Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-ndmmz Total loading time: 0 Render date: 2024-06-08T04:24:57.123Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  20 January 2017

George Bent
Affiliation:
Washington and Lee University, Virginia
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2017

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

Aldrovandi, Alfredo, Ciatti, Marco, and Scarzanella, Chiara Rossi. “The Decollation of St. John the Baptist: The Examination and the Conservation of a Fourteenth-Century Banner, initial comments.” In The Fabric of Images: European Paintings on Textile Supports in the Fourteenth and Fifteenth Centuries, ed. Villers, Caroline, London, 2000, 1118.Google Scholar
Aldrovandi, Alfredo and Gabbrielli, Silvano. Orsanmichele in Firenze (Florence, 1982).Google Scholar
Agnoletti, Anna Marie. Statuto dell'Arte della Lana di Firenze (1317–1319) (Florence, 1938).Google Scholar
Ahl, Diane Cole. “‘In corpo di compagnia’: Art and Devotion in the Compagnia della Purificazione e di San Zanobi of Florence.” In Confraternities and the Visual Arts in Renaissance Italy, eds. Wisch, Barbara and Ahl, Diane Cole, Cambridge, 2000, 46101.Google Scholar
Alighieri, Dante. Il Convivio, ed. Simonelli, Maria (Bologna, 1966).Google Scholar
Alighieri, Dante. Inferno, ed. and trans. Mandelbaum, Allen (Berkeley, 1980).Google Scholar
Alighieri, Dante. De Monarchia, ed. and trans. Shaw, Prue (Cambridge, 1996).Google Scholar
Antal, Frederick. Florentine Painting and Its Social Background (London, 1948).Google Scholar
Arthur, Kathleen Giles. “The Strozzi Chapel: Notes on the Building History of Sta. Maria Novella.” The Art Bulletin 65 (1983): 367–86.Google Scholar
Arthur, Kathleen Giles. “A New Document on Andrea Orcagna in 1345.” Mitteilungen des Kunsthistorischen Institutes in Florenz 32 (1988): 521–24.Google Scholar
Arthur, Kathleen Giles. “Cult Objects and Artistic Patronage of the Fourteenth-Century Flagellant Confraternity of Gesù Pellegrino.” In Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento, eds. Verdon, Timothy and Henderson, John, Syracuse, 1990, 336–60.Google Scholar
Artusi, Luciano. Tabernacoli fiorentini: immagini di devozione nel territorio nel Quartiere 3 (Florence, 1999).Google Scholar
Atwell, Adrienne. “Ritual Trading at the Florentine Wool-Cloth Botteghe.” In Renaissance Florence: A Social History, eds. Crum, Roger and Paoletti, John, New York, 2006, 182215.Google Scholar
Bailey, Elizabeth. “Marian Lauds and Madonna Images: An Early Quattrocento Street Tabernacle.” Medieval Perspectives 16 (2001): 1929.Google Scholar
Bailey, Elizabeth. “The History of the Tabernacle: Form, Function, and Meaning.” Medieval Perspectives 17 (2002): 6184.Google Scholar
Bandini, Maria. “Vestigia dell'antico tramezzo della chiesa di San Remigio a Firenze.” Mitteilungen des Kunsthistorischen Institutes in Florenz 54 (2010–2012): 211–30.Google Scholar
Bandini-Piccolomini, F.L'effigie di Bruto console segno degli ufficiali di Mercanzia.” Miscellanea storica senese II (1894): 124.Google Scholar
Bargellini, Piero. Orsanmichele a Firenze (Milan, 1969).Google Scholar
Bargellini, Piero. Cento tabernacoli a Firenze (Florence, 1971).Google Scholar
Bargellini, Piero and Guarnieri, Ennio. Le Strade di Firenze VII (Florence, 1987).Google Scholar
Barzellotti, Pier Luigi. I beni dell'Arte della Lana (Florence, 1880).Google Scholar
Beccadelli, Antonio. Hermaphroditus, trans. and ed. O'Connor, Eugene (Oxford, 2001).Google Scholar
Becherucci, Luisa and Brunetti, Giulia. Il Museo dell'Opera del Duomo di Firenze I and II (Milan and Florence, 1969–70).Google Scholar
Becker, Marvin. Florence in Transition, I and II (Baltimore, 1967).CrossRefGoogle Scholar
Bellosi, Luciano. “Una Precisazione sulla Madonna di Orsanmichele.” Scritti di storia dell'arte in onore di ugo Procacci I (Milan, 1977): 152–56.Google Scholar
Bellosi, Luciano. “The Function of the Rucellai Madonna in the Church of Santa Maria Novella.” In Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 61, ed. Schmidt, Victor, New Haven and London, 2003, 147–59.Google Scholar
Belting, Hans. “The New Role of Narrative in Public Painting of the Trecento: Historia and Allegory.” Studies in the History of Art, National Gallery of Art, Washington 16 (1985): 151–68.Google Scholar
Belting, Hans. Likeness and Presence (Chicago, 1991).Google Scholar
Bent, George. “The Scriptorium at S. Maria degli Angeli and Fourteenth-Century Manuscript Illumination: Don Silvestro dei Gherarducci, Don Lorenzo Monaco, and Giovanni del Biondo.” Zeitschrift für Kunstgeschichte 55 (1992): 507–23.Google Scholar
Bent, George. “A Patron for Lorenzo Monaco's Uffizi Coronation of the Virgin.” Art Bulletin 82 (2000): 348–54.Google Scholar
Bent, George. Monastic Art in Lorenzo Monaco's Florence: Painting and Patronage in Santa Maria degli Angeli, 1300–1415 (Lewiston, NY, 2006).Google Scholar
Berghini, Vincezio. Storia della nobilità Fiorentina (Pisa, 1974).Google Scholar
Bergstein, Mary. “Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412.” Renaissance Quarterly 44 (1991): 673719.Google Scholar
Bertani, Licia. “Tabernacolo di Santa Maria della Tromba.” In Arte, storia e devozione: Tabernacoli da conservare, Florence, 1991, 6987.Google Scholar
Bertani, Licia. La Madonna di Bernardo Daddi negli ‘horti’ di San Michele (Livorno, 2000).Google Scholar
Bicchi, Alessandro and Ciandella, Alessandro. Testimonia Sanctitatis: Le reliquie e i reliquiari del Duomo e del Battistero di Firenze (Florence, 1999).Google Scholar
Bietti, Monica. “Tabernacolo di Croce di Via.” In Arte, storia e devozione: Tabernacoli da conservare, Florence, 1991, 9599.Google Scholar
Bloch, Amy. “Baptism and the Frame of the South Door of the Baptistery, Florence.” Sculpture Journal 18 (2009): 2437.Google Scholar
Bloch, Amy. “Baptism, Movement, and Imagery at the Baptistery of San Giovanni in Florence.” In Meaning in Motion: The Semantics of Movement in Medieval Art, eds. Freni, Giovanni and Zchomelidse, Nino, Princeton, 2011, 131–60.Google Scholar
Boccaccio, Giovanni. The Decameron, ed. and trans. Musa, Mark and Bondanella, Peter (New York, 1982).Google Scholar
Bomford, David. Art in the Making: Italian Painting before 1400 (London, 1989).Google Scholar
Bonsanti, Giorgio. La Galleria della Accademia (Florence, 1987).Google Scholar
Bornstein, Daniel. The Bianchi of 1399: Popular Devotion in Late Medieval Italy (Ithaca, 1993).Google Scholar
