, Un-Chol, “Panofsky, Polanyi, and intrinsic meaning,” Journal of aesthetic education, vol. 24, 1990, pp. 1732.CrossRefGoogle Scholar
Sichtermann, Hellmut, Koch, Guntram, and Singer, Gerhard, Griechische Mythen auf römischen Sarkophagen. Tübingen: E. Wasmuth, 1975.Google Scholar
Siedel, Max, “Studies of early Renaissance sculpture: Antonio Filarete, Giovanni Antonio Amadeo,” in idem Italian art of the middle ages and the Renaissance, vol. 2: Architecture and sculpture, Venice: Marsilio, 2005, pp. 667704.Google Scholar
Simi Varanelli, Emma, Artisti e dottori nel medioevo: il campanile di Firenze e la rivalutazione delle “arti belle”, Rome: Istituto Poligrafico e Zecca dello Stato, Libreria dello Stato, 1995.Google Scholar
Singer, Charles Joseph, The evolution of anatomy, New York: A. A. Knopf, 1925.Google Scholar
Singer, Charles Joseph, ed. and trans., The Fasciculo di medicina, Venice 1493, 2 vols., Monumenta medica, Florence: R. Lier & Co., 1925.Google Scholar
Singer, Charles Joseph, “A study in early Renaissance anatomy” in Studies in the history and method of science, Oxford: Oxford University Press, 1917, vol. 1, pp. 79164.Google Scholar
Sinisgalli, Rocco, Il nuovo De pictura di Leon Battista Alberti: the new De pictura of Leon Battista Alberti, Rome: Edizioni Kappa, 2006.Google Scholar
Siriasi, Nancy, Taddeo Alderotti and his pupils. Two generations of Italian medical learning, Princeton NJ: Princeton University Press, 1981.Google Scholar
Allen, Sister Prudence, The concept of woman, vol. 2: the early humanist Reformation, 1250–1500, Grand Rapids, MI: W. B. Eerdmans, 2002.Google Scholar
Smith, Timothy Bryan, “Alberto Aringhieri and the chapel of Saint John the Baptist: Patronage, politics, and the cult of relics in Renaissance Siena,” Ph.D. diss., Florida State University, 2002.Google Scholar
Spannocchi, Sabina, “Bartolo di Fredi” in La Collegiata di San Gimignano, vol. 2: L’ architettura, i cicli pittorici murali e i loro restauri, ed. by Bagnoli, Alessandro, Siena: Protagon, 2009, pp. 459–67.Google Scholar
Spiazzi, Anna Maria, “Giusto a Padova la decorazione del Battistero,” in Giusto de’ Menabuoi nel Battistero di Padova, ed. by Spiazzi, Anna Maria, Trieste: Lint, 1989, pp. 83127.Google Scholar
Spiazzi, Anna Maria, “Giusto de’ Menabuoi a Padova,” in Il secolo di Giotto nel Veneto, ed. by Valenzano, Giovanna and Toniolo, Federica, Studi di arte veneta, 14, Venice: Istituto Veneto di Scienze, Lettere ed Arti, 2007, pp. 369–83.Google Scholar
Steinberg, Leo, “The line of fate in Michelangelo’s painting,” Critical inquiry, vol. 6, 1980, pp. 411–53.CrossRefGoogle Scholar
Summers, David, “Contrapposto: style and meaning in Renaissance art,” Art bulletin, vol. 59, 1977, pp. 336–61.Google Scholar
Summers, David, The judgment of sense: Renaissance naturalism and the rise of aesthestics, Cambridge UK: Cambridge University Press, 1987.Google Scholar
Summers, David, “Meaning in the visual arts as a humanist discipline,” in Meaning in the visual arts: views from the outside: a centennial commemoration of Erwin Panofsky (1892–1968), ed. by Lavin, Irving, Princeton: Institute for Advanced Study, 1995, pp. 924.Google Scholar
Taylor, Michael D., “A historiated Tree of Jesse,” Dumbarton Oaks papers, vol. 34, 1980–1981, pp. 125–76.CrossRefGoogle Scholar
Taylor, Michael D., “The iconography of the façade decoration of the Cathedral of Orvieto,” Ph.D. diss., Department of Arts and Archaeology, Princeton University, 1969 (UMI microfilm, 1970).Google Scholar
Taylor, Michael D., “The prophetic scenes in the Tree of Jesse at Orvieto,” Art bulletin, vol. 54, 1972, pp. 403–17.Google Scholar
Teugels, Lieve, “The creation of the human in Rabbinic interpretation,” in The creation of man and woman. Interpretations of Biblical narratives in Jewish and Christian traditions, ed. by Luttikhuizen, Gerard P., Leiden: Brill, 2000, pp. 107–27.Google Scholar
