Bibliography
Published online by Cambridge University Press: 28 September 2018
- Type
- Chapter
- Information
- Vasari's WordsThe 'Lives of the Artists' as a History of Ideas in the Italian Renaissance, pp. 213 - 234Publisher: Cambridge University PressPrint publication year: 2018
References
Abbott, Andrew. (1988). The System of Professions: An Essay on the Division of Expert Labor. Chicago, IL: University of Chicago Press.CrossRefGoogle Scholar
Ackerman, James S. (1997). “Review of Patricia Rubin, Giorgio Vasari: Art and History.” Renaissance Quarterly 50: 639–40.Google Scholar
Agosti, Barbara. (2013). Giorgio Vasari: Luoghi e tempi delle vite. Milan: Officina Libraria.Google Scholar
Ahl, Diane Cole. (2005). “Sia di mano di santo o d’un angelo: Vasari’s Life of Fra Angelico.” In Reading Vasari, ed. Barriault, et al., 119–31. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
Alberti, Leon Battista. (1804). Della pittura e della statua di Leonbatista Alberti. Ed. Tiraboschi, Girolamo. Trans. Cosimo Bartoli. Milan: Società Tipografica de’ Classici Italiani.Google Scholar
Alberti, Leon Battista. (1833). Della architettura libri dieci di Leon Battista Alberti; traduzione di Cosimo Bartoli; con note apologetiche di Stefano Ticozzi e trenta tavole in rame disegnate ed incise da Costantino Gianni. Milan: Spese degli Editori.Google Scholar
Alford, John A. (1979). “Medicine in the Middle Ages: The Theory of a Profession.” Centennial Review 23: 377–96.Google ScholarPubMed
Alighieri, Dante. See Dante Alighieri.Google Scholar
Alpers, Svetlana Leontief. (1960). “Ekphrasis and Aesthetic Attitudes in Vasari’s Lives.” Journal of the Warburg and Courtauld Institutes 23: 190–215.CrossRefGoogle Scholar
Ames-Lewis, Francis. (2000). The Intellectual Life of the Early Renaissance Artist. New Haven, CT: Yale University Press.Google Scholar
Andrews, Lew. (1995). Story and Space in Renaissance Art: The Rebirth of Continuous Narrative. Cambridge: Cambridge University Press.Google Scholar
Fiorentino, Anonimo. (1969). Il Codice magliabechiano. Ed. Frey, Carl. Farnborough: Gregg.Google Scholar
Armenini, Giovanni Battista. (1977). On the True Precepts of the Art of Painting. Edited and translated from the Italian with an introductory study, critical and historical notes, and bibliography by Olszewski, Edward J.. New York, NY: B. Franklin.Google Scholar
Armenini, Giovanni Battista. (1988). De’ veri precetti della pittura. Ed. Gorreri, Marina. Turin: Einaudi.Google Scholar
Ascoli, Albert R. (2008). Dante and the Making of a Modern Author. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Auerbach, Erich. (1984). Scenes from the Drama of European Literature: Six Essays. Trans. Ralph Manheim. Minneapolis, MN: University of Minnesota Press.Google Scholar
Avesani, Rino. (1960). “Amaseo, Romolo Quirino.” In Dizionario biografico degli Italiani 2.660–6.Google Scholar
Bacci, M., and Stoppelli, P.. (1979). “Cennini, Cennino.” In Dizionario biografico degli Italiani 23.565–9.Google Scholar
Bakhtin, Mikhail M. (1981). The Dialogic Imagination: Four Essays. Trans. Caryl Emerson and Michael Holquist. Austin, TX: University of Texas Press.Google Scholar
Barbieri, Costanza. (1999). “Sebastiano del Piombo and Michelangelo in Rome: Problems of Style and Meaning in the Viterbo Pietà.” PhD dissertation, Rutgers University.Google Scholar
Barbieri, Costanza. (2004). Notturno sublime: Sebastiano e Michelangelo nella Pietà di Viterbo. Rome: Viviani Editore.Google Scholar
Barbieri, Costanza. (2005). “The Competition between Raphael and Michelangelo and Sebastiano’s Role in It.” In The Cambridge Companion to Raphael, ed. Hall, Marcia B., 141–64. Cambridge: Cambridge University Press.Google Scholar
Barkan, Leonard. (1999). Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. New Haven, CT: Yale University Press.Google Scholar
Barkan, Leonard. (2011). Michelangelo: A Life on Paper. Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar
Barkan, Leonard. (2013). Mute Poetry, Speaking Pictures. Princeton, NJ: Princeton University Press.Google Scholar
Barocchi, Paola, ed. (1960–2). Trattati d’arte del Cinquecento, fra manierismo e Controriforma. 3 vols. Bari: Laterza. Accessible now online through Memofonte.Google Scholar
Barocchi, Paola, ed. (1971–7). Scritti d’arte del Cinquecento. 3 vols. Milan: Ricciardi.Google Scholar
Barocchi, Paola, ed. (1976). “Le postille di Del Migliore alle Vite vasariane.” In Il Vasari, storiografo e artista: Atti del Congresso internazionale nel iv centenario della morte, 439–47. Florence: Istituto Nazionale di Studi sul Rinascimento.Google Scholar
Barolsky, Paul. (1978). Infinite Jest: Wit and Humor in Italian Renaissance Art. Columbia, MI: University of Missouri Press.Google Scholar
Barolsky, Paul. (1990). Michelangelo’s Nose: A Myth and Its Maker. University Park, PA: Penn State University Press.Google Scholar
Barolsky, Paul. (1991). Why Mona Lisa Smiles and Other Tales by Vasari. University Park, PA: Penn State University Press.Google Scholar
Barolsky, Paul. (1992). Giotto’s Father and the Family of Vasari’s “Lives.” University Park, PA: Penn State University Press.Google Scholar
Barolsky, Paul. (1994). The Faun in the Garden: Michelangelo and the Poetic Origins of Italian Renaissance Art. University Park, PA: Penn State University Press.Google Scholar
Barolsky, Paul. (1999). “Vasari and the Historical Imagination.” Word & Image 15: 286–91.CrossRefGoogle Scholar
Barolsky, Paul. (2005). “Fear of Fiction: The Fun of Reading Vasari.” In Reading Vasari, ed. Barriault, et al., 31–5. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
Barolsky, Paul. (2010). A Brief History of the Artist from God to Picasso. University Park, PA: Penn State University Press.Google Scholar
Barolsky, Paul. (2014). “Vasari’s Literary Artifice and the Triumph of Michelangelo’s David.” In The Ashgate Research Companion to Giorgio Vasari, ed. Cast, , 121–8. Farnham, Surrey: Ashgate.Google Scholar
Barriault, Anne B. (2005). “Piero di Cosimo the Egg-Eating Elegist.” In Reading Vasari, ed. Barriault, et al., 191–201. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
Barriault, Anne B., Ladis, Andrew, Land, Norman E., and Wood, Jeryldene M., eds. (2005). Reading Vasari. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
Bartoli, Lorenzo. (1997). “Rewriting History: Vasari’s Life of Lorenzo Ghiberti.” Word & Image 13: 245–52.Google Scholar
Karen-edis, Barzman. (1989). “The Florentine Accademia del Disegno: Liberal Education and the Renaissance Artist.” In Academies of Art between Renaissance and Romanticism, Leids. Kunsthistorish Jaarbook 52: 14–32.Google Scholar
Karen-edis, Barzman. (1991). “Perception, Knowledge, and the Theory of Disegno in Sixteenth-Century Florence.” In From Studio to Studiolo: Florentine Draftsmanship under the First Medici Grand Dukes, ed. Feinberg, Larry J., 37–48. Seattle, WA: University of Washington Press.Google Scholar
Karen-edis, Barzman. (2000). The Florentine Academy and the Early Modern State: The Discipline of Disegno. Cambridge: Cambridge University Press.Google Scholar
Karen-edis, Barzman. (2001). “The Accademia del Disegno and Fellowships of Discourse at the Court of Cosimo I de’ Medici.” In The Cultural Politics of Duke Cosimo I de’ Medici, ed. Eisenbichler, Konrad, 177–88. Aldershot, UK: Ashgate.Google Scholar
Bavaj, Riccardo. (2010). “Intellectual History.” Zentrum für Zeithistorische Forschung Potsdam e.V. Docupedia-Zeitgeschichte, September 13, 2010. http://docupedia.de/zg/Intellectual_History.Google Scholar
Baxandall, Michael. (1965). “Guarino, Pisanello and Manuel Chrysoloras.” Journal of the Warburg and Courtauld Institutes 28: 183–204.CrossRefGoogle Scholar
Baxandall, Michael. (1972). Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition. Oxford: Clarendon Press.Google Scholar
Baxandall, Michael. (1985). Patterns of Intention: On the Historical Explanation of Pictures. New Haven, CT: Yale University Press.Google Scholar
Baxandall, Michael. (1988). Painting and Experience in Fifteenth-Century Italy. 2nd ed. Oxford: Oxford University Press.Google Scholar
Bec, Christian. (1983). “Lo statuto socio-professionale degli scrittori (Trecento e Cinquecento).” In Letteratura italiana: Produzione e consumo, ed. Rosa, Alberto Asor, 2.229–67. Turin: Einaudi.Google Scholar
Becchi, Egle, and Ferrari, Monica, eds. (2009a). Formare alle professioni: Sacerdoti, principi, educatori. Milan: FrancoAngeli.Google Scholar
Becchi, Egle, and Ferrari, Monica, eds. (2009b). “Professioni, professionisti, professionalizzare: Storie di formazione.” In Formare alle professioni: Sacerdoti, principi, educatori, ed. Becchi, E. and Ferrari, M., 7–27. Milan: FrancoAngeli.Google Scholar
Bell, Janis. (1997). “Color and Chiaroscuro.” In Raphael’s “School of Athens,” ed. Hall, Marcia B, 85–113. Cambridge: Cambridge University Press.Google Scholar
Bellori, Giovanni Pietro. (1751). Descrizione delle quattro immagini dipinte da Raffaelle d’Urbino nel Palazzo Vaticano, 29–47. Rome: Eredi del q. Gio. Lorenzo Barbiellini.Google Scholar