Borsook, Eve. The Mural Painters of Tuscany (Oxford, 1980).Google Scholar
Borsook, Eve. “Jacopo di Cione and the Guild Hall of the Judges and Notaries in Florence.” Burlington Magazine 124 (1982): 8688.Google Scholar
Borsook, Eve. “Painting for ‘the Most Noble City in the World.’” In Florence at the Dawn of the Renaissance: Painting and Illumination 1300–1350, ed. Sciacca, Christine, Los Angeles, 2012, 1123.Google Scholar
Boskovits, Miklós. “Orcagna in 1357 – and in Other Times.” Burlington Magazine 113 (1971): 239–51.Google Scholar
Boskovits, Miklós. Pittura Fiorentina alla vigilia del Rinascimento (Florence, 1975).Google Scholar
Boskovits, Miklós. The Mosaics of the Baptistery of Florence (Florence, 1986).Google Scholar
Boskovits, Miklós. A Corpus of Florentine Painting, Volume IV, Section III: Bernardo Daddi, His Shop and Following (Florence, 1991).Google Scholar
Boskovits, Miklós. A Corpus of Florentine Painting, Section I, Volume I (Florence, 1993).Google Scholar
Boskovits, Miklós. “La storia di Giuseppe e dei suoi fratelli nel Battistero di Firenze.” Arte Cristiana 88 (2000): 329–40.Google Scholar
Boskovits, Miklós. A Critical and Historical Corpus of Florentine Painting, Volume V, Section III (New York and Florence, 2001).Google Scholar
Boskovits, Miklós. “Florentine Mosaics and Panel Paintings: Problems of Chronology.” In Italian Panel Paintings of the Duecento and Trecento, ed. Schmidt, Victor, New Haven and London, 2003, 487–98.Google Scholar
Boskovits, Miklós and Parenti, Daniela, Dipinti, Volume Secondo: Il Tardo Trecento (Florence, 2010).Google Scholar
Boskovits, Miklós and Tartuferi, Angelo, Dipinti, Volume Primo: Dal Duecento a Giovanni da Milano (Florence, 2003).Google Scholar
Brackett, John K.The Florentine Onestà and the Control of Prostitution, 1403–1680.” Sixteenth Century Journal 24/2 (1993): 273300.Google Scholar
Brucker, Gene. Florentine Politics and Society, 1343–1378 (Princeton, 1962).Google Scholar
Brucker, Gene. The Society of Renaissance Florence (New York, 1971).Google Scholar
Brucker, Gene. Florence in the Golden Age, 1138–1737 (Berkeley, 1998).Google Scholar
Brundage, James A. Law, Sex, and Christian Society in Medieval Europe (Chicago, 1987).CrossRefGoogle Scholar
Burke, Julia M., Glinsman, Lisha Deming, Delaney, John K., Lomax, Suzanne Quillen, Morales, Kathryn M., Palmer, Michael, Cole, Christina Lynn, and Ricciardi, Paola, “Technical Study of The Triumph of Christ (The Mazarin Tapestry).” Facture I (2013): 78103.Google Scholar
Burnam, R.Medieval Stained Glass Practice in Florence, Italy: The Case of Orsanmichele.” Journal of Glass Studies 30 (1988): 7793.Google Scholar
Calleri, S. L'arte dei Giudici e Notai di Firenze nell'età comunale e nel suo statuto del 1344 (Milan, 1966).Google Scholar
Camelliti, Vittoria. “Madonna con Bambino, la Civitas Florentiae e intercessore. La Caritas.” In Dal Giglio al David: Arte civica a Firenze fra medioevo e rinascimento, eds. Donato, Maria Monica and Parenti, Daniela, Florence, 2013, 120.Google Scholar
Cannon, Joanna. “Beyond the Limitations of Visual Typology: Reconsidering the Function and Audience of Three Vita Panels of Women Saints, ca. 1300.” In Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 61, ed. Schmidt, Victor, New Haven and London, 2003, 291313.Google Scholar
Cannon, Joanna. Religious Poverty, Visual Riches: Art in the Dominican Churches of Central Italy in the Thirteenth and Fourteenth Centuries (New Haven and London, 2013).Google Scholar
Cappelli, Eugenio. La Compagnia dei Neri: L'archiconfraternita dei battuti di Santa Maria della Croce al Tempio (Florence, 1927).Google Scholar
Cappellini, Icilio. “L'oratorio di S. Maria della Tromba in Firenze: L'immagine ‘devota e pulcra’ e l'arte dei Medici e Speziali.” Rivista di Storia delle scienze mediche e naturali 2 (1949): 322.Google Scholar
Carocci, Guido. Il Mercato Vecchio di Firenze (Florence, 1884).Google Scholar
Carocci, Guido. Studi storici sul Centro di Firenze (Florence, 1889).Google Scholar
Carocci, Guido. “Le arti Fiorentine e le loro residenze.” Arte e Storia X, n.s. II (1891): 153–55, 177–79.Google Scholar
Carocci, Guido. Firenze Scomparsa (Florence, 1897).Google Scholar
Carocci, Guido. “I Tabernacoli di Firenze.” Arte e Storia XXIII (1904), XXIV (1905).Google Scholar
Carocci, Guido. “La sala d'udienza dell'Arte dei mercatanti e la sua suppelettile.” L'Illustratore Fiorentino IV (1905): 2728.Google Scholar
Cassidy, Brendan. “The Financing of the Tabernacle of Orsanmichele.” Source 8 (1988a): 16.Google Scholar
Cassidy, Brendan. “The Assumption of the Virgin on the Tabernacle of Orsanmichele.” Journal of the Warburg and Courtauld Institutes 51 (1988b): 174–80.Google Scholar
Cassidy, Brendan. “Orcagna's Tabernacle in Florence: Design and Function.” Zeitschrift für Kunstgeschichte 55 (1992): 180211.Google Scholar
Cennini, Cennino. Il libro dell'Arte, ed. Frezzato, Fabio (Vicenza, 2003).Google Scholar
Chierici, Regina. “Tabernacoli stradali dipinti a Firenze nel XIV secolo.” Arte Cristiana 95 (2007): 169–80.Google Scholar
Ciabani, R. I canti. Storia di Firenze attraverso i suoi angoli (Florence, 1984).Google Scholar
Ciasca, R. L'arte dei medici e speziali nella storia e nel commercio fiornetino dal secolo XII al secolo XV (Florence, 1927).Google Scholar
Ciatti, Marco. “The Typology, Meaning, and Use of Some Panel Paintings from the Duecento and Trecento.” In Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 61, ed. Schmidt, Victor, New Haven and London, 2003, 1429.Google Scholar
Cipolla, Carlo. The Monetary Policy of Fourteenth-Century Florence (Berkeley, 1982).Google Scholar
Cirri, A. “Dell'antico centro di Firenze e del mercato delle vettovaglie.” Illustrazione Toscana, August, 1938: 319–24; December 1938: 441–44.Google Scholar
Codell, Julie. “Giotto's Peruzzi Chapel Frescoes: Wealth, Patronage and the Earthly City.” Renaissance Quarterly 41 (1988): 583613.Google Scholar
Cohn, Samuel. “Criminality and the State in Renaissance Florence, 1344–1466.” Journal of Social History 14 (1980): 211–33.Google Scholar
Cohn, Samuel. The Cult of Remembrance and the Black Death (Baltimore and London, 1992).Google Scholar
Cohn, Werner. “Un quadro di Lorenzo di Bicci e la decorazione primitive della chiesa di Orsanmichele.” Bolletino d'arte 41 (1956): 171–77.Google Scholar
Cohn, Werner. “Notizie storiche intorno ad alcune tavole fiorentine del ’300 e del ’400.” Rivista d'Arte 31 (1956/58): 4172.Google Scholar