Teviotdale, Elizabeth C., The Stammheim missal, Los Angeles: J. Paul Getty Museum, 2001.Google Scholar
Thode, Henry, Michelangelo; kritische untersuchungen über seine werke, Berlin: G. Grote, 1908–1913.Google Scholar
Thomman, Johannes, “Pietro d’Abano on Giotto,” Journal of the Warburg and Courtauld institutes, vol. 54, 1991, pp. 238–44.Google Scholar
Tikkanen, Johan Jacob, “Le rappresentatzione della Genesi in S. Marco a Venezia e loro relazione con la Bibbia Cottoniana,” Archivio storico dell’arte, vol. 1, 1888, pp. 211–23, 257–67, 348–63.Google Scholar
Tikkanen, Johan Jacob, Die Genesismosaiken von S. Marco in Venedig und ihr Verhältnis zu den Miniaturen der Cottonbibel. Nebst einer Untersuchung über den Ursprung der mittelalterlichen Genesisdarstellung besonders in der byzantinischen und italienischen Kunst, reprinted from Acta Societatis Scientiarum Fennicae, vol. 17, Helinski: Druckerei der finnischen Literatur-Gellschaft, 1889; reprinted Soest: Davaco, 1972.Google Scholar
Tintori, Leonetto, and Borsook, Eve, Giotto: the Peruzzi Chapel, New York: Harry N. Abrams, Inc., 1965.Google Scholar
Toesca, Ilaria, Andrea e Nino Pisani, Florence: Sansoni, 1950.Google Scholar
Toesca, Pietro, Giotto, Turin: Unione Tipografico-Editrice Torinese, 1941.Google Scholar
Toesca, Pietro, Il trecento, Turin: Unione Tipografico-Editrice Torinese, 1951.Google Scholar
Tomei, Alessandro, Iacobus Torriti pictor: una vicenda figurativa del tardo Duecento romano, Rome: Argos, 1990.Google Scholar
Tomei, Alessandro, Pietro Cavallini, Milan: Silvana, 2000.Google Scholar
Trachtenberg, Martin, The Campanile of Florence Cathedral: “Giotto’s tower”, New York: New York University Press, 1971.Google Scholar
Trapp, J. B.The letters of Erwin Panofsky,” International journal of the classical tradition, vol. 11, 2004, pp. 280–29 (review of Erwin Panofsky, Korrespondenz 1910 bis 1968. Eine kommentierte Auswahl in fünf Bänden, ed. by Dieter Wuttke, Wiesbaden: Harrossowitz Verlag, 2001–03.CrossRefGoogle Scholar
Trento, Dario, “Copie e calchi in Certosa per la storia dell’arte lombarda,” in La Certosa di Pavia e il suo Museo. Ultimi restauri e nuovi studi, Atti del Convegno, ed. by Bentivoglio-Ravasio, Beatrice, Lodi, Letizia, and Mapelli, Mari, Milan: Ministero per i beni e le attività culturali, 2008, pp. 425–51.Google Scholar
Trinkaus, Charles, “From the twelfth century Renaissance to the Italian: three versions of “the dignity of man,”in Christian spirituality and the culture of modernity: the thought of Louis Dupré, ed. by Casarella, Peter J. and Schner, George P., Grand Rapids, MI: W.B. Eerdmans, 1998, pp. 6380; reprinted with original pagination in Charles Trinkaus, Renaissance transformations of late medieval thought, Variorum collected study series, Brookfield VT and Aldershot UK : Ashgate, 1999.Google Scholar
Trinkaus, Charles, In our image and likeness: humanity and divinity in Italian humanist thought, 2 vols., Chicago: University of Chicago Press, 1970.Google Scholar
Tronzo, William, “The prestige of Saint Peter’s: observations on the function of monumental narrative cycles in Medieval Italy,” in Pictorial narrative in antiquity and the middle ages, ed. by Kessler, Herbert L. and Simpson, Miranna Shreve, Studies in the history of art, vol. 16, 1985, pp. 93113.Google Scholar
Tronzo, William, “The shape of narrative: a problem in the mural decoration of early medieval Rome,” in Roma nell’alto medioevo: 27 aprile - 1 maggio 2000, Settimane di studio del Centro italiano di studi sull’alto medioevo, 48, Spoleto: Centro italiano di studi sull’alto Medioevo, 2001, pp. 457–87.Google Scholar
Valentiner, W. R., “Andrea Pisano as marble sculptor,” Art quarterly, vol. 10, 1947, pp. 163–87.Google Scholar