Bellori, Giovanni Pietro. (1997). “The Image of the Ancient Gymnasium of Athens, or, Philosophy.” Trans. Alice Sedgwick Wohl. In Raphael’s “School of Athens,” ed. Hall, Marcia B., 48–56. Cambridge: Cambridge University Press.Google Scholar
Bertini, Aldo. (1961). “La ‘Trasfigurazione’ e l’ultima evoluzione della pittura di Raffaello.” Critica d’Arte 8: 1–19.Google Scholar
Bettarini, Rosanna. (1976). “Vasari scrittore: Come la Torrentiniana diventò Giuntina.” In Il Vasari, storiografo e artista: Atti del Congresso internazionale nel iv centenario della morte, 485–500. Florence: Istituto Nazionale di Studi sul Rinascimento.Google Scholar
Billi, Antonio. (1969). Il Libro di Antonio Billi; Il Codice dell’anonimo gaddiano. Farnborough: Gregg.Google Scholar
Biow, Douglas. (2002). Doctors, Ambassadors, Secretaries: Humanism and Professions in Renaissance Italy. Chicago, IL: University of Chicago Press.Google Scholar
Biow, Douglas. (2006). The Culture of Cleanliness in Renaissance Italy. Ithaca, NY: Cornell University Press.Google Scholar
Biow, Douglas. (2010). In Your Face: Professional Improprieties and the Art of Being Conspicuous in Sixteenth-Century Italy. Stanford, CA: Stanford University Press.Google Scholar
Biow, Douglas. (2015). The Importance of Being an Individual in Renaissance Italy: Men, Their Professions, and Their Beards. Philadelphia, PA: University of Pennsylvania Press.Google Scholar
Biringuccio, Vannoccio. (1540). De la pirotechnia. Libri. x. dove ampiamente si tratta non solo di ogni sorte e diversita di miniere, ma anchora quanto si ricerca intorno a la prattica di quelle cose di quel che si appartiene a l’arte de la fusione over gitto de metalli come d’ogni altra cosa simile a questa. Venice: Rossinello.Google Scholar
Biringuccio, Vannoccio. (1959). The Pirotechnia. Trans. Cyril Stanley Smith and Martha Teach Gnudi. New York, NY: Basic Books.Google Scholar
Black, Robert. (1991). “Italian Renaissance Education: Changing Perspectives and Continuing Controversies.” Journal of the History of Ideas 52: 315–34.Google Scholar
Black, Robert. (2001). Humanism and Education in Medieval and Renaissance Italy: Tradition and Innovation in Latin Schools. Cambridge: Cambridge University Press.Google Scholar
Blum, Gerd. (2013). “Vasari on the Jews: Christian Canon, Conversion, and the Moses of Michelangelo.” Art Bulletin 95: 557–77.Google Scholar
Boase, Thomas S. R. (1979). Giorgio Vasari: The Man and the Book. Princeton, NJ: Princeton University Press.Google Scholar
Bolland, Andrea. (1996). “Art and Humanism in Early Renaissance Padua: Cennini, Vergerio and Petrarch on Imitation.” Renaissance Quarterly 49: 469–87.Google Scholar
Bolland, Andrea. (2006). “From the Workshop to the Academy: The Emergence of the Artist in Renaissance Florence.” In Renaissance Florence: A Social History, ed. Crum, Roger J. and Paoletti, John T., 454–78. Cambridge: Cambridge University Press.Google Scholar
Bongi, Salvatore. (1890–5). Annali di Gabriel Giolito de’ Ferrari da Trino Monferrato, stampatore in Venezia. 2 vols. Rome: Presso i Principali Librai.Google Scholar
Bottari, Giovanni Gaetano, and Ticozzi, Stefano, eds. (1822–5). Raccolta di lettere sulla pittura, scultura ed architettura. Milan: G. Silvestri.Google Scholar
Bradbury, Jonathan David. (2009). “Anton Francesco Doni and His Librarie: Bibliographical Friend or Fiend?” Forum for Modern Language Studies 45: 90–107.CrossRefGoogle Scholar
Bragantini, Renzo. (1996). “Poligrafi e umanisti volgari.” In Storia della letteratura italiana, ed. Malato, Enrico, Vol. 4, Il primo Cinquecento, 681–754. Rome: Salerno Editrice.Google Scholar
Brann, Noel L. (2002). The Debate over the Origin of Genius during the Italian Renaissance: The Theories of Supernatural Frenzy and Natural Melancholy in Accord and in Conflict on the Threshold of the Scientific. Leiden: Brill.Google Scholar
Britton, Piers. (2003). “‘Mio malinchonico, o vero … mio pazzo’: Michelangelo, Vasari, and the Problem of Artists’ Melancholy in Sixteenth-Century Italy.” Sixteenth Century Journal 34: 653–75.CrossRefGoogle Scholar
Britton, Piers. (2008). “Raphael and the Bad Humours of Painters in Vasari’s Lives of the Artists.” Renaissance Studies 22: 174–96.Google Scholar
Brizio, Anna Maria. (1952). “La prima e la seconda edizione delle Vite.” In Atti del Convegno internazionale per il iv centenario della prima edizione delle “Vite” del Vasari: Studi Vasariani, 83–90. Florence: Sansoni.Google Scholar
Brown, David Alan. (1986). “Leonardo and Raphael’s Transfiguration.” In Raffaello a Roma, ed. Frommel, Christoph Luitpold and Winner, Matthias, 237–43. Rome: Edizioni dell’Elefante.Google Scholar
Brown, David Alan. (1992). “Raphael, Leonardo, and Perugino: Fame and Fortune in Florence.” In Leonardo, Michelangelo, and Raphael in Renaissance Florence from 1500 to 1508, ed. Hager, Serafina, 29–53. Washington, D.C.: Georgetown University Press.Google Scholar
Bryce, Judith. (1983). Cosimo Bartoli (1503–1572): The Career of a Florentine Polymath. Geneva: Droz.Google Scholar
Bullough, Vern L. (1966). The Development of Medicine as a Profession: The Contribution of the Medieval University to Modern Medicine. New York, NY and Basel: Karger.Google Scholar
Buonarroti, Michelangelo. (1991). The Poetry of Michelangelo: An Annotated Translation. Trans. and ed. James M. Saslow. New Haven, CT: Yale University Press.Google Scholar
Bourdieu, Pierre. (1984). Distinction: A Social Critique of the Judgment of Taste. Trans. Richard Nice. Cambridge, MA: Harvard University Press.Google Scholar
Burioni, Matteo. (2010). “Vasari’s Rinascita: History, Anthropology or Art Criticism?” In Renaissance? Perceptions of Continuity and Discontinuity in Europe, c. 1300–c. 1550, ed. Lee, A., Péporté, P., and Schnitker, H., 115–28. Leiden: Brill.Google Scholar
Bushnell, Rebecca. (1996). A Culture of Teaching: Early Modern Humanism in Theory and Practice. Ithaca, NY: Cornell University Press.Google Scholar
Cadogan, Jeanne K. (1993). “Michelangelo in the Workshop of Domenico Ghirlandaio.” Burlington Magazine 135: 30–1.Google Scholar
Cadogan, Jeanne K. (2000). Domenico Ghirlandaio: Artist and Artisan. New Haven, CT: Yale University Press.Google Scholar
Calcaterra, Carlo. (1942). “L’incoronazione.” In Nella selva del Petrarca, 109–18. Bologna: Cappelli.Google Scholar
Calvesi, Maurizio. (1984). “Raffaello: La Trasfigurazione.” In Oltre Raffaello, ed. Cassanelli, Luciano and Rossi, Sergio, 33–41. Rome: Multigrafica.Google Scholar
Calvino, Italo. (1988). Six Memos for the Next Millennium. Cambridge, MA: Harvard University Press.Google Scholar
Campbell, Stephen J. (2004). “Introduction.” In Artists at Court: Image-Making and Identity, 1300–1500, ed. Campbell, S., 9–18. Boston, MA: Isabella Stewart Gardner Museum.Google Scholar
Campbell, Stephen J. (2008). “Vasari’s Renaissance and Its Renaissance Alternatives.” In The Art Seminar: Renaissance Theory, ed. Elkins, James and Williams, Robert, 47–68. New York, NY: Routledge.Google Scholar
Campbell, Stephen J. (2014). “Artistic Geographies.” In The Cambridge Companion to the Italian Renaissance, ed. Wyatt, Michael, 17–39. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Campbell, Stephen J., and Cole, Michael W.. (2011). Italian Renaissance Art. New York, NY: Thames & Hudson Inc.Google Scholar
Caro, Annibale. (1957–61). Lettere familiari. 3 vols. Ed. Greco, Aulo. Florence: Le Monnier.Google Scholar
Carrara, Eliana. (2011). “Fonti vasariane tra la Torrentiniana e la Giuntina.” Atti e Memorie della Accademia Petrarca di Lettere, Arti e Scienze 72–3: 135–61.Google Scholar
Carrara, Eliana. (2015). “Reconsidering the Authorship of the Lives: Some Observations and Methodological Questions on Vasari as a Writer.” Studi di Memofonte 15: 53–90.Google Scholar
Cast, David. (2009). The Delight of Art: Giorgio Vasari and the Traditions of Humanist Discourse. University Park, PA: Penn State University Press.Google Scholar
Cast, David. ed. and intro. (2014). The Ashgate Research Companion to Giorgio Vasari. Farnham, Surrey: Ashgate.Google Scholar
Castiglione, Baldassar. (1769). Lettere del Conte Baldessar Castiglione. Ed. Serassi, P.. Padua: Comino.Google Scholar
Castiglione, Baldassar. (1929). Il cortegiano. Ed. Cian, Vittorio. 3rd ed. Florence: Sansoni.Google Scholar
Castiglione, Baldassar. (1959). The Book of the Courtier. Trans. Charles S. Singleton. Garden City, NY: Doubleday.Google Scholar
Cellini, Benvenuto. (1568). Due trattati uno intorno alle otto principali arti dell’oreficeria. L’altro in materia dell’arte della scultura; dove si veggono infiniti segreti nel lavorar le figure di marmo, e nel gettarle di bronzo. Florence: Per Valente Panizzij, & Marco Peri.Google Scholar
Cellini, Benvenuto. (1960). Opere di Baldassare Castiglione, Giovanni della Casa, Benvenuto Cellini. Ed. Cordié, Carlo. Milan: Ricciardi.Google Scholar