Cohn, Werner. “La seconda immagine della loggia di Orsanmichele.” Bolletino d'arte 42 (1957): 335–38.Google Scholar
Cohn, Werner. “Franco Sacchetti und das ikonographische Programm der Gewolbemalereien von Orsanmichele.” Mitteilungen des Kunsthistorischen Institutes in Florenz 8 (1958): 6577.Google Scholar
Cole, Bruce. “On an Early Florentine Fresco.” Gazette des Beaux Arts 80 (1972): 9196.Google Scholar
Cole, Bruce. “A Popular Painting from the Early Trecento.” Apollo 101 (1975): 915.Google Scholar
Comanducci, Rita Maria. “‘L'altare Nostro de la Trinita’: Masaccio's Trinity and the Berti Family.” Burlington Magazine 145 (2003): 1421.Google Scholar
Compagni, Dino. Cronaca fiorentina (Pisa, 1818).Google Scholar
Cooper, Donal. “In loco tuttissimo et firmissimo: The Tomb of St. Francis in History, Legend and Art.” In The Art of the Franciscan Order in Italy, ed. Cook, William, Leiden, 2004, 137.Google Scholar
Cooper, Donal. “Access All Areas? Spatial Divides in the Mendicant Churches of Late Medieval Tuscany.” In Ritual and Space in the Middle Ages: Proceedings of the 2009 Harlaxton Symposium, Harlaxton Medieval Studies XXI, ed. Andrews, Frances, Donington, 2011, 90107.Google Scholar
Cornelison, Sally. “A French King and a Magic Ring: The Girolami and a Relic of St. Zenobius in Renaissance Florence.” Renaissance Quarterly 55 (2002): 434–69.Google Scholar
Crum, Roger and Wilkins, David. “In the Defense of Florentine Republicanism: Saint Anne and Florentine Art, 1343–1575.” In Interpreting Cultural Symbols: Saint Anne in Late Medieval Society, eds. Ashley, Kathleen and Sheingorn, Pamela, Athens and London, 1991, 131–68.Google Scholar
dal Poggetto, Paolo. “Orcagna.” In The Great Age of Fresco. Giotto to Pontormo: An Exhibition of Mural Paintings and Monumental Drawings (New York, 1968): 78.Google Scholar
Davidsohn, Robert. Forschungen zur Geschichte von Florenz, Volumes I–IV (Berlin, 1896–1908).Google Scholar
del Badia, Iodoco. Miscellanea fiorentina di erudizione e storia (Florence, 1902).Google Scholar
del Badia, Iodoco. Comizio Agrario. La nuova sede nei Palazzi della Condotta e della Mercanzia (Florence, 1907).Google Scholar
del Migliore, Ferdinando Leopoldo. Firenze: città nobilissima illustrata (Florence, 1684).Google Scholar
del Prete, Leone. Capitoli della Compagnia della Madonna d'Orsanmichele dei sec. XIII e XIV (Lucca, 1859).Google Scholar
De Marchi, Andrea. “Relitti di un naufragio: affreschi di Giotto, Taddeo Gaddi e Maso di Banco neele navate di Santa Croce.” In Santa Croce: Oltre le apparenze, Florence, 2011, 3571.Google Scholar
Demus, Otto. Byzantine Art and the West (New York, 1970).Google Scholar
Demus, Otto. Byzantine Mosaic Decoration: Aspects of Monumental Art in Byzantium (New Rochelle, NY, 1976).Google Scholar
Diana, E.Contributi sulla storia contemporanea della raccolta artistica dell'Ospedale di Santa Maria Nuova: i cataloghi di fine Ottocento.” Archivio Storico Italiano CLXIII (2005): 313–51.Google Scholar
Di Lorenzo, Andrea. “La Croce astìle di Bernardo Daddi del Museo Poldi Pezzoli.” In La Croce di Bernardo Daddi del Museo Poldi Pezzoli: Ricerche e conservazione, ed. Ciatti, Marco, Florence, 2005, 1130.Google Scholar
Di Lorenzo, Andrea. “Croce astìle.” In Dal Giglio a David: Arte Civica a Firenze fra Medievo e Rinascimento, eds. Donato, Maria Monica and Parenti, Daniela, Florence, 2013, 182–84.Google Scholar
Donato, Maria Monica and Parenti, Daniela, eds. Dal Giglio a David: Arte Civica a Firenze fra Medievo e Rinascimento (Florence, 2013).Google Scholar
Dorini, U.La Cappella ed il Reliquiere della Parte Guelfa in S. Maria del Fiore.” Rivista d'arte 7 (1910): 3136.Google Scholar
Dunford, P. A.A Suggestion for the Baptistery Mosaics at Florence.” Burlington Magazine 116 (1974): 9698.Google Scholar
Durandus, William. The Symbolism of Churches and Church Ornaments: A Translation of the First Book of the “Rationale divinorum officiorum,” trans. and ed. Neale, J. M. and Webb, B., 3rd ed. (London, 1906).Google Scholar
Earenfight, Philip. “The Residence and Loggia della Misericordia (Il Bigallo): Art and Architecture of Confraternal Piety, Charity, and Virtue in Late Medieval Florence.” PhD dissertation (Rutgers University, 1999).Google Scholar
Earenfight, Philip. “Sacred Sites in Civic Spaces: The Misericordia and Orsanmichele in Post-Plague Florence.” In The Historian's Eye: Essays on Italian Art in Honor of Andrew Ladis, eds. Maginnis, Hayden B. J. and Zuraw, Shelley E., Athens, GA, 2009, 1532.Google Scholar
Edgerton, Samuel. Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance (Ithaca, 1985).Google Scholar
Eisenberg, Marvin. “Some Monastic and Liturgical Allusions in an Early Work of Lorenzo Monaco.” In Monasticism and the Arts, ed. Verdon, Timothy, Syracuse, NY, 1984, 271–89.Google Scholar
Eisenberg, Marvin. Lorenzo Monaco (Princeton, 1989).Google Scholar
Eisenberg, Marvin. The “Confraternity Altarpiece” by Mariotto di Nardo: The Coronation of the Virgin and the Life of Saint Stephen (Tokyo, 1998).Google Scholar
Elliott, Janis. “The Judgement of the Commune: The Frescoes of the Magdalen Chapel in Florence.” Zeitschrift für Kunstgeschicte 61 (1998): 509–19.Google Scholar
Fabbri, Lorenzo, Tacconi, Marica, and Verdon, Timothy, eds. I libri del duomo di Firenze: codici liturgici e biblioteca di Santa Maria del Fiore, secoli XI–XVI, Florence, 1997.Google Scholar
Fabbri, Nancy and Rutenburg, Nina. “The Tabernacle of Orsanmichele in Context.” Art Bulletin LXIII (1981): 385405.Google Scholar
Franci, Andrea. “Orcagna e le ricerche recenti sulla scultura fiorentina trecentesca.” Arte cristiana 90 (2002): 251–60.Google Scholar
Francioni, Domenico. Notizie del Vecchio Mercato e del Ghetto di Firenze (Florence, 1887).Google Scholar
Fraticelli, Pietro. Delle Antiche Carceri di Firenze Denominate le Stinche (Florence, 1834).Google Scholar
Freedberg, David. The Power of Images (Chicago, 1989).Google Scholar
Freemantle, Richard. Masaccio: The Complete Paintings by the Master of Perspective (New York, 1998).Google Scholar
Freuler, Gaudenz. A Critical and Historical Corpus of Florentine Painting: Volume V, Section VII, Part II, Tendencies of Gothic in Florence: Don Silvestro dei Gherarducci (Florence, 1997).Google Scholar
Frey, Karl. Die Loggia dei Lanzi zu Florenz: eine quellenkritische Untersuchung (Berlin, 1885).Google Scholar
Frojmovič, Eva. “Giotto's Allegories of Justice and the Commune in the Palazzo della Ragione in Padua: A Reconstruction.” Journal of the Warburg and Courtauld Institutes 59 (1996): 2446.Google Scholar