Van den Hoek, Annewies, “Endowed with reason or glued to the senses: Philo’s thoughts on Adam and Eve,” in The creation of man and woman. Interpretations of Biblical narratives in Jewish and Christian traditions, ed. by Luttikhuizen, Gerard P., Leiden: Brill, 2000, pp. 6375.CrossRefGoogle Scholar
Van der Lugt, Maaike, “Pourquoi Dieu a–t-il créé la femme? Différence sexuelle et théologie médiévale,” in Ève et Pandora: la création de la femme, ed. by Schmitt, Jean-Claude, Paris: Gallimard, 2001, pp. 89113Google Scholar
Van der Meulen, Jan, “A logos creator at Chartres and its copy,” Journal of the Warburg and Courtauld institutes, vol. 29, 1966, pp. 82100.CrossRefGoogle Scholar
Varghese, Kleetus K., Michelangelo and the human dignity: an anthropological reading of the Sistine frescoes, Bangalore, India: Asian Trading Corporation, 2005.Google Scholar
Vasari, Giorgio, Le vite de’ più eccellenti pittori, scultori ed architettori, ed. by Milanesi, Gaetano, 9 vols.,Florence: Sansoni, 1885–87, reissued 1906.Google Scholar
Vasari, Giorgio,Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue, insino a’ tempi nostri, Florence: Torrentino, 1550; reprinted, 2 vols., ed. by Luciano Bellosi and Aldo Rossi, Turin: Einaudi, 1986 and 1991.Google Scholar
Verdon, Timothy, “‘Alza la voce con forza’: L’iconografia del Campanile e l’annuncio cristiano,” in Alla riscoperta di Piazza del Duomo in Firenze, vol. 3, Il Campanile di Giotto, Florence: Centro Di, 1994, pp. 85115.Google Scholar
Von Bode, Wilhelm, Florentine sculptors of the Renaissance, trans. by Haynes, Jessie, 2nd ed. (1928); reprinted Freeport, NY: Books for Libraries Press, 1968.Google Scholar
Von Bode, Wilhelm, “Ghibertis Versuche, seine Tonbildwerke zu glasieren,” Jahrbuch der königlich Preussischen Kunstsammlungen, vol. 42, 1921, pp. 5154.Google Scholar
Von Schlosser, Julius, “Giusto’s Fresken in Padua und die Vorläufer der Stanza della Segnatura,” Jahrbuch der Kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses, vol. 17, 1896, pp. 13100.Google Scholar
Waetzoldt, Stefan, Die Kopien des 17. Jahrhunderts nach Mosaiken und Wandmalereien in Rom, Vienna and Munich, 1964.Google Scholar
Waley, Daniel, Mediaeval Orvieto: the political history of an Italian city-state, 1157–1334, Cambridge, UK: Cambridge University Press, 1952.Google Scholar
Waley, Daniel, “Pope Boniface VIII and the commune of Orvieto,” Transactions of the Royal Historical Society, fourth series, vol. 32, 1950, pp. 121–39.CrossRefGoogle Scholar
Walker Bynum, Caroline, “The female body and religious practice,” in Fragments for a history of the human body, 3 vols., ed. by Feher, Michael with Naddaff, Ramona and Tazi, Nadia, Zone 3–5, New York: Zone, 1989.Google Scholar
Walker Bynum, Caroline, Holy feast and holy fast: the religious significance of food to medieval women, Berkeley: University of California Press, 1987.Google Scholar
Walker Bynum, Caroline, Jesus as mother: studies in the spirituality of the high middle ages, Berkeley: University of California Press, 1982.CrossRefGoogle Scholar
Weitzmann, Kurt, “The Genesis mosaics of San Marco and the Cotton Genesis miniatures,” in Demus, Otto, The mosaics of San Marco in Venice, 2 vols in 4, Chicago: University of Chicago Press, 1984, vol. 2, pp. 105–42, 253–7.Google Scholar
Weitzmann, Kurt, Illustrations in roll and codex: a study of the origin and method of text illustration, 2nd ed., Studies in manuscript illumination, no. 2, Princeton, NJ: Princeton University Press, 1970 (1st ed, 1947).Google Scholar
Weitzmann, Kurt, “Narration in early Christendom,” American journal of archaeology, vol. 61, 1957, pp. 8391.CrossRefGoogle Scholar
Weitzmann, Kurt, “Observations on the Cotton Genesis fragments,” in Late antique and medieval studies in honor of Albert Mathias Friend, Jr., ed. by Weitzmann, Kurt, Princeton NJ: Princeton University Press, 1955, pp. 112–31.Google Scholar