Cennini, Cennino. (1933). The Craftsman’s Handbook: The Italian “Il libro dell’arte.” Trans. Daniel V. Thompson, Jr. New York, NY: Dover.Google Scholar
Cennini, Cennino. (1971). Il libro dell’arte. Ed. Brunello, Franco. Intro. Licisco Magagnato. Vicenza: Neri Pozza.Google Scholar
Cerasuolo, Angela. (2014). Diligenza e prestezza: La tecnica nella pittura e nella letteratura artistica del Cinquecento. Florence: Edifir.Google Scholar
Chapman, Stanley. (1975). “Towards a Theory of Narrative.” New Literary History 6: 295–318.Google Scholar
Chastel, André. (1952). “Vasari et la légende médicéenne: L’École du Jardin de San Marc’.” In Atti del convegno internazionale del iv centenario della prima edizione delle “Vite” del Vasari: Studi Vasariani, 159–67. Florence: Sansoni.Google Scholar
Chastel, André. (1961). Art et humanisme à Florence au temps de Laurent le Magnifique: Études sur la Renaissance et l’humanisme platonicien, 476–80. Paris: Presses Universitaires de France.Google Scholar
Cheney, Liana de Girolami. (2006). The Homes of Giorgio Vasari. New York, NY: Peter Lang.Google Scholar
Cheney, Liana de Girolami. (2014). “Giorgio Vasari: Artist, Designer, Collector.” In The Ashgate Research Companion to Giorgio Vasari, ed. Cast, , 41–76. Farnham, Surrey: Ashgate.Google Scholar
Cinzio, Giambattista Giraldi. (1968). Giraldi Cinthio on Romances: Being a Translation of the “Discorso intorno al comporre dei romanzi.” Trans. Henry L. Snuggs. Lexington, KY: University of Kentucky Press.Google Scholar
Cipolla, Carlo. (1973). “The Professions: The Long View.” Journal of European Economic History 2: 37–51.Google Scholar
Cipolla, Carlo. (1976). Public Health and the Medical Profession in the Renaissance. Cambridge: Cambridge University Press.Google Scholar
Clements, Robert J. (1954). “Michelangelo on Effort and Rapidity in Art.” Journal of the Warburg and Courtauld Institutes 17: 301–10.CrossRefGoogle Scholar
Cochrane, Eric. (1981). Historians and Historiography in the Italian Renaissance. Chicago, IL: Chicago University Press.Google Scholar
Cohen, Simona. (2014). Transformations of Time and Temporality in Medieval and Renaissance Art. Boston, MA: Brill.CrossRefGoogle Scholar
Comanducci, Rita. (1999). “‘Buono artista della sua arte’: Il concetto di ‘artista’ e la pratica di lavoro nella bottega quattrocentesca.” In Arti Fiorentine: La grande storia dell’artigianato. Vol. 2, Il Quattrocento, ed. Franceschi, F. and Fossi, G., 149–55. Florence: Giunti.Google Scholar
Comanducci, Rita. (2000). “Fattori e garzoni al lavoro nelle botteghe d’arte.” In Arti fiorentine: La grande storia dell’artigianato. Vol. 3, Il Cinquecento, ed. Franceschi, F. and Fossi, G., 41–55. Florence: Giunti.Google Scholar
Comanducci, Rita. (2014). “Vasari’s Painters and the Lute.” In Renaissance Then and Now: Danza, musica e teatro per un nuovo Rinascimento, Atti del convegno internazionale di studi ISI Florence, Palazzo Rucellai, 7–9 maggio 2013, ed. Baldassarri, Stefano U., 65–80. Pisa: Edizioni ETS.Google Scholar
Condivi, Ascanio. (1976). The Life of Michelangelo. Ed. Wohl, Hellmut. Trans. Alice Sedgwick Wohl. Baton Rouge, LA: Louisiana State University Press.Google Scholar
Condivi, Ascanio. (1998). Vita di Michelagnolo Buonarroti. Ed. Nencioni, Giovanni, with essays by Michael Hirst and Caroline Elam. Florence: Studio per Edizioni Scelte.Google Scholar
Cox, Virginia. (1992). The Renaissance Dialogue: Literary Dialogue in Its Social and Political Contexts, Castiglione to Galileo. Cambridge: Cambridge University Press.Google Scholar
Cox-Rearick, Janet. (1984). Dynasty and Destiny in Medici Art: Pontormo, Leo X, and the Two Cosimos. Princeton, NJ: Princeton University Press.Google Scholar
Cranston, Jodi. (2003). “Tropes of Revelation in Raphael’s Transfiguration.” Renaissance Quarterly 56: 1–25.Google Scholar
Curtius, Ernst Robert. (1990). European Literature and the Latin Middle Ages. Trans. Willard R. Trask. Princeton, NJ: Princeton University Press.Google Scholar
Alighieri, Dante. (1970–5). The Divine Comedy. Ed. and Trans. Singleton, Charles S.. 6 vols. Princeton, NJ: Princeton University Press.Google Scholar
Davis, Natalie Zemon. (2000). The Gift in Sixteenth-Century France. Madison, WI: University of Wisconsin Press.Google Scholar
De Gaetano, Armand L. (1967). “G. B. Gelli and the Questione della Lingua.” Italica 44: 263–81.Google Scholar
De Gaetano, Armand L. (1976). Giambattista Gelli and the Florentine Academy: The Rebellion against Latin. Florence: Olschki.Google Scholar
d’Elia, Una Roman. (2004). “Tintoretto, Aretino, and the Speed of Creation.” Word & Image 20: 206–18.Google Scholar
Demos, Melissa N. (2015). “Time and the Experience of Narrative in Italian Renaissance Art.” PhD dissertation, University of Texas at Austin.Google Scholar
Dempsey, Charles. (1980). “Some Observations on the Education of Artists in Florence and Bologna during the Later Sixteenth Century.” Art Bulletin 62: 552–69.Google Scholar
Dempsey, Charles. (1986). “The Carracci Postille to Vasari’s Lives.” Art Bulletin 68: 72–6.Google Scholar
Dolce, Lodovico. See Roskill.Google Scholar
Doni, Antonfranceso. (1972). La libraria. Edited with an Introduction by Bramanti, Vanni. Milan: Longanesi & C.Google Scholar
Eamon, William. (2010). The Professor of Secrets: Mystery, Medicine, and Alchemy in Renaissance Italy. Washington, D.C.: National Geographic Society.Google Scholar
Edgerton, Samuel Y. (1975). The Renaissance Rediscovery of Linear Perspective. New York, NY: Basic Books.Google Scholar
Edgerton, Samuel Y. (2009). The Mirror, the Window, and the Telescope: How Renaissance Linear Perspective Changed Our Vision of the Universe. Ithaca, NY: Cornell University Press.Google Scholar
Ekirch, A. Roger. (2001). “Sleep We Have Lost: Pre-Industrial Slumber in the British Isles.” American Historical Review 106: 343–86.CrossRefGoogle ScholarPubMed
Ekirch, A. Roger. (2005). At Day’s Close: Night in Times Past. New York, NY: W. W. Norton.Google Scholar
Elam, Caroline. (1992). “Lorenzo de’ Medici’s Sculpture Garden.” Mitteilungen des Kunsthistorischen Institutes in Florenz 36: 41–83.Google Scholar
Elam, Caroline. (1998). “‘Ché ultima mano!’: Tiberio Calcagni’s Marginal Annotations to Condivi’s Life of Michelangelo.” Renaissance Quarterly 51: 475–97.CrossRefGoogle Scholar
Emison, Patricia A. (2004). Creating the “Divine” Artist from Dante to Michelangelo. Leiden: Brill.Google Scholar
Fanti, Mario. (1979). “Le postille carraccesche alle ‘Vite’ del Vasari: Il testo originale; spigolature d’archivio per la storia dell’arte a Bologna (ii).” Il Carrobbio 5:148–64.Google Scholar
Farago, Claire J. (1992). Leonardo da Vinci’s Paragone: A Critical Interpretation with a New Edition of the Text in Codex. Leiden: Brill.Google Scholar
Fedele, Clemente. (2012). “Quale posta nel xvi secolo? What Postal Service Existed in the Sixteenth Century?” I Tasso e le poste d’Europa. Atti del 1° Convegno internazionale. Cornello dei Tasso, ed. Bottani, Tarcisio, 65–80. Bergamo: Museo dei Tasso e della Storia Postale.Google Scholar
Fenlon, Iain. (2007). The Ceremonial City: History, Memory and Myth in Renaissance Venice. New Haven, CT: Yale University Press.Google Scholar
Ferraresi, Alessandra, and Visioli, Monica, eds. (2012). Formare alle professioni: Architetti, ingegneri, artisti (secoli xv–xix). Milan: FrancoAngeli.Google Scholar
Ferrari, Monica, and Ledda, Filippo, eds. (2011). Formare alle professioni: La cultura militare tra passato e presente. Milan: FrancoAngeli.Google Scholar
Ferrari, Monica, and Mazzarello, Paolo, eds. (2010). Formare alle professioni: Figure di sanità. Milan: FrancoAngeli.Google Scholar
Bareggi, Filippo, di, Claudia. (1988). Il mestiere di scrivere: Lavoro intellettuale e mercato librario a Venezia nel Cinquecento. Rome: Bulzoni.Google Scholar
Findlen, Paula. (1994). Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy. Berkeley, CA: University of California Press.Google Scholar
Findlen, Paula. (1998). “Possessing the Past: The Material World of the Italian Renaissance.” American Historical Review 103: 83–114.Google Scholar
Fiorato, Adelin Charles, ed. (1989). Culture et professions en Italie (fin xve–début xviie siècles). Paris: Publications de la Sorbonne.Google Scholar
Fragnito, Gigliola. (1998). “Buone maniere e professionalità nelle Corti Romane del Cinque e Seicento.” In Educare il corpo, educare la parola nella trattatisica del Rinascimento, ed. Patrizi, Giorgio and Quondam, Amedeo, 77–109. Rome: Bulzoni.Google Scholar
Franceschi, Franco. (1999). “La bottega come spazio di sociabilità.” In Arti fiorentine: La grande storia dell’artigianato. Vol. 2, Il Quattrocento, ed. Franceschi, F. and Fossi, G., 65–83. Florence: Giunti.Google Scholar
Frangenberg, Thomas. (2002). “Bartoli, Giambullari, and the Prefaces to Vasari’s Lives (1550).” Journal of the Warburg and Courtauld Institutes 65: 244–58.Google Scholar
Freedberg, Sydney J. (1993). Painting in Italy: 1500–1600. 3rd ed. New Haven, CT: Yale University Press.Google Scholar