Frosinini, Cecilia. “Proposte per Giovanni dal Ponte e Neri di Bicci: due affreschi funerari del Duomo di Firenze.” Mitteilungen des Kunsthistorischen Institutes in Florenz 34 (1990): 123–38.Google Scholar
Gamba, C.Giovanni dal Ponte.” Rassegna d'arte IV (1904): 177–86.Google Scholar
Gandi, G. Le arti maggiori e minori in Firenze (Florence, 1929).Google Scholar
Gaye, Giovanni. Carteggio inedito d'artisti dei secoli XIV, XV, XVI, Volumes I–III (Florence, 1839–1840).Google Scholar
Geltner, Guy. The Medieval Prison: A Social History (Princeton and Oxford, 2008a).Google Scholar
Geltner, Guy. “Isola non isolata: le Stinche in the Middle Ages.” Annali di Storia di Firenze III (2008b): 728.Google Scholar
Ghiberti, Lorenzo. I commentarii, ed. Bartoli, Lorenzo (Florence, 1998).Google Scholar
Gilbert, Creighton and Bouniort, Jeanne. “Saint Antonin de Florence et l'art: theologie pastorale, administration et commande d'oeuvres.” Revue de l'art 90 (1990): 920.Google Scholar
Giles, Kathleen. “The Strozzi Chapel in Santa Maria Novella: Florentine Painting and Patronage, 1340–1355.” PhD dissertation (New York University, 1977).Google Scholar
Giusti, Anna Maria. Il Battistero di San Giovanni a Firenze, ed. Paolucci, Antonio (Modena, 1994).Google Scholar
Goffen, Rona. “Masaccio's Trinity and the Letter to the Hebrews.” In Masaccio's Trinity, ed. Goffen, Rona, Cambridge, 1998, 4364.Google Scholar
Goldthwaite, Richard and Mandich, G., Studi sulla moneta fiorentina (secoli XIII–XVI) (Florence, 1994).Google Scholar
Gronau, Hans. “Notes on Trecento Painting, II: Some Unpublished Works by Jacopo del Casentino.” Burlington Magazine 53 (1928): 7884.Google Scholar
Guarnieri, Ennio. I tabernacoli di Firenze (Florence, 1987a).Google Scholar
Guarnieri, Ennio. Le Strade di Firenze, VII: le immagini di devozione nelle strade di Firenze (Florence, 1987b).Google Scholar
Haines, Margaret. “L'Arte della Lana e l'Opera del Duomo di Firenze, con un accenno a Ghiberti tra due istituzioni.” In Opera. Carattere e ruolo delle fabbriche cittadine fino all'inizio dell'età moderna, proceedings of the Colloquium (Florence, Villa I Tatti, April 3, 1991), eds. Haines, Margaret and Ricetti, Lucio, Florence, 1996.Google Scholar
Hale, Charlotte. “The Techniques and Materials of the Intercession of Christ and the Virgin, attributed to Lorenzo Monaco.” In The Fabric of Images: European Paintings on Textile Supports in the Fourteenth and Fifteenth Centuries, ed. Villers, Charlotte, London, 2000, 3141.Google Scholar
Hall, Marcia. “The Tramezzo in Santa Croce, Florence, Reconstructed.” Art Bulletin 56 (1974a): 325–41.Google Scholar
Hall, Marcia. “The Ponte in S. Maria Novella: The Problem of the Rood Screen in Italy.” The Journal of the Warburg and Courtauld Institutes 37 (1974b): 157173.Google Scholar
Hall, Marcia. Renovation and Counter Reformation: Vasari and Duke Cosimo in Sta Maria Novella and Sta Croce, 1565–1577 (Oxford, 1979).Google Scholar
Hankey, Teresa. “Salutati's Epigrams for the Palazzo Vecchio at Florence.” Journal of the Warburg and Courtauld Institutes 20 (1959): 363–65.Google Scholar
Hartt, Frederick. “Art and Freedom in Quattrocento Florence.” In Essays in Memory of Karl Lehmann, ed. Sandler, Lucy Freeman, New York, 1964, 114–31.Google Scholar
Henderson, John.Confraternities and the Church in Late-Medieval Florence.” Studies in Church History 23 (1986): 6983.Google Scholar
Henderson, John. Piety and Charity in Late Medieval Florence (Oxford, 1994).Google Scholar
Henderson, John. The Renaissance Hospital (New Haven, 2006).Google Scholar
Holmes, Megan. “The Elusive Origins of the Cult of the Annunziata in Florence.” In The Miraculous Image in the Late Middle Ages and Renaissance, eds. Thunø, Erik and Wolf, Gerhard, Rome, 2004, 97121.Google Scholar
Holmes, Megan. The Miraculous Image in Renaissance Florence (New Haven and London, 2013).Google Scholar
Horne, H. P.A Commentary upon Vasari's life of Jacopo del Casentino.” Rivista d'Arte VI (1909): 95112.Google Scholar
Hoshino, Hidetoshi. “The Rise of the Florentine Woollen Industry in the Fourteenth Century.” In Cloth and Clothing in Medieval Europe: Essays in Memory of Professor E. M. Carus-Wilson, eds. Harte, N. B. and Ponting, K. G., London, 1983, 184204.Google Scholar
Hueck, Irene. “La tavola di Duccio e la Compagnia delle Laudi di Santa Maria Novella.” In La Maestà di Duccio restaurata, ed. Tofani, A. Petrioli, Florence, 1990, 3346.Google Scholar
Hueck, Irene. “Le opera di Giotto per la chiesa di Ognissanti.” In La ‘Madonna d'Ognissanti’ di Giotto restaurata, ed. Tofani, A. Petrioli, Florence, 1992, 3750.Google Scholar
Hueck, Irene. “Il programma dei mosaici.” In Il Battistero di San Giovanni a Firenze, ed. Paolucci, Antonio, Modena, 1994, 229–63.Google Scholar
Israëls, Machtelt. “Altars on the Street: The Wool Guild, the Carmelites and the Feast of Corpus Domini in Siena (1356–1456).” Renaissance Studies 20 (2006): 180200.Google Scholar
Jacobus, Laura. Giotto and the Arena Chapel: Art, Architecture and Experience (London, 2008).Google Scholar
Jones, Lars. “Vision Divina? Donor Figures and Representations of Imagistic Devotion: The Copy of the ‘Virgin of Bagnolo’ in the Museo dell'Opera del Duomo, Florence.” In Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 61, ed. Schmidt, Victor, New Haven and London, 2003, 3155.Google Scholar
Kanter, Laurence. “Lorenzo Monaco.” In Painting and Illumination in Early Renaissance Florence 1300–1450, eds. Kanter, Laurence and Boehm, Barbara, New York, 1994, 220306.Google Scholar
Kent, Dale. Cosimo de’ Medici and the Florentine Renaissance (New Haven and London, 2000).Google Scholar
Klange, Bente. “I mosaici della scarsella del San Giovanni a Firenze: l'iconografia.” Commentari 26 (1975): 248–58.Google Scholar
Klapisch-Zuber, Christiane. “Blood Parents and Milk Parents: Wet Nursing in Florence, 1300–1530.” In Women, Family, and Ritual in Renaissance Italy, trans. Cochraine, Lydia G., Chicago and London, 1985, 132–64.Google Scholar
Krautheimer, Richard and Krautheimer-Hess, Trude. Lorenzo Ghiberti (Princeton, 1956).Google Scholar
Kreytenberg, Gert. “Die Trecenteske Dekoration der Stirnwand im Oratorio del Bigallo.” Mitteilungen des Kunsthistorischen Institutes in Florenz 20 (1976): 397403.Google Scholar
Kreytenberg, Gert. “Un tabernacolo di Giovanni di Balduccio per Orsanmichele a Firenze.” Boletin del Museo Arqueologico Nacional 8 (1990): 3757.Google Scholar