Weitzmann, Kurt, “The study of Byzantine book illumination, past, present, and future,” in The place of book illumination in Byzantine art, ed. by Weitzmann, Kurt, Princeton, NJ: Art Museum, Princeton University distributed by Princeton University Press, 1975, pp. 160.Google Scholar
Weitzmann, Kurt and Kessler, Herbert L., The Cotton Genesis. British Library codex Cotton Otho B. VI, The illustrations in the manuscripts of the Septuagint, vol. 1, Princeton monographs in the art and archaeology, 17, Princeton NJ: Princeton University Press, 1986.Google Scholar
Weitzmann, Kurt and Bernabò, Massimo, with the collaboration of Rita Tarasconi, The Byzantine Octateuchs, 2 vols., Princeton, NJ: Princeton University Press, 1999.Google Scholar
White, John, “Cavallini and the lost frescoes in S. Paolo,” Journal of the Warburg and Courtauld institutes, vol. 19, 1956, pp. 84–95.CrossRefGoogle Scholar
White, John, “I disegni per la facciata del Duomo di Orvieto,” in Il Duomo di Orvieto e le grandi cattedrali del Duecento, atti del Convegno internazionale di studi, Orvieto, 12–14 novembre 1990, ed. by Barlozzetti, Guido, Turin: Nuova ERI Edizioni RAI, 1995, pp. 6898.Google Scholar
White, John, “The reliefs of the facade of Orvieto Cathedral,” Journal of the Warburg and Courtauld institutes, vol. 22, 1959, pp. 254302.CrossRefGoogle Scholar
Whitney, Elspeth, Paradise restored, the mechanical arts from antiquity through the thirteenth century, Transactions of the American Philosophical Society, vol. 80, pt. 1, Philadelphia PA: American Philosophical Society, 1990.CrossRefGoogle Scholar
Wiener, Jürgen, “‘Ad instar S. Marie maioris de Urbe’: der Dom von Orvieto und S. Maria Maggiore in Rom,” Mitteilungen des Kunsthistorischen Institutes in Florenz, vol. 41, 1997 (1998), pp. 348–60.Google Scholar
Wiener, Jürgen, Lorenzo Maitani und der Dom von Orvieto: eine Beschreibung, Studien zur internationalen Architektur- und Kunstgeschichte, 68, Petersberg: Imhof, 2009.Google Scholar
Wind, Edgar, The religious symbolism of Michelangelo: The Sistine ceiling, ed. by Sears, Elizabeth, Oxford: Oxford University Press, 2000.Google Scholar
Wundram, Manfred, “Studien zur künstlerischen Herkunft Andrea Pisanos,” Mitteilungen des Kunsthistorischen Institut von Florenz, vol. 8, 1959, pp. 199222.Google Scholar
Zahlten, Johannes, Creatio mundi. Darstellungen der sechs Schöpfungstage und naturwissenschaftliches Weltbild im Mittelalter, Stuttgart: Klett-Cotta, 1979.Google Scholar
Zani, Vito, “Mantegazza” in Dizionario biografico degli italiani, Roma: Istituto della Enciclopedia italiana, 1960-, vol. 69 (2007), now available online at www.treccani.it/biografie/, (consulted September 1, 2012).Google Scholar
Zapperi, Roberto, “Potere politico e cultura figurativa: la rappresentazione della nascita di Eva,” in Storia dell’arte italiana, part 3: Situazioni momenti indagini, vol. 3: Conservazione, falso, restauro, Turin: Einaudi, 1981, pp. 377442.Google Scholar
Zapperi, Roberto, The pregnant man, trans. by Williams, Brian, New York, Harwood Academic, 1991 (first Italian ed., Cosenza, Lerici, 1979; 4th ed. Rome, 1989).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] 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
  • Jack M. Greenstein, University of California, San Diego
  • Book: The Creation of Eve and Renaissance Naturalism
  • Online publication: 05 August 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316216293.008
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
  • Jack M. Greenstein, University of California, San Diego
  • Book: The Creation of Eve and Renaissance Naturalism
  • Online publication: 05 August 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316216293.008
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
  • Jack M. Greenstein, University of California, San Diego
  • Book: The Creation of Eve and Renaissance Naturalism
  • Online publication: 05 August 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316216293.008
Available formats
×