Freiberg, Jack. (2005). “Vasari’s Bramante and the Renaissance of Architecture in Rome.” In Reading Vasari, ed. Barriault, et al., 132–46. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
Frey, Karl, ed. (1923). Il carteggio di Giorgio Vasari. Munich: G. Müller. Accessible online at: www.memofonte.it/autori/carteggio-vasariano-1532-1574.html.Google Scholar
Frey, Karl, ed. (1930). Der literarische Nachlass Giorgio Vasaris. 3 vols. Munich: G. Müller. Accessible online at: www.memofonte.it/autori/carteggio-vasariano-1532-1574.html.Google Scholar
Gahtan, Maia Wellington. (2011). “Epitaphs in Giorgio Vasari’s Lives.” Journal of Art Historiography 5: 1–24.Google Scholar
Gahtan, Maia Wellington. ed. (2014). Giorgio Vasari and the Birth of the Museum. Burlington, VT: Ashgate.Google Scholar
Gahtan, Maia Wellington. ed. (2014). “Giorgio Vasari, Collector of Epitaphs.” In Giorgio Vasari and the Birth of the Museum, 52–63. Burlington, VT: Ashgate.Google Scholar
Gardner, Victoria C. (1997). “Homines non nascuntur, sed figuntur: Benvenuto Cellini’s Vita and Self-Presentation of the Renaissance Artist.” Sixteenth Century Journal 28: 447–65.CrossRefGoogle Scholar
Garin, Eugenio. (1965). Italian Humanism: Philosophy and Civic Life in the Renaissance. Trans. Peter Munz. New York, NY: Harper & Row.Google Scholar
Garin, Eugenio. (1974). “Giorgio Vasari e il tema della rinascita.” In Il Vasari storiografo e artista: Atti del Congresso internazionale nel iv centenario della morte, 259–66. Florence: Istituto Nazionale di Studi sul Rinascimento.Google Scholar
Garzoni, Tomaso. (1996). La piazza universale di tutte le professioni del mondo. Ed. Cherchi, Paolo and Collina, Beatrice. 2 vols. Turin: Einaudi.Google Scholar
Gensini, Stefano. (1980). “‘Poeta et historicus’: L’episodio della laurea nella carriera e nella prospettiva culturale di Francesco Petrarca.” La cultura 18: 166–94.Google Scholar
Giambullari, Pierfrancesco. (1549). Origine della lingua fiorentina, altrimenti Il Gello. Florence: Lorenzo Torrentino.Google Scholar
Giambullari, Pierfrancesco. (1551). Della lingua che si parla e scrive in Firenze. Et uno dialogo di Giovan Batista Gelli sopra la difficultà dello ordinare detta lingua. Florence: Lorenzo Torrentino.Google Scholar
Gilbert, Felix. (1965). Machiavelli and Guicciardini: Politics and History in Sixteenth-Century Florence. Princeton, NJ: Princeton University Press.Google Scholar
Gilmore, Myron P. (1979). “Studia Humanitatis and the Professions in Fifteenth-Century Florence.” In Florence and Venice: Comparisons and Relations. Vol. I, ed. Bertelli, S., Rubinstein, N., and Smyth, C. H., 27–40. Florence: La Nuova Italia.Google Scholar
Ginzburg, Carlo. (1980). The Cheese and the Worms: The Cosmos of a Sixteenth-Century Miller. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Ginzburg, Silvia. (2007). “Filologia e storia dell’arte: Il ruolo di Vincenzio Borghini nella genesi della Torrentiniana.” In Testi, immagini e filologia nel xvi secolo, ed. Carrara, Eliana and Ginzburg, Silvia, 147–203. Pisa: Edizioni della Normale.Google Scholar
Giordani, Simone. (2011). “Pittore della cerchia vasariana: Ritratto di Giorgio Vasari, post 1571.” In Vasari, gli Uffizi e il Duca, ed. Conforti, Claudia, exhibition catalog, Uffizi, 104. Florence: Giunti.Google Scholar
Giovio, Paolo. (1971). “Raphaelis Urbinatis vita.” In Scritti d’arte del Cinquecento. 3 vols, 1.13–18. Milan: Ricciardi.Google Scholar
Giovio, Paolo. (1999). Scritti d’arte: Lessico ed ecfrasi, ed. Maffei, Sonia. Pisa: Scuola Normale Superiore.Google Scholar
Godi, Carlo. (1970). “La ‘Collatio laureationis’ del Petrarca.” Italia medioevale e umanistica 13: 13–27.Google Scholar
Goffen, Rona. (2002). Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. New Haven, CT: Yale University Press.Google Scholar
Goldberg, Edward L. (1988). After Vasari: History, Art, and Patronage in Late Medici Florence. Princeton, NJ: Princeton University Press.Google Scholar
Goldstein, Carl. (1975). “Vasari and the Florentine Accademia del Disegno.” Zeitschrift für Kunstgeschichte 38: 145–52.CrossRefGoogle Scholar
Goldstein, Carl. (1991). “Rhetoric and Art History in the Italian Renaissance and Baroque.” Art Bulletin 73: 641–52.Google Scholar
Goldstein, Carl. (1996). Teaching Art: Academies and Schools from Vasari to Albers. Cambridge: Cambridge University Press.Google Scholar
Goldthwaite, Richard A. (1993). Wealth and the Demand for Art in Italy, 1300–1600. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Gombrich, Ernst H. (1960). “Vasari’s Lives and Cicero’s Brutus.” Journal of the Warburg and Courtauld Institutes 23: 309–11.Google Scholar
Gombrich, Ernst H. (1966a). “Leonardo’s Method for Working out Compositions.” In Norm and Form: Studies in the Art of the Renaissance, 58–63. London: Phaidon.Google Scholar
Gombrich, Ernst H. (1966b). “The Renaissance Conception of Artistic Progress and Its Consequences.” In Norm and Form: Studies in the Art of the Renaissance, 1–10. London: Phaidon.Google Scholar
Goodchild, Karen Hope. (2014). “Bizarre Painters and Bohemian Poets: Poetic Imitation and Artistic Rivalry in Vasari’s Biography of Piero di Cosimo.” In The Ashgate Research Companion to Giorgio Vasari, ed. Cast, , 129–44. Farnham, Surrey: Ashgate.Google Scholar
Gould, Cecil. (1967). The Raising of Lazarus by Sebastiano del Piombo. London: National Gallery.Google Scholar
Grafton, Anthony. (1999). “Historia and Istoria: Alberti’s Terminology in Context.” I Tatti Studies in the Italian Renaissance 8: 37–68.Google Scholar
Grafton, Anthony. (2006). “The History of Ideas: Precept and Practice, 1950–2000 and Beyond.” Journal of the History of Ideas 67: 1–32.Google Scholar
Grafton, Anthony, and Jardine, Lisa. (1986). From Humanism to the Humanities: Education and the Liberal Arts in Fifteenth- and Sixteenth-Century Europe. Cambridge, MA: Cambridge University Press.Google Scholar
Grassi, Luigi. (1957). “I concetti di schizzo, abbozzo, macchia, ‘non finite’ e la costruzione dell’opera d’arte.” In Studi in onore di Pietro Silva, 97–106. Florence: Le Monnier.Google Scholar
Greene, Roland. (2013). Five Words: Critical Semantics in the Age of Shakespeare and Cervantes. Chicago, IL: University of Chicago Press.Google Scholar
Greenstein, Jack M. (1992). Mantegna and Painting as Historical Narrative. Chicago, IL: University of Chicago Press.Google Scholar
Greenstein, Jack M. (2012). “Mantegna, Leonardo and the Times of Painting.” Word & Image 15: 217–42.Google Scholar
Gregory, Sharon. (2009). “The Unsympathetic Exemplar in Vasari’s Life of Pontormo.” Renaissance Studies 23: 1–32.Google Scholar
Grendler, Paul F. (1969). Critics of the Italian World, 1530–1560: Anton Francesco Doni, Nicolò Franco, and Ortensio Lando. Madison, WI: University of Wisconsin Press.Google Scholar
Grendler, Paul F. (1977). The Roman Inquisition and the Venetian Press, 1540–1605. Princeton, NJ: Princeton University Press.Google Scholar
Grendler, Paul F. (1989). Schooling in Renaissance Italy: Literacy and Learning, 1300–1600. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Hall, Marcia B. (1987). “From Modeling Techniques to Color Modes.” In Color and Technique in Renaissance Paintings, Italy and the North, ed. Hall, Marcia, 1–29. Locust Valley, NY: Augustin.Google Scholar
Hall, Marcia B. (1992). Color and Meaning: Practice and Theory in Renaissance Painting. Cambridge: Cambridge University Press.Google Scholar
Hall, Marcia B. (1997). “Introduction.” In Raphael’s “School of Athens,” ed. Hall, Marcia B., 1–47. Cambridge: Cambridge University Press.Google Scholar
Hall, Marcia B. (1999). After Raphael: Painting in Central Italy in the Sixteenth Century. Cambridge: Cambridge University Press.Google Scholar
Hall, Marcia B. ed. (2005). The Cambridge Companion to Raphael. Cambridge: Cambridge University Press.Google Scholar
Hampton, Timothy. (1990). Writing from History: The Rhetoric of Exemplarity in Renaissance Literature. Ithaca, NY: Cornell University Press.Google Scholar
Hampton, Timothy. (2009). Fictions of Embassy: Literature and Diplomacy in Early Modern Europe. Ithaca, NY: Cornell University Press.CrossRefGoogle Scholar
Härb, Florian. (2015). The Drawings of Giorgio Vasari (1511–1574). Rome: Ugo Bozzi, Edizioni per la Storia dell’Arte.Google Scholar
Hills, Paul. (1987). The Light of Early Italian Painting. New Haven, CT: Yale University Press.Google Scholar
Hirst, Michael. (1996). “Michelangelo and His First Biographers.” Proceedings of the British Academy 94: 63–84.Google Scholar
Hochman, Michel. (1998). “Les annotations marginales de Federico Zuccaro à un exemplaire des Vies de Vasari: La réaction anti-vasarienne à la fin du xvi siècle.” Revue de l’Art 80: 64–71.Google Scholar
Holanda, Francisco de. (2013). On Antique Painting. Translated by Alice Sedgwick Wohl, with introductory essays by Joaquim Oliveira Caetano and Charles Hope, and notes by Hellmut Wohl. University Park, PA: Penn State University Press.Google Scholar