Kreytenberg, Gert. “Das Oratorio di Santa Maria della Tromba in Florenz und der Bildhauer Jacopo di Piero Guidi.” Mitteilungen des Kunsthistorischen Institutes in Florenz 35 (1991): 297306.Google Scholar
Kreytenberg, Gert. Orcagna (Andrea di Cione): Ein universeller Künstler der Gotik in Florenz (Mainz, 2000).Google Scholar
Labriola, Ana. “Un dipinto di Jacopo del Casentino e alcuni appunti sull'antica catedrale di Santa Reparata a Firenze.” Arte Cristiana 91 (2003a): 333–44.Google Scholar
Labriola, Ana. “Jacopo di Cione, Niccolò di Tommaso, Simone di Lapo.” In Cataloghi della Galleria dell'Accademia di Firenze, I: Dal Duecento a Giovanni da Milano, eds. Boskovits, Miklós and Tartuferi, Angelo, Florence, 2003b, 127–35.Google Scholar
Ladis, Andrew. Taddeo Gaddi (Columbia, MO, 1980).Google Scholar
Ladis, Andrew. “Antonio Veneziano and the Representation of Emotion.” Apollo 124 (1986): 154–61.Google Scholar
Ladis, Andrew. “An Old Picture in Florence.” Source 7 (1987): 15.Google Scholar
Ladner, Gerhart. “The Gestures of Prayer in Papal Iconography of the Thirteenth and Early Fourteenth Centuries.” In Didascaliae. Studies in Honor of Anselm M. Albareda, ed. Prete, Sesto, New York, 1961, 245–75.Google Scholar
Landini, Placido. Istoria dell'oratorio e della venerabile arciconfraternita di Santa Maria della Misericordia della città di Firenze (Florence, 1779: reprinted with notes by Pietro Pillori, Florence, 1843).Google Scholar
Lansing, Carol. The Florentine Magnates: Lineage and Faction in a Medieval Commune (Princeton, 1991).Google Scholar
La Roncière, M. de. Prix et salarie à Florence au XIVe siècle (1280–1380) (Rome, 1982).Google Scholar
La Sorsa, Saverio. La Compagnia d'Or San Michele (Trani, 1902).Google Scholar
Lavin, Irving. “Santa Maria del Fiore: Image of the Pregnant Madonna. The Christology of Florence Cathedral.” In Atti del VII Centenario del Duomo di Firenze, I: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001, 668–89.Google Scholar
Lenzi, Alfredo. “Il palagio della Parte Guelfa in Firenze.” Dedalo I (1920): 250–62.Google Scholar
Leoncini, Giovanni. “I luoghi della devozione mariana a Firenze: Or San Michele.” In Atti del VII Centenario del Duomo di Firenze, II: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001, 182–94.Google Scholar
Leoncini, Giovanni and Bicchi, Alessandro. “Il culto dei santi in cattedrale.” In Atti del VII Centenario del Duomo di Firenze, II: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001, 299323.Google Scholar
Levi D'Ancona, Mirella. “Don Silvestro dei Gherarducci e il ‘Maestro delle Canzoni.’Rivista d'arte 32 (1959): 337.Google Scholar
Levi D'Ancona, Mirella. The Choir Books of Santa Maria degli Angeli in Florence, vol. II: The Reconstructed ‘Diurno Domenicale’ from Santa Maria degli Angeli in Florence (Florence, 1993).Google Scholar
Levin, William. “Advertising Charity in the Trecento: The Public Decorations of the Misericordia in Florence.” Studies in Iconography 17 (1996): 215309.Google Scholar
Levin, William. “A Lost Fresco Cycle by Nardo and Jacopo di Cione at the Misericordia in Florence.” Burlington Magazine 141 (1999): 7580.Google Scholar
Levin, William. The “Allegory of Mercy” at the Misericordia in Florence: Historiography, Context, Iconography, and the Documentation of Confraternal Charity in the Trecento (Dallas, Lanham, Boulder, New York, Oxford, 2004).Google Scholar
Levin, William. “The Canopy of Holiness at the Misericordia in Florence and Its Sources, I.” Southeastern College Art Conference Review 15 (2008): 309–25.Google Scholar
Levin, William. “The Canopy of Holiness at the Misericordia in Florence and Its Sources, II.” Southeastern College Art Conference Review 15 (2009): 393407.Google Scholar
Levin, William. Liber Usualis (Washington, DC, 1934).Google Scholar
Lisini, A., ed., Il costituto del commune volgarizzato nel MCCCIX–MCCCX, Volumes 1–2 (Siena, 1903).Google Scholar
Livy, . History of Rome, Books 1–142, trans. Foster, Benjamin Oliver, Moore, Frank Gardner, Taylor Sage, Evan, and Cary Schlesinger, Alfred (Cambridge, MA, 1959–1991).Google Scholar
Maginnis, Hayden B. J.Lay Women and Altars in Trecento Siena.” Source: Notes in the History of Art 28 (2008): 57.Google Scholar
Maginnis, Hayden B. J. and Ladis, Andrew. “Sculpture's Pictorial Presence: Reflections on the Tabernacles of Orsanmichele.” Studi di storia dell'arte 5–6 (1994): 4154.Google Scholar
Marchini, G.Miracoli d'Orsanmichele.” Mitteilungen des Kunsthistorischen Institutes in Florenz 17 (1973): 301–6.Google Scholar
Marchionne, di Coppo, Stefani. Cronaca Fiorentina, ed. Rodolico, Niccolò (Città di Castello, 1903).Google Scholar
Marcucci, Luisa. I dipinti Toscani del secolo XIV (Rome, 1965).Google Scholar
Marshall, Louise. “Confraternity and Community: Mobilizing the Sacred in Times of Plague.” In Confraternities and the Visual Arts in Renaissance Italy, eds. Wisch, Barbara and Ahl, Diane Cole, Cambridge, 2000, 2045.Google Scholar
Martines, Lauro. Lawyers and Statecraft in Renaissance Florence (Princeton, 1968).Google Scholar
Mazzi, Maria Serena. “Il Mondo della Prostituzione nella Firenze Tardo Medievale.” Ricerche Storiche 14 (1984): 337–63.Google Scholar
Meiss, Millard. Painting in Florence and Siena after the Black Death (Princeton, 1951).Google Scholar
Meiss, Millard. “An Early Altarpiece from the Cathedral of Florence.” The Metropolitan Museum of Art Bulletin 12 (1954): 302–17.Google Scholar
Melli, Lorenza. “The Documents.” In Giotto: The Santa Maria Novella Crucifix, eds. Ciatti, Marco and Seidel, Max, Florence, 2002, 227–37.Google Scholar
Melli, Lorenza. Nuovi documenti per la storia dell'arte Toscana dal XII al XVI secolo (Rome, 1893).Google Scholar
Monciatti, Alessio. “L'Incoronazione della Vergine nella controfacciata della cattedrale di Santa Maria del Fiore e altri mosaici monumentali in Toscana.” Mitteilungen des Kunsthistorischen Institutes in Florenz 43 (1999): 1448.Google Scholar
Monnas, Lisa. “Silk Textiles in the Paintings of Bernardo Daddi, Andrea di Cione, and Their Followers.” Zeitschrift für Kunstgeschichte 53 (1990): 3958.Google Scholar
Monnas, Lisa. Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings 1300–1550 (London and New Haven, 2008).Google Scholar
Moreni, Domenico. Mores et Consuetudines Ecclesiae Florentinae (Florence, 1794).Google Scholar
Morini, Ugo, ed. Documenti inediti o poco noti per la storia della Misericordia di Firenze (1240–1525) (Florence, 1940).Google Scholar
Morozzi, Guido. “La cattedrale di Santa Reparata.” In Atti del VII Centenario del Duomo di Firenze, I: la cattedrale e la città. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001, 136–44.Google Scholar
Morpurgo, Salomone. “Bruto, ‘il buon giudice,’ nell'Udienza dell'Arte della Lana in Firenze.” In Miscellanea di Storia dell'Arte in Onore di I. B. Supino, Florence, 1933, 141–63.Google Scholar
Muir, Edward. “The Virgin on the Street Corner: The Place of the Sacred in Italian Cities.” In Religion and Culture in the Renaissance and Reformation, Sixteenth Century Essays and Studies 11, ed. Ozment, Steven, Kirksville, MO, 1989, 2440.Google Scholar
Najemy, John. Corporatism and Consensus in Florentine Politics (Chapel Hill, 1982).Google Scholar
Najemy, John. A History of Florence 1200–1575 (Malden, MA, 2006).Google Scholar
Nannelli, Francesca. La Misericordia di Firenze: memorie, curiosità, tradizioni, ed. Niccolai, Foresto (Florence, 1984).Google Scholar
Nannelli, Francesca. “L'affresco raffigurante Sant'Anna patrona di Firenze in Or San Michele.” In Sant'Anna dei Fiorentini: storia, fede, arte, tradizione, ed. Valentini, Anita, Florence, 2003, 149–54.Google Scholar
Offner, Richard. “Niccolò di Pietro Gerini.” Art in America 9 (1921): 148–55, 233–40.Google Scholar
Offner, Richard. “Jacopo del Casentino. Introduzione alla sua opera.” Bolletino d'Arte 3 (1923): 248–84.Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section III, Volume II (New York, 1930a).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section III, Volume III (New York, 1930b).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section III, Volume IV (New York, 1934).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section III, Volume V (Florence, 1947).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section III, Volume VIII (New York, 1958).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section IV, Volume II (New York, 1960).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section IV, Volume I (New York, 1962).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Volume IV, Section III (New York 1965).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section IV, Volume IV (New York, 1968).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section IV, Volume IV, Part I (New York, 1969a).Google Scholar
Offner, Richard. A Critical and Historical Corpus of Florentine Painting, Section IV, Volume IV, Part II (New York, 1969b).Google Scholar
Orlandi, Stefano. “Cronaca Annalistica del Convento di S. Maria Novella.” In “Necrologio” di S. Maria Novella, Volume II, Florence, 1955, 397404.Google Scholar
Ortalli, Gherardo. Pingatur in palatio: La pittura infamante nei secoli XIII–XVI (Rome, 1979).Google Scholar
Paatz, Walter and Paatz, Elisabeth. Die Kirchen von Florenz, Volumes I–III (Frankfurt am Main, 1952).Google Scholar
Padoa Rizzo, Anna. “Bernardo di Stefano Rosselli, il ‘Polittico Rucellai,’ e il ‘Polittico di San Pancrazio’ di Bernardo Daddi.” Studi di storia dell'arte 4 (1993): 611–22.Google Scholar
Palmeri, Michela. Dipinti: dal Duecento a Giovanni da Milano, eds. Boskovits, Miklós and Tartuferi, Angelo (Florence, 2003).Google Scholar
Paoletti, John. “Medici Funerary Monuments in the Duomo of Florence during the Fourteenth Century: A Prologue to ‘The Early Medici.’” Renaissance Quarterly 59 (2006): 1117–63.Google Scholar
Passerini, Luigi. Storia degli Stabilimenti di Beneficenza della Città di Firenze (Florence, 1853).Google Scholar
Petrarca, Francesco. De viris illustribus, ed. Martellotti, Guido (Florence, 1964).Google Scholar
Petrarca, Francesco. Petrarch's Africa, ed. and trans. Bergin, Thomas G. and Wilson, Alice S. (New Haven and London, 1977).Google Scholar
Pinto, Giuliano. Il Libro del Biadaiolo. Carestie e annona a Firenze dalla metà del ’200 al 1348 (Florence, 1978).Google Scholar
Pisani, Rosanna Proto, Caterina. “Tabernacolo in piazza del Carmine angolo Piazza Piattellina.” In Arte, storia e devozione: Tabernacoli da conservare, Florence, 1991, 101–7.Google Scholar
Pitts, Frances. “Nardo di Cione and the Strozzi Chapel Frescoes.” PhD dissertation (University of California, Berkeley, 1982).Google Scholar
Poggi, Giovanni. Or San Michele (Florence, 1895).Google Scholar
Poggi, Giovanni. Il Duomo di Firenze. Documenti sulla decorazione della chiesa e del campanile tratti dall'Archivio dell'Opera (Florence, 1909).Google Scholar
Poggi, Giovanni, Supino, I. B., and Ricci, Corrado. “La Compagnia del Bigallo.” Rivista d'Arte 2 (1904): 189209, 225–44.Google Scholar
Polzer, Joseph. “Aristotle, Mohammed and Nicholas V in Hell.” The Art Bulletin 46 (1964): 457–69.Google Scholar
Procacci, Ugo. “Il Vasari e la conservazione degli affreschi della cappella Brancacci al Carmine e della Trinità in S. Maria Novella.” In Scritti di storia dell'arte in onore di Lionello Venturi, Volume 1, ed. Salmi, Mario, Rome, 1956, 211–22.Google Scholar
Procacci, Ugo. “L'affresco dell'Oratorio del Bigallo ed il suo maestro.” In Klara Steinweg: in Memoriam, Mitteilungen des Kunsthistorischen Institutes in Florenz 17 (1973): 307–24.Google Scholar
Prosperini, P. Capitoli della Compagnia dei Disciplinati della città di Firenze (Padua, 1871).Google Scholar
Radke, Gary. “Masaccio's City: Urbanism, Architecture, and Sculpture in Early Fifteenth-Century Florence.” In The Cambridge Companion to Masaccio, ed. Ahl, Diane Cole, Cambridge, 2002, 4063.Google Scholar
Ratté, Felicity. Picturing the City in Medieval Italian Painting (Jefferson, NC, 2006).Google Scholar
Ricci, Battaglia. Palazzo Vecchio e dintorni. Studio sul Franco Sacchetti e le fabbriche di Firenze (Rome, 1990).Google Scholar
Richa, Giuseppe. Notizie istoriche delle chiese fiorentine, Volumes I–X (Florence, 1754–1762).Google Scholar
Roberts, Perri Lee. “A New Late Fourteenth-Century Example of Florentine Civic Art: Mariotto di Nardo's Fresco for the Capitani of Orsanmichele.” Mitteilungen des Kunsthistorischen Institutes in Florenz 30 (1986): 584–86.Google Scholar
Rodolico, Niccolò. Il popolo minuto (Florence, 1968).Google Scholar
Rubenstein, Nicolai. The Palazzo della Signoria: 1298–1532 (New York, 1995).Google Scholar
Ruck, Germaid. “Brutus als Modell des guten Richters: Bild und Rhetorik in einem Florentiner Zunftgebäude.” In Malerei und Stadtkultur in der Dantezeit, eds. Belting, Hans and Blume, Dieter, Munich, 1989, 115–31.Google Scholar
Saalman, Howard. “Michelozzo Studies: The Florentine Mint.” In Festschrift Ulrich Middeldorf, ed. Kosegarten, Antje and Tigler, Peter, Berlin, 1968, 140–42.Google Scholar