Hollander, Robert. (1969). Allegory in Dante’s “Commedia.” Princeton, NJ: Princeton University Press.Google Scholar
Hope, Charles. (1995). “Can You Trust Vasari?” New York Review of Books 5 (Oct.): 10–13.Google Scholar
Hope, Charles. (2005). “Le ‘Vite’ Vasariane: Un esempio di autore multiplo.” In L’autore multiplo, ed. Santoni, Anna, 59–74. Pisa: Scuola Normale Superiore.Google Scholar
Hope, Charles. (2008). “The Audience for Publications of the Visual Arts in Renaissance Italy.” In Officine del nuovo; sodalizi fra letterati, artisti ed editori nella cultura Italiana fra Riforma e Controriforma, ed. Hendrix, Harald and Procaccioli, Paolo, 19–29. Rome: Vecchiarelli.Google Scholar
Hope, Charles. (2014). “Vasari’s Vite as a Collaborative Project.” In The Ashgate Research Companion to Giorgio Vasari, ed. Cast, , 11–22. Farnham, Surrey: Ashgate.Google Scholar
Howard, Deborah. (1992). “Elsheimer’s Flight into Egypt and the Night Sky in the Renaissance.” Zeitschrift für Kunstgeschichte 55: 212–24.CrossRefGoogle Scholar
Hughes, Anthony. (1986a). “‘An Academy for Doing’ i: The Accademia del Disegno, the Guilds and the Principate in Sixteenth-Century Florence.” Oxford Art Journal 9: 3–10.Google Scholar
Hughes, Anthony. (1986b). “‘An Academy for Doing’ ii: Academies, Status and Power in Early Modern Europe.” Oxford Art Journal 9: 50–62.CrossRefGoogle Scholar
Jack, Mary Ann. (1976). “The Accademia del Disegno in Late Renaissance Florence.” Sixteenth Century Journal 7: 3–20.Google Scholar
Jacobs, Fredrika H. (2005). “Vasari’s Bronzino: The Paradigmatic Academician.” In Reading Vasari, ed. Barriault, et al., 101–15. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
James, Sara Nair. (2005). “Vasari on Signorelli: The Origins of the ‘Grand Manner of Painting.’” In Reading Vasari, ed. Barriault, et al., 75–88. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
Jamison, Kay Redfield. (1996). Touched with Fire: Manic-Depressive Illness and the Artistic Temperament. New York, NY: Free Press.Google Scholar
Jay, Martin. (1998). Cultural Semantics: Keywords of Our Time. Amherst, MA: University of Massachusetts Press.Google Scholar
Joost-Gaugier, Christiane L. (2002). Raphael’s “Stanza della Segnatura”: Meaning and Invention. Cambridge: Cambridge University Press.Google Scholar
Kallendorf, Craig K., ed. and trans. (2002). Humanist Educational Treatises. Harvard, MA: Harvard University Press.Google Scholar
Kelley, Donald R. (2002). The Descent of Ideas: The History of Intellectual History. Burlington, VT: Ashgate.Google Scholar
Kemp, Martin. (1976). “‘Ogni dipintore dipinge se’: A Neoplatonic Echo in Leonardo’s Art Theory?” In Cultural Aspects of the Italian Renaissance: Essays in Honour of Paul Oskar Kristeller, ed. Clough, Cecil H., 311–23. Manchester: Manchester University Press.Google Scholar
Kemp, Martin. (1977). “From ‘Mimesis’ to ‘Fantasia’: The Quattrocento Vocabulary of Creation, Inspiration, and Genius in the Visual Arts.” Viator 8: 347–98.Google Scholar
Kemp, Martin. (1981). Leonardo da Vinci, the Marvelous Works of Nature and Man. Cambridge, MA: Harvard University Press.Google Scholar
Kemp, Martin. (1987). “‘Equal Excellences’: Lomazzo and the Explanation of the Individual Style in the Visual Arts.” Renaissance Studies 1: 1–26.Google Scholar
Kemp, Martin. (1989). “The ‘Super-Artist’ as Genius: The Sixteenth-Century View.” In Genius: The History of an Idea, ed. Murray, Penelope, 32–53. Oxford: Blackwell.Google Scholar
Kemp, Martin. (1990). The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven, CT: Yale University Press.Google Scholar
Kemp, Martin. (2006). Leonardo da Vinci: Experience, Experiment and Design. Princeton, NJ: Princeton University Press.Google Scholar
Kempers, Bram. (1987). Painting, Power, and Patronage: The Rise of the Professional Artist in Renaissance Italy. Trans. Beverley Jackson. London: Penguin.Google Scholar
Kennedy, William J. (2016). Petrarchism at Work: Contextual Economies in the Age of Shakespeare. Ithaca, NY: Cornell University Press.Google Scholar
Kirkham, Victoria. (1983–4). “Painters at Play on the Judgment Day (Dec. viii, 9).” Studi sul Boccaccio 14: 256–77.Google Scholar
Kiséry, András. (2016). Hamlet’s Moment: Drama and Political Knowledge in Early Modern England. Oxford: Oxford University Press.Google Scholar
Kleinbub, Christian R. (2011). Vision and the Visionary in Raphael. University Park, PA: Penn State University Press.Google Scholar
Klibansky, Raymond, Panofsky, Erwin, and Saxl, Fritz. (1964). Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art. New York, NY: Basic Books.Google Scholar
Koslofsky, Craig. (2011). Evening’s Empire: A History of Night in Early Modern Europe. Cambridge: Cambridge University Press.Google Scholar
Ladis, Andrew. (2008). Victims and Villains in Vasari’s Lives. Chapel Hill, NC: University of North Carolina Press.Google Scholar
Land, Norman E. (2005). “Vasari’s Buffalmacco and the Transubstantiation of Paint.” Renaissance Quarterly 58: 881–95.Google Scholar
Lanzi, Luigi. (1809). Storia pittorica della Italia dal risorgimento delle belle arti fin presso al fine del xviii secolo. Vol. 1. Pisa: N. Capurro.Google Scholar
Larson, Magali Sarfatti. (1977). The Rise of Professionalism: A Sociological Analysis. Berkeley, CA: University of California Press.Google Scholar
Lavin, Marilyn Aronberg. (1990). The Place of Narrative: Mural Decoration in Italian Churches, 431–1600. Chicago, IL: University of Chicago Press.Google Scholar
Le Goff, Jacques. (1980). Time, Work, and Culture in the Middle Ages. Trans. Arthur Goldhammer. Chicago, IL: University of Chicago Press.Google Scholar
Le Mollé, Roland. (1985). “Le invention sémantique chez Vasari.” Revue des études italiennes 31: 36–57.Google Scholar
Le Mollé, Roland. (1988). Georges Vasari et le vocabulaire de la critique d’art dans les “Vite.” Grenoble: Ellug.Google Scholar
Lee, Rensselaer W. (1940). “Ut Pictura Poesis: The Humanist Theory of Painting.” Art Bulletin 22: 197–269.Google Scholar
Lenzoni, Carlo. (1556). In difesa della lingua fiorentina, et di Dante. Con le regole da far bella et numerosa la prosa. Florence: Lorenzo Torrentino.Google Scholar
Vinci, Leonardo da. (1956). Treatise on Painting [Codex Urbinas Latinus 1270]. 2 vols. (vol. 1 Translation, vol. 2 Facsimile). Translated and annotated by A. Philip McMahon. Princeton, NJ: Princeton University Press.Google Scholar
Vinci, Leonardo da. (1970). The Notebooks of Leonardo da Vinci, Compiled and Edited from the Original Manuscripts. 2 vols. Ed. Richter, Jean Paul. New York, NY: Dover Publications.Google Scholar
Vinci, Leonardo da. (1996). Scritti scelti. Ed. Brizio, Anna Maria. Turin: Unione Tipografico Editrice Torinese.Google Scholar
Liebert, Robert S. (1984). “Raphael, Michelangelo, Sebastiano: High Renaissance Rivalry.” Source: Notes in the History of Art 3: 60–8.Google Scholar
Lincoln, Evelyn. (2000). The Invention of the Renaissance Printmaker. New Haven, CT: Yale University Press.Google Scholar
Lomazzo, Giovanni Paolo. (1974). Scritti sulle arti. 2 vols. Ed. Ciardi, Roberto Paolo. Florence: Marchi & Bertolli.Google Scholar
Long, Pamela O. (2001). Openness, Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Long, Pamela O. (2011). Artisan/Practitioners and the Rise of the New Sciences, 1400–1600. Corvallis, OR: Oregon State University Press.CrossRefGoogle Scholar
Looney, Dennis. (2009). “The Beginnings of Humanistic Oratory: Petrarch’s Coronation Oration.” In Petrarch: A Critical Guide to the Complete Works, ed. Kirkham, Victoria and Maggi, Armando, 131–40. Chicago, IL: University of Chicago Press.Google Scholar
Lowry, Martin. (1979). The World of Aldus Manutius: Business and Scholarship in Renaissance Venice. Ithaca, NY: Cornell University Press.Google Scholar
Lubac, Henri de. (1998–2000). Medieval Exegesis: The Four Senses of the Scripture. Trans. Mark Sebanc. Grand Rapids, MI: W. B. Eerdmans; Edinburgh: T&T Clark.Google Scholar
Lubbock, Jules. (2006). Storytelling in Christian Art from Giotto to Donatello. New Haven, CT: Yale University Press.Google Scholar
Mac Carthy, Ita. (2009). “Grace and the Reach of Art in Castiglione and Raphael.” Word & Image 25: 33–45.Google Scholar
Mac Carthy, Ita. (2013b). “Grace.” In Renaissance Keywords, ed. Carthy, Ita Mac, 63–80. London: Legenda.Google Scholar
Mac Carthy, Ita. (2014). “Ariosto’s Grace: The View from Lodovico Dolce.” Modern Language Notes 129: SS 45–59.Google Scholar
Maginnis, Hayden B. J. (1993). “Giotto’s World through Vasari’s Eyes.” Zeitschrift für Kunstgeschichte 56: 385–408.CrossRefGoogle Scholar
Maginnis, Hayden B. J. (2004). “In Search of an Artist.” In The Cambridge Companion to Giotto, ed. Derbes, Anne and Sandona, Mark, 10–31. Cambridge: Cambridge University Press.Google Scholar
Malatesta, Maria. (1995). “Introduction: The Italian Professions from a Comparative Perspective.” In Society and the Professions in Italy, 1860–1914, ed. Malatesta, M., trans. Adrian Belton, 1–23. Cambridge: Cambridge University Press.Google Scholar