Saalman, Howard. The Bigallo (New York, 1969).Google Scholar
Saalman, Howard. Filippo Brunelleschi, the Buildings (London, 1993).Google Scholar
Sabbatini, Oretta and Invernizzi, Lia. I Tabernacoli fiorentini (Florence, 1991).Google Scholar
Salmi, Mario. “Il Palazzo della Parte Guelfa di Firenze e Filippo Brunelleschi.” Rinascimento II (1951): 311.Google Scholar
Santi, Bruno. “Tabernacoli a Firenze: valenze storico-artistiche e problemi di tutela.” In Arte, storia e devozione: Tabernacoli da conservare, Florence, 1991, 913.Google Scholar
Santi, Bruno. Tabernacoli a Firenze: i restauri (1991–2001) (Florence, 2002).Google Scholar
Santoni, Luigi. Diario Sacro e Guida Perpetua delle Feste Principali delle chiese della Città, Suburbio ed Archidiocesi Fiorentina (repr., Bologna, 1974).Google Scholar
Schiferl, Ellen. “Italian Confraternity Art Contracts: Group Consciousness and Corporate Patronage, 1400–1525.” In Crossing the Boundaries: Christian Piety and the Arts in Italian Medieval and Renaissance Confraternities, ed. Eisenbichler, Konrad, Kalamazoo, 1991, 121–40.Google Scholar
Schiferl, Ellen. “Caritas and the Iconography of Italian Confraternity Art.” Studies in Iconography 14 (1995): 211.Google Scholar
Schlegel, Ursula. “Observations on Masaccio's Trinity Fresco in Santa Maria Novella.” Art Bulletin 45 (1963): 1934.Google Scholar
Schmidt, Victor. “The Lunette-Shaped Panel and Some Characteristics of Panel Painting.” In Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 61, ed. Schmidt, Victor, New Haven, 2003, 83101.Google Scholar
Schmidt, Victor. “La Vierge d'humilité de Niccolò di Buonaccorso.” La Revue des Musées de France 4 (2014): 4657.Google Scholar
Sciacca, Christine. “Reconstructing the Laudario of Sant'Agnese.” In Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350, ed. Sciacca, Christine, Los Angeles, 2012, 219–81.Google Scholar
Scudieri, Magnolia. Il Museo Bandini a Fiesole (Florence, 1993).Google Scholar
Scudieri, Magnolia. “Il Tabernacolo dei Linaioli nel percorso dell'Angelico.” In Il Tabernacolo dei Linaioli del Beato Angelico restaurato, eds. Ciatti, Marco and Scudieri, Magnolia, Florence, 2011, 1526.Google Scholar
Siren, Osvald. Giottino (Florence, 1908).Google Scholar
Skaug, Erlang. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting, Volumes 1–2 (Oslo, 1994).Google Scholar
Slepian, Marcie Freedman. “Merchant Ideology in the Renaissance: Guild Hall Decoration in Florence, Siena, and Perugia.” PhD dissertation (Yale University, 1987).Google Scholar
Smart, Alistair. “Taddeo Gaddi, Orcagna, and the Eclipses of 1333 and 1339.” In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, eds. Lavin, Irving and Plummer, John, New York, 1977, 403–14.Google Scholar
Solberg, Gail. “The Painter and the Widow: Taddeo di Bartolo, Datuccia Sardi da Campiglia, and the Sacristy Chapel in S. Francesco, Pisa.” Gesta 49/1 (2010): 5374.Google Scholar
Spagnesi, Annalisa Bricoli. “Su alcune pitture nella Sala d'Udienza del Palazzo dell'Arte della Lana a Firenze.” Antichità viva 31, 2 (1992): 510.Google Scholar
Spilner, Paula. “Ut Civitas Amplietur: Studies in Florentine urban development, 1282–1400.” PhD dissertation (Columbia University, 1987).Google Scholar
Staley, Edgcumbe. The Guilds of Florence (London, 1906).Google Scholar
Statuti dell'Arte del Cambio di Firenze, ed. Marri, G. C. (Florence, 1955).Google Scholar
Strozzi, Beatrice Paolozzi. “Tabernacolo di Monteloro.” In Arte, storia e devozione: Tabernacoli da conservare, Florence, 1991, 8993.Google Scholar
Stuard, Susan Mosher. Gilding the Market: Luxury and Fashion in Fourteenth-Century Italy (Philadelphia, 2006).Google Scholar
Supino, Igino Benvenuto. “Il Palagio dell'Arte della Lana in Firenze.” L'Arte (1905): 266–70.Google Scholar
Tacconi, Marica. Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore (Cambridge, 2005).Google Scholar
Tartuferi, Angelo. “L'eredità di Giotto a Firenze.” In L'eredità di Giotto: Arte a Firenze 1340–1375, ed. Tartuferi, Angelo, Florence, 2008, 1737.Google Scholar
Taylor-Mitchell, Laurie. “Images of St. Matthew Commissioned by the Arte del Cambio for Orsanmichele in Florence.” Gesta 31/I (1992): 5472.Google Scholar
Taylor-Mitchell, Laurie. “Guild Commissions at Orsanmichele: Some Relationships between Interior and Exterior Imagery in the Trecento and Quattrocento.” Explorations in Renaissance Culture 20 (1994): 6188.Google Scholar
Terry-Fritsch, Allie. “The Iconostasis, the Choir Screen and San Marco: The Veiling of Ritual Action and the Participation of the Viewer in Byzantium and Renaissance Florence.” Chicago Art Journal 11 (2001): 1432.Google Scholar
Terry-Fritsch, Allie. “Criminal Vision in Early Modern Florence: Fra Angelico's Altarpiece for ‘Il Tempio’ and the Magdalenian Gaze.” In Renaissance Theories of Vision, eds. Hendrix, John and Carmen, Charles, Hampshire, UK, 2010, 4562.Google Scholar
Toker, Franklin. “Scavi del Complesso Altomedievale di S. Reparata sotto il Duomo di Firenze.” Archeologia Medievale 2 (1975): 161–90.Google Scholar
Toker, Franklin. “Una visita di S. Ambrogio a Firenze, e la spiegazione delle origini della Cattedrale di S. Reparata.” In Atti del VII Centenario del Duomo di Firenze, II: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001a, 377–95.Google Scholar
Toker, Franklin. “On Holy Ground: Architecture and Liturgy in the Cathedral and in the Streets of Late-Medieval Florence.” In Atti del VII Centenario del Duomo di Firenze, II: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001b, 545–59.Google Scholar
Trachtenberg, Marvin. Dominion of the Eye: Urbanism, Art and Power in Early Modern Florence (Cambridge, 1997).Google Scholar
Trexler, Richard. “By the Grace of the Lord Pope…Studies in Medieval and Renaissance History 9 (1972a).Google Scholar
Trexler, Richard. “Florentine Religious Experience: The Sacred Image.” Studies in the Renaissance XIX (1972b): 741.Google Scholar
Trexler, Richard. Public Life in Renaissance Florence (New York, 1980).Google Scholar
Trexler, Richard. “La Prostitution Florentine au XVe Siècle: Patronages et Clientèles.” Annales ESC 36 (1981): 9831015.Google Scholar
Valentini, Anita. L'iconografia fiorentina di Sant'Anna. La festa del 26 luglio (Campi Bisenzi, 1998).Google Scholar
Van Marle, Raimond. The Development of the Italian Schools of Painting, Volumes I–XIX (The Hague, 1923–1936).Google Scholar
Van Os, Henk. Sienese Altarpieces I (Groningen, 1988).Google Scholar
Vasari, Giorgio. Le Vite dei più eccellenti pittori, scultori, e architetti, ed. Maselli, Giovanni (Florence, 1832–1838).Google Scholar
Verdon, Timothy. “La Sant'Anna Metterza: reflessioni, domandi, ipotesi.” Gli Uffizi Studi e Ricerche 5 (1988): 42.Google Scholar
Verdon, Timothy. “The Intercession of Christ and the Virgin from Florence Cathedral: Iconographic and Ecclesiological Significance.” In The Fabric of Images: European Paintings on Textile Supports in the Fourteenth and Fifteenth Centuries, ed. Villers, Charlotte, London, 2000, 4354.Google Scholar
Verdon, Timothy. “The Intercession of Christ and the Virgin from Florence Cathedral: Iconographic and Ecclesiological Significance.” In Atti del VII Centenario del Duomo di Firenze, II: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001, 131–49.Google Scholar
Verdon, Timothy. “Masaccio's Trinity: Theological, Social, and Civic Meanings.” In The Cambridge Companion to Masaccio, ed. Ahl, Diane Cole, Cambridge, 2002, 158–76.Google Scholar
Verdon, Timothy. “La Trinità del Masaccio.” In Alla riscoperta delle chiese di Firenze: Santa Maria Novella, ed. Verdon, Timothy, Florence, 2003, 105–29.Google Scholar
Vestri, Veronica. “Le spese per la construzione della cappella di Sant'Anna in Via Calzaioli.” In Sant'Anna dei Fiorentini: storia, fede, arte, tradizione, ed. Valentini, Anita, Florence, 2003, 175–98.Google Scholar
Villani, Giovanni. Nuova Cronica, Volumes I–III, ed. Porta, Giuseppe (Parma, 1991).Google Scholar
Villers, Caroline. “Paintings on Canvas in Fourteenth-Century Italy.” Zeitschrift für Kunstgeschicte 58 (1995): 338–58.Google Scholar
Villers, Caroline. “Four Scenes of the Passion Painted in Florence around 1400.” In The Fabric of Images: European Paintings on Textile Supports in the Fourteenth and Fifteenth Centuries, ed. Villers, Caroline, London, 2000, 110.Google Scholar
von Simson, Otto. “Uber di Bedeutung von Masaccios Trinitätfresko in Santa Maria Novella.” Jahrbuch der Berliner Museen 8 (1966): 119–59.Google Scholar
Wackernagel, Martin. The World of the Florentine Renaissance Artist, trans. Luchs, Alison (Princeton, 1981).Google Scholar
Watson, Paul. “The Spanish Chapel: Portraits of Poets or a Portrait of Christian Order.” Memorie domenicane 11 (1980): 471–87.Google Scholar
Webb, Diana. Patrons and Defenders: The Saints in the Italian City-States (London, 1996).Google Scholar
Weinberger, M.The First Façade of the Cathedral of Florence.” Journal of the Warburg and Courtauld Institutes 4 (1940–1941): 6779.Google Scholar
Weissman, Ronald. Ritual Brotherhood in Renaissance Florence (New York, 1982).Google Scholar
Welch, Evelyn. Shopping in the Renaissance: Consumer Cultures in Italy 1400–1600 (New Haven and London, 2005).Google Scholar
Wieruszowski, Helene. “Art and the Commune in the Time of Dante.” Speculum 19 (1944): 1433.Google Scholar
Wilkins, David. “Donatello's Lost Dovizia for the Mercato Vecchio: Wealth and Charity as Florentine Civic Virtues.” Art Bulletin 65 (1983): 401–23.Google Scholar
Wilkins, David. “Opening the Doors to Devotion: Trecento Triptychs and Suggestions Concerning Images and Domestic Practice in Florence.” In Italian Panel Paintings of the Duecento and Trecento, Studies in the History of Art 61, ed. Schmidt, Victor, New Haven and London, 2003, 371–93.Google Scholar
Williamson, Beth. “The Cloisters Double Intercession: The Virgin as Co-Redemptrix.” Apollo 152 (November 2000): 4854.Google Scholar
Williamson, Beth. The Madonna of Humility: Development, Dissemination and Reception, c. 1340–1400 (Woodbridge, 2009).Google Scholar
Wilson, Blake. Music and Merchants: The Laudesi Companies of Republican Florence (Oxford, 1992).Google Scholar
Wilson, Blake. “Music, Art, and Devotion: The Cult of St. Zenobius at the Florentine Cathedral during the Early Renaissance.” In Atti del VII Centenario del Duomo di Firenze, III: la cattedrale come spazio sacro. Saggi sul Duomo di Firenze, eds. Verdon, Timothy and Innocenti, Annalisa, Florence, 2001, 1736.Google Scholar
Wolfgang, Marvin. “Socio-Economic Factors Related to Crime and Punishment in Renaissance Florence.” Journal of Criminal Law, Criminology, and Political Science 47 (1956): 311–30.Google Scholar
Zervas, Diane Finiello. “The Parte Guelfa Palace, Brunelleschi and Antonio Manetti.” Burlington Magazine 127 (1984): 494–99.Google Scholar
Zervas, Diane Finiello. The Parte Guelfa, Brunelleschi and Donatello (Locust Valley, NY, 1987).Google Scholar
Zervas, Diane Finiello. “Lorenzo Monaco, Lorenzo Ghiberti, and Orsanmichele, I.” Burlington Magazine 133 (1991a): 748–59.Google Scholar
Zervas, Diane Finiello. “Lorenzo Monaco, Lorenzo Ghiberti, and Orsanmichele, II.” Burlington Magazine 133 (1991b): 812–19.Google Scholar
Zervas, Diane Finiello. “The Building and Decoration of Orsanmichele before Verrocchio.” In Verrocchio's Christ and St. Thomas, a Masterpiece of Sculpture from Renaissance Florence, ed. Dolcini, Loretta, New York, 1992, 3951.Google Scholar
Zervas, Diane Finiello. Orsanmichele Documents 1336–1452, Volumes 1–2 (Modena, 1996a).Google Scholar
Zervas, Diane Finiello. Orsanmichele a Firenze (Modena, 1996b).Google Scholar
Zervas, Diane Finiello. “Niccolò Gerini's Entombment and Resurrection of Christ, S. Anna/S. Michele/S. Carlo and Orsanmichele in Florence: Clarifications and New Documents.” Zeitschrift für Kunstgeschicte 66 (2003): 3364.Google Scholar
Zervas, Diane Finiello. Andrea Orcagna: Il Tabernacolo di Orsanmichele (Modena, 2006).Google Scholar

Save book to Kindle

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

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

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • George Bent, Washington and Lee University, Virginia
  • Book: Public Painting and Visual Culture in Early Republican Florence
  • Online publication: 20 January 2017
  • Chapter DOI: https://doi.org/10.1017/9781316488973.011
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
  • George Bent, Washington and Lee University, Virginia
  • Book: Public Painting and Visual Culture in Early Republican Florence
  • Online publication: 20 January 2017
  • Chapter DOI: https://doi.org/10.1017/9781316488973.011
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
  • George Bent, Washington and Lee University, Virginia
  • Book: Public Painting and Visual Culture in Early Republican Florence
  • Online publication: 20 January 2017
  • Chapter DOI: https://doi.org/10.1017/9781316488973.011
Available formats
×