Malatesta, Maria. ed. (1996). I professionisti. Annali 10 of Storia d’Italia. Turin: Einaudi.Google Scholar
Mammana, Simona. (2005). “Lenzoni, Carlo.” Dizionario biografico degli italiani 64: 395–97.Google Scholar
Marrou, Henri Irénée. (1938). Saint Augustin et la fin de la culture antique. Paris: E. de Boccard.Google Scholar
Marrou, Henri Irénée. (1956). A History of Education in Antiquity. Trans. George Lamb. New York, NY: The New American Library.Google Scholar
Marsh, David. (1980). The Quattrocento Dialogue: Classical Tradition and Humanist Innovation. Cambridge, MA: Harvard University Press.Google Scholar
Marsili-Libelli, Cecilia Ricottini. (1960). Anton Francesco Doni scrittore e stampatore. Florence: Sansoni Antiquariato.Google Scholar
Masi, Giorgio. (1988). “‘Quelle discordanze sì perfette’: Anton Francesco Doni 1551–1553.” Atti e memorie dell’Accademia toscana di scienze e lettere La Colombaria 53: 11–112.Google Scholar
Masi, Giorgio. (2010). “Bibliografia: Anton Francesco Doni.” www.nuovorinascimento.org/cinquecento/doni.pdf (accessed 2015).Google Scholar
McClure, George. (2004). The Culture of Profession in Late Renaissance Italy. Toronto: University of Toronto Press.Google Scholar
McHam, Sarah Blake. (2011). “Pliny’s Influence on Vasari’s First Edition of the Lives.” Artibus et Historiae 32: 9–23.Google Scholar
McHam, Sarah Blake. (2013). Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of “The Natural History.” New Haven, CT: Yale University Press.Google Scholar
McIver, Katherine. (2005). “Vasari’s Women.” In Reading Vasari, ed. Barriault, et al., 179–88. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
McMahon, Darrin M. (2013). Divine Fury: A History of Genius. New York, NY: Basic Books.Google Scholar
McMahon, Darrin M. (2014). “Return of the History of Ideas?” In Rethinking Modern European Intellectual History, ed. McMahon, Darrin M. and Moyn, Samuel, 13–31. Oxford: Oxford University Press.Google Scholar
McManamon, John M. (1989). Funeral Oratory and the Ideals of Italian Humanism. Chapel Hill, NC: University of North Carolina Press.Google Scholar
Mellini, G. L. (1963). “In margine alla ‘Trasfigurazione’ di Raffaello.” Critica d’Arte 10: 39–55.Google Scholar
Merrill, Elizabeth. (2017). “The Professione di Architetto in Renaissance Italy.” Journal of the Society of Architectural Historians 76: 13–35.Google Scholar
Moffitt, John. (1989). “Leonardo’s ‘sfumato’ and Apelles’s ‘atramentum’.” Paragone 40: 88–94.Google Scholar
Morandi, Matteo, ed. (2013). Formare alle professioni: Commercianti e contabili dalle scuole d’abaco ad oggi. Milan: FrancoAngeli.Google Scholar
Moyer, Ann. (2006). “Distinguishing Florentines, Defining Italians: The Language Question and Cultural Identities in Sixteenth-Century Florence.” In Nation, Ethnicity, and Identity in Medieval and Renaissance Europe, ed. Soergel, Philip M., 131–58. New York, NY: AMS Press.Google Scholar
Murphy, James Jerome. (1974). Rhetoric in the Middle Ages: A History of Rhetorical Theory from St. Augustine to the Renaissance. Berkeley, CA: University of California Press.Google Scholar
Murray, Penelope. (1989). “Introduction” and “Poetic Genius and Its Classical Origins.” In Genius: The History of an Idea, ed. Murray, Penelope, 1–8 and 9–31. Oxford: Blackwell.Google Scholar
Mutini, Claudio. (1977). “Caro, Annibale.” In Dizionario biografico degli italiani 20: 497–508.Google Scholar
Nagel, Alexander. (1993). “Leonardo and sfumato.” RES: Anthropology and Aesthetics 24: 7–20.Google Scholar
Nagel, Alexander. (2000). Michelangelo and the Reform of Art. Cambridge: Cambridge University Press.Google Scholar
Nencioni, Giovanni. (1952). “Sullo stile del Vasari scrittore.” In Atti del Convegno internazionale per il iv centenario della prima edizione delle “Vite” del Vasari: Studi Vasariani, 111–15. Florence: Sansoni.Google Scholar
Nencioni, Giovanni. (1965). “Il Vasari scrittore manierista?” Atti e memorie dell’Accademia Petrarca di lettere, arti e scienze, n.s. 37: 260–83.Google Scholar
Nichols, Tom. (1996). “Tintoretto, Prestezza and the Poligrafi: A Study in the Literary and Visual Culture of Cinquecento Venice.” Renaissance Studies 10: 72–100.Google Scholar
Nigro, Salvatore. (1983). “Scriptor necans.” In Introduction to Torquato Accetto, Della dissimulazione onesta, ed. Nigro, S., 19–26. Genoa: Costa & Nolan.Google Scholar
Nigro, Salvatore. (1984). “Le livre masqué d’un secrétaire du xviie siècle.” Le Temps de la réflexion Fall: 183–211.Google Scholar
Nigro, Salvatore. (1987). “Lezione sull’ombra.” In Introduction to Torquato Accetto, Rime amorose, v–xxi. Turin: Einaudi.Google Scholar
Nochlin, Linda. (1971). “Why Are There No Great Women Artists.” In Women in Sexist Society: Studies in Power and Powerlessness, ed. Gornick, Vivian and Moran, Barbara K., 480–510. New York, NY: Basic Books.Google Scholar
Nova, Alessandro. (2013). “‘Vasari’ versus Vasari: La duplice attualità delle Vite.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 55: 55–71.Google Scholar
Nuovo, Angela. (2003). Il commercio librario nell’Italia del Rinascimento. 3rd ed. Milan: FrancoAngeli.Google Scholar
Och, Marjorie. (2012). “Vittoria Colonna in Giorgio Vasari’s Life of Properzia de Rossi.” In Wives, Widows, Mistresses, and Nuns in Early Modern Italy: Making the Invisible Visible through Art and Patronage, ed. McIver, Katherine, 119–37. Farnham, Surrey: Ashgate.Google Scholar
Oettinger, April. (2005). “Michelangelo’s Snowman and the Art of Snow in Vasari’s Lives.” In Reading Vasari, ed. Barriault, et al., 203–11. London: Philip Wilson in association with the Georgia Museum of Art.Google Scholar
O’Malley, John W. (1979). Praise and Blame in Renaissance Rome: Rhetoric, Doctrine and Reform in the Sacred Orators of the Papal Court, c. 1450–1521. Durham, NC: Duke University Press.Google Scholar
O’Malley, Michelle. (2013). Painting under Pressure: Fame, Reputation and Demand in Renaissance Florence. New Haven, CT: Yale University Press.Google Scholar
Ovid, . (1977–84). Metamorphoses. Ed. Miller, Frank Justus. 3rd ed., rev. G. P. Goold. Cambridge, MA: Harvard University Press.Google Scholar
Palli d’Addario, M. V. (1985). “Documenti vasariani nell’Archivio Guidi.” In Giorgio Vasari: Tra decorazione ambientale e storiografia artistica: Convegno di studi, Arezzo, 8–10 October, 1981, ed. Garfagnini, Gian Carlo, 363–89. Florence: Olschki.Google Scholar
Panofsky, Erwin. (1962). “Artist, Scientist, Genius: Notes on the ‘Renaissance-Dämmerung’.” In The Renaissance: Six Essays, ed. Ferguson, Wallace K., 121–82. New York, NY: Harper Torchbooks.Google Scholar
Panofsky, Erwin. (1968). Idea: A Concept in Art Theory. Columbia, SC: University of South Carolina Press.Google Scholar
Paoletti, John T., and Radke, Gary M.. (2012). Art in Renaissance Italy. 4th ed. Upper Saddle River, NJ: Pearson Prentice Hall.Google Scholar
Park, Katharine. (1987). “Medical Profession and Medical Practice in the Italian Renaissance.” In The Rational Arts of Living, ed. Crombie, A. C. and Siraisi, N., 137–57. Vol. 50. Northampton, MA: Smith College Studies in History.Google Scholar
Parker, Deborah. (2004). “Bronzino and the Diligence of Art.” Artibus et Historiae 49: 161–74.Google Scholar
Partridge, Loren, and Starn, Randolph. (1992). Arts of Power: Three Halls of State in Italy, 1300–1600. Berkeley, CA: University of California Press.Google Scholar
Patrizi, Giorgio. (2000). Narrare l’immagine: La tradizione degli scrittori d’arte. Rome: Donzelli.Google Scholar
Payne, Alina. (2001). “Vasari, Architecture, and the Origins of Historicizing Art.” RES: Anthropology and Aesthetics 40: 51–76.Google Scholar
Petrarch, Francesco. (1975). Opere latine. Ed. Bufano, Antonietta. Vol. 2. Turin: Unione Tipografico Editrice Torinese.Google Scholar
Petrarch, Francesco. (1992). Letters of Old Age. Trans. Aldo S. Bernardo, Saul Levin, and Reta A. Bernardo. 2 vols. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Pevsner, Nikolaus. (1973). Academies of Art, Past and Present. New York, NY: Da Capo Press.Google Scholar
Phillips-Court, Kristin. (2011a). “Vasari, Leonardo, and il vero ritratto del tradimento et inumanità.” Sixteenth Century Journal 42: 709–35.Google Scholar
Phillips-Court, Kristin. (2011b). The Perfect Genre: Drama and Painting in Renaissance Italy. Burlington, VT: Ashgate.Google Scholar
Pignatti, Franco. (2000). “Giambullari, Pierfrancesco.” Dizionario biografico degli italiani 54: 308–12.Google Scholar
Pignatti, Franco. (2011). “Molza, Francesco Maria.” Dizionario biografico degli italiani 75: 451–61.Google Scholar
Pilliod, Elizabeth. (1998). “Representation, Misrepresentation, and Non-Representation: Vasari and His Competitors.” In Vasari’s Florence: Artists and Literati at the Medicean Court, ed. Jacks, Philip, 30–52. New Haven, CT: Yale University Press.Google Scholar
Pilliod, Elizabeth. (2001). Pontormo, Bronzino, Allori: A Genealogy of Florentine Art. New Haven, CT: Yale University Press.Google Scholar
Plaisance, Michel. (2004). L’Accademia e il suo principe: Cultura e politica a Firenze al tempo di Cosimo I e di Francesco de’ Medici. Manziana: Vecchiarelli.Google Scholar
Pliny, , the Elder. (1984). Natural History. Trans. H. Rackham. Vol. 9. Cambridge, MA: Harvard University Press.Google Scholar
Plutarch, . (1961). Plutarch’s Lives. Trans. Bernadotte Perrin. Vol. 3. Cambridge, MA: Harvard University Press.Google Scholar
Pon, Lisa. (1996). “Michelangelo’s Lives: Sixteenth-Century Books by Vasari, Condivi, and Others.” Sixteenth Century Journal 27: 1015–37.Google Scholar
Pon, Lisa. (2004). Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print. New Haven, CT: Yale University Press.Google Scholar
Pozzi, Mario, ed. (1996). Discussioni linguistiche del Cinquecento. Turin: Unione Tipografico Editrice Torinese.Google Scholar
Pozzi, Mario, and Mattioda, Enrico. (2006). Giorgio Vasari: Storico e critico. Florence: Olschki.Google Scholar
Preimesberger, Rudolf. (2011). Paragons and Paragone: Van Eyck, Raphael, Michelangelo, Caravaggio, and Bernini. Los Angeles, CA: Getty Research Institute.Google Scholar
Quinones, Ricardo J. (1972). The Renaissance Discovery of Time. Cambridge, MA: Harvard University Press.Google Scholar
Quintilian, . (2001). Institutiones oratoriae. Trans. Donald. Russell. Cambridge, MA: Harvard University Press.Google Scholar
Quondam, Amedeo. (1983). “La letteratura in tipografia.” In Letteratura italiana, ed. Alberto Asor Rosa. Vol. 2, Produzione e consumo, 555–686. Turin: Einaudi.Google Scholar
Ragghianti Collobi, Licia. (1974). Il Libro de’ disegni del Vasari. 2 vols. Florence: Vallecchi.Google Scholar
Rebhorn, Wayne A. (1976). “Thomas More’s Enclosed Garden: Utopia and the Humanist Tradition.” English Literary Renaissance 6: 140–55.Google Scholar
Reilly, Patricia L. (2014). “Artists’ Workshops.” In The Cambridge Companion to the Italian Renaissance, ed. Wyatt, Michael, 84–99. Cambridge: Cambridge University Press.Google Scholar
Richardson, Brian. (1998). “The Debates on Printing in Renaissance Italy.” La bibliofilìa 100: 135–55.Google Scholar
Richardson, Brian. (1999). Printing, Writers, and Readers in Renaissance Italy. Cambridge: Cambridge University Press.Google Scholar
Richardson, Brian. (2004). “Print or Pen? Modes of Written Publication in Sixteenth-Century Italy.” Italian Studies 59: 39–64.Google Scholar
Robinson, Andrew. (2011). Genius: A Very Short Introduction. Oxford: Oxford University Press.Google Scholar
Rosand, David. (2000). “Raphael’s School of Athens and the Artist of the Modern Manner.” In The World of Savonarola: Italian Elites and the Perceptions of Crisis, ed. Fletcher, Stella and Shaw, Christine, 212–32. Aldershot, UK: Ashgate.Google Scholar
Rosen, Mark. (2003). “Don Miniato Pitti and the Second Life of a Scientist’s Tools in Cinquecento Florence.” Nuncius: Annali di Storia della Scienza 18: 3–24.CrossRefGoogle Scholar
Roskill, Mark W. (1968). Dolce’s Aretino and Venetian Art Theory of the Cinquecento. New York, NY: Published for the College Art Association of America by New York University.Google Scholar
Rossi, Paolo L. (1994). “The Writer and the Man: Real Crimes and Mitigating Circumstances—il caso Cellini.” In Crime, Society, and the Law in Renaissance Italy, ed. Lowe, K. and Dean, T., 157–83. Cambridge: Cambridge University Press.Google Scholar
Rossi, Sergio. (1980). Dalle botteghe alle accademie: Realtà sociale e teorie artistiche a Firenze dal xiv al xvi secolo. Milan: Feltrinelli.Google Scholar
Rota, Arianna Arisi, ed. (2009). Formare alle professioni: Diplomatici e politici. Milan: FrancoAngeli.Google Scholar
Rowland, Ingrid D. (1997). “The Intellectual Background of the School of Athens: Tracking Divine Wisdom in the Rome of Julius II.” In Raphael’s “School of Athens,” ed. Hall, Marcia B., 131–70. Cambridge: Cambridge University Press.Google Scholar
Rowland, Ingrid D. (1998). The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome. Cambridge: Cambridge University Press.Google Scholar
Rowland, Ingrid D. (2005). “The Vatican Stanze.” In The Cambridge Companion to Raphael, ed. Hall, Marcia B., 95–119. Cambridge: Cambridge University Press.Google Scholar
Rowland, Ingrid D., and Charney, Noah. (2017). The Collector of Lives: Giorgio Vasari and the Invention of Art. New York, NY: W. W. Norton.Google Scholar
Rubin, Patricia Lee. (1995). Giorgio Vasari: Art and History. New Haven, CT: Yale University Press.Google Scholar
Ruffini, Marco. (2009). “Sixteenth-Century Paduan Annotations to the First Edition of Vasari’s Vite (1550).” Renaissance Quarterly 62: 748–808.Google Scholar
Ruffini, Marco. (2010). “La prima ricezione de Le vite: Postille venete alla Torrentiniana.” In Le Vite del Vasari: Genesi, topoi, ricezione, ed. Burzer, K., Davis, C., Feser, S., and Nova, A., 183–90. Venice: Marsilio.Google Scholar
Ruffini, Marco. (2011). Art without an Author: Vasari’s “Lives” and Michelangelo’s Death. New York, NY: Fordham University Press.Google Scholar
Ruggiero, Guido. (2015). The Renaissance in Italy: A Social and Cultural History of the Rinascimento. Cambridge: Cambridge University Press.Google Scholar
Rzepińska, Maria, and Malcharek, Krystyna. (1986). “Tenebrism in Baroque Painting and Its Ideological Background.” Artibus et Historiae 7: 91–112.Google Scholar
Saalman, Howard, ed. (1970). The Life of Brunelleschi by Antonio di Tuccio Manetti. Trans. Catharine Enggass. University Park, PA: Penn State University Press.Google Scholar
Saccone, Eduardo. (1978). “Trattato e ritratto: L’introduzione del Cortegiano.” Modern Language Notes 93: 1–21.Google Scholar
Saccone, Eduardo. (1983). “Grazia, Sprezzatura, and Affettazione in the Courtier.” In Castiglione: The Ideal and the Real in Renaissance Culture, ed. Hanning, Robert W. and Rosand, David, 45–67. New Haven, CT: Yale University Press.Google Scholar
Saccone, Eduardo. (1987). “The Portrait of the Courtier in Castiglione.” Italica 64: 1–18.CrossRefGoogle Scholar
Sacchetti, Franco. (2004). Trecentonovelle. Turin: Unione Tipografico Editrice Torinese.Google Scholar
Scapecchi, Piero. (2011). “Chi scrisse Le vite del Vasari: Riflessioni sulla editio princeps del 1550.” Letteratura e arte 9: 153–9.Google Scholar
Schlosser, Julius Ritter von. (1977). La letteratura artistica: Manuale delle fonti della storia dell’arte moderna. Trans. Filippo Rossi. 3rd ed. Florence: La Nuova Italia.Google Scholar
Schnapp, Jeffrey T. (1999). “Crash (Speed as Engine of Individuation).” Modernism/Modernity 6: 1–49.CrossRefGoogle Scholar
Scholar, Richard. (2013). “The New Philologists.” In Renaissance Keywords, ed. Carthy, Ita Mac, 1–10. Oxford: Legenda.Google Scholar
Shearman, John K. G. (1992). Only Connect …: Art and the Spectator in the Italian Renaissance. Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar
Shearman, John K. G. (2003). Raphael in Early Modern Sources (1483–1602). New Haven, CT: Yale University Press.Google Scholar
Sherberg, Michael. (2003). “The Accademia Fiorentina and the Question of the Language: The Politics of Theory in Ducal Florence.” Renaissance Quarterly 56: 26–55.Google Scholar
Simonetti, Carlo Maria. (2005). La vita delle “Vite” vasariane: Profilo storico di due edizioni. Florence: Olschki.Google Scholar
Singleton, Charles S. (1954). Dante’s “Commedia”: Elements of Structure. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Singleton, Charles S. (1958). Journey to Beatrice. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Siraisi, Nancy G. (1990). Medieval and Early Renaissance Medicine: An Introduction to Knowledge and Practice. Chicago, IL: University of Chicago Press.CrossRefGoogle Scholar
Snyder, Jon. (1989). Writing the Scene of Speaking: Theories of Dialogue in the Late Italian Renaissance. Stanford, CA: Stanford University Press.Google Scholar
Sohm, Philip. (2000). “Ordering History with Style: Giorgio Vasari on the Art of History.” In Antiquity and Its Interpreters, ed. Payne, Alina, Kuttner, Ann, and Smick, Rebekah, 40–54. Cambridge: Cambridge University Press.Google Scholar
Sohm, Philip. (2015). “Giving Vasari the Giorgio Treatment.” I Tatti Studies in the Italian Renaissance 18: 61–111.Google Scholar
Sontag, Susan. (1989). Illness as Metaphor; and Aids and Its Metaphors. New York, NY: Picador/Farrar, Straus and Giroux.Google Scholar
Spagnolo, Maddalena. (2007). “Considerazioni in margine: Le postille alle Vite di Vasari.” In Arezzo e Vasari: Vite e postille, ed. Caleca, Antonino, 251–72. Foligno: Cartei & Bianchi.Google Scholar
Stack, Joan. (2000). “Artists into Heroes: The Commemoration of Artists in the Art of Vasari.” In Fashioning Identities in Renaissance Art, ed. Rogers, Mary, 163–76. Aldershot, UK: Ashgate.Google Scholar
Steptoe, Andrew. (1998). “Artistic Temperament and the Italian Renaissance: A Study of Giorgio Vasari’s Lives.” In Genius and the Mind: Studies of Creativity and Temperament, ed. Steptoe, Andrew, 253–70. Oxford: Oxford University Press.Google Scholar
Stimato, Gerarda. (2005a). “Dai Ricordi alla Vita: Giorgio Vasari biografo di se stesso.” Letteratura e arte 3: 83–105.Google Scholar
Stimato, Gerarda. (2005b). “La formazione dell’artista rinascimentale nelle Vite di Giorgio Vasari: Tra apprendistato tecnico e modelli socio-culturali.” Schifanoia: Notizie dell’Istituto di Studi Rinascimentali di Ferrara 28–9: 87–94.Google Scholar
Struever, Nancy S. (1970). The Language of History in the Renaissance: Rhetoric and Historical Consciousness in Florentine Humanism. Princeton, NJ: Princeton University Press.Google Scholar
Summers, David. (1981). Michelangelo and the Language of Art. Princeton, NJ: Princeton University Press.Google Scholar
Summers, David. (1987). The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics. Cambridge: Cambridge University Press.Google Scholar
Tanturli, Giuliano. (1976). “Le biografie d’artisti prima del Vasari.” In Il Vasari, storiografo e artista: Atti del Congresso internazionale nel iv centenario della morte, 275–98. Florence: Istituto Nazionale di Studi sul Rinascimento.Google Scholar
Tempesti, Anna Forlani. (2014). “Giorgio Vasari and the Libro de’ disegni: A Paper Museum or Portable Gallery.” In Giorgio Vasari and the Birth of the Museum, 31–52. Burlington, VT: Ashgate.Google Scholar
Thomas, Anabel. (1995). The Painter’s Practice in Renaissance Tuscany. Cambridge: Cambridge University Press.Google Scholar
Thomas, Anabel. (2006). “The Workshop as the Space of Collaborative Artistic Production.” In Renaissance Florence: A Social History, ed. Crum, Roger J. and Paoletti, John T., 415–30. Cambridge: Cambridge University Press.Google Scholar
Thomas, Ben. (2013). “Disegno: Superficial Line or Universal Design?” In Renaissance Keywords, ed. Carthy, Ita Mac, 31–44. London: Legenda.Google Scholar
Tiberio, Claudio. (1974). “Vasari restauratore.” In Il Vasari, storiografo e artista: Atti del Congresso internazionale nel iv centenario della morte, 533–65. Florence: Istituto Nazionale di Studi sul Rinascimento.Google Scholar
Trachtenberg, Marvin. (2010). Building-in-Time: From Giotto to Alberti and Modern Oblivion. New Haven, CT: Yale University Press.Google Scholar
Trapp, J. B. (1982). “The Poet Laureate: Rome, Renovatio and Translatio Imperii.” In Rome in the Renaissance: The City and the Myth, ed. Ramsey, P. A., 93–130. Binghamton, NY: Center for Medieval and Early Renaissance Studies.Google Scholar
Trexler, Richard. (1980). Public Life in Renaissance Florence. New York, NY: Academic Press.Google Scholar
Tribby, Jay. (1991). “Cooking (with) Clio and Cleo: Eloquence and Experiment in Seventeenth-Century Florence.” Journal of the History of Ideas 52: 417–39.Google Scholar
Tribby, Jay. (1992a). Body/Building: Living the Museum Life in Early Modern Europe.” Rhetorica 10: 139–63.Google Scholar
Tribby, Jay. (1992b). “Of Conversational Dispositions and the Saggi’s Proem.” In Documentary Culture: Florence and Rome from Grand-Duke Ferdinand I to Pope Alexander VII, ed. Cropper, Elizabeth, Perini, Giovanna, and Solinas, Francesco, 379–90. Bologna: Nuova Alfa Editoriale.Google Scholar
Tylus, Jane. (1993). Writing and Vulnerability in the Late Renaissance. Stanford, CA: Stanford University Press.Google Scholar
Vasari, Giorgio. (1823). Ragionamenti del Signor Giorgio Vasari sopra le invenzioni da lui dipinte in Firenze nel Palazzo Vecchio con Francesco Medici allora Principe di Firenze. Pisa: N. Capurro.Google Scholar
Vasari, Giorgio. (1938). Il libro delle Ricordanze di Giorgio Vasari. Ed. Vita, Alessandro del. Arezzo: Reale Istituto di Archeologia e Storia dell’Arte.Google Scholar
Vasari, Giorgio. (1966–87). Le vite de’ più eccellenti pittori, scultori, e architettori nelle redazioni del 1550 e 1568. 6 vols. Ed. Bettarini, Rosanna and Barocchi, Paola. Florence: Sansoni.Google Scholar
Vasari, Giorgio. (1967). Le vite de’ più eccellenti pittori, scultori, e architettori. 9 vols. Ed. Pergola, Paola della, Grassi, Luigi, and Previtali, Giovanni. Revisions by Aldo Rossi; notes and bibliography by Giovanni Previtali and Paola Ceschi. Novara: Istituto Geografico De Agostini.Google Scholar
Vasari, Giorgio. (1996). Lives of the Painters, Sculptors and Architects. Trans. Gaston du C. de Vere. Intro. David Ekserdjian. New York, NY: Knopf.Google Scholar
Vasari, Giorgio. (2009). Le vite dei più eccellenti pittori, scultori e architetti. Rome: Newton Compton Editori.Google Scholar
Vigenère, Blaise de, trans. (1976). Les images. Reprint of 1614 ed. New York, NY: Garland Publishing.Google Scholar
Virgil, . (2000). Aeneid. Trans. H. Rushton Fairclough. Rev. G. P. Goold. Cambridge, MA: Harvard University Press.Google Scholar
Vocabolario degli Accademici della Crusca. Accessed online. http://vocabolario.sns.it/html/index.html.Google Scholar
Waldman, Louis A. (2001). “Bandinelli and the Opera di Santa Maria del Fiore: Privilege, Patronage and Pedagogy.” In Santa Maria del Fiore: The Cathedral and Its Sculpture, ed. Haines, Margaret, 217–52. Fiesole: Cadmo.Google Scholar
Waldman, Louis A. (2014). “Vadunt ad habitandum hebrei: The Otto di Balia, Vasari, and the Hiding of Murals in Sixteenth-Century Florence.” Mitteilungen des Kunsthistorischen Institutes in Florenz 56: 351–4.Google Scholar
Wallace, William E. (1987). “Michelangelo’s Assistants in the Sistine Chapel.” Gazette des Beaux-Arts 110: 203–16.Google Scholar
Wallace, William E. (2010). Michelangelo: The Artist, the Man, and His Times. Cambridge: Cambridge University Press.Google Scholar
Warnke, Martin. (1993). The Court Artist: On the Ancestry of the Modern Artist. Trans. David McLintock. Cambridge: Cambridge University Press.Google Scholar
Watkins, John, ed. and intro. (2008). “Toward a New Diplomatic History of Medieval and Early Modern Europe.” Journal of Medieval and Early Modern Studies 38: 1–14.Google Scholar
Watts, Barbara J. (1995). “Giorgio Vasari’s Vita di Michelangelo Buonarroti and the Shade of Donatello.” In The Rhetorics of Life-Writing in Early Modern Europe: Forms of Biography from Cassandra Fedele to Louis XIV, ed. Mayer, Thomas F. and Woolf, D. R., 63–96. Ann Arbor, MI: University of Michigan Press.Google Scholar
Waźbiński, Zygmunt. (1987). L’Accademia Medicea del Disegno a Firenze nel Cinquecento: Idea e istituzione. Florence: Olschki.Google Scholar
Webb, Ruth. (1999). “Ekphrasis Ancient and Modern: The Invention of a Genre.” Word & Image 15: 7–18.Google Scholar
Webb, Ruth. (2009). Ekphrasis: Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Farnham, UK: Ashgate.Google Scholar
Weil-Garris Posner, Kathleen. (1972). “Raphael’s Transfiguration and the Legacy of Leonardo.” Art Quarterly 35: 342–74.Google Scholar
Weil-Garris Posner, Kathleen. (1974). Leonardo and Central Italian Art, 1515–1550. New York, NY: New York University Press.Google Scholar
Welch, Evelyn. (1997). Art and Society in Italy, 1350–1500. Oxford: Oxford University Press.Google Scholar
Welch, Evelyn. (2004). “Painting as Performance in the Italian Renaissance Court.” In Artists at Court: Image-Making and Identity, 1300–1500, ed. Campbell, S., 19–32. Boston: Isabella Stewart Gardner Museum.Google Scholar
White, Hayden V. (1978). Tropics of Discourse: Essays in Cultural Criticism. Baltimore, MD: John Hopkins University Press.Google Scholar
White, Hayden V. (1987). The Content of the Form: Narrative Discourse and Historical Representation. Baltimore, MD: John Hopkins University Press.Google Scholar
Wierzbicka, Anna. (1997). Understanding Cultures through Their Key Words: English, Russian, Polish, German, and Japanese. New York, NY: Oxford University Press.Google Scholar
Wilkins, Ernest Hatch. (1951). “The Coronation of Petrarch.” In The Making of the “Canzoniere” and Other Petrarchan Studies, 9–69. Rome: Edizioni di Storia e Letteratura.Google Scholar
Williams, Raymond. (2015). Keywords: A Vocabulary of Culture and Society. 2nd ed. New York, NY: Oxford University Press.Google Scholar
Williams, Robert. (1988). “Vincenzo Borghini and Vasari’s ‘Lives.’” PhD dissertation, Princeton University.Google Scholar
Williams, Robert. (1997). Art, Theory, and Culture in Sixteenth-Century Italy: From Techne to Metatechne. Cambridge: Cambridge University Press.Google Scholar
Williams, Robert. (2007). “The Artist as Worker in Sixteenth-Century Italy.” In Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome, exh. cat., ed. Brooks, Julian, 95–103. Los Angeles: J. Paul Getty Museum.Google Scholar
Williams, Robert. (2014). “Vasari and Vincenzo Borghini.” In The Ashgate Research Companion to Giorgio Vasari, ed. Cast, , 23–40. Farnham, Surrey: Ashgate.Google Scholar
Witt, Ronald G. (2000). “In The Footsteps of the Ancients”: The Origins of Humanism from Lovato to Bruni. Leiden: Brill.Google Scholar
Wittkower, Rudolf. (1971). Architectural Principles in the Age of Humanism. New York, NY: W. W. Norton.Google Scholar
Wittkower, Rudolf, and Wittkower, Margaret. (1963). Born under Saturn: The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution. New York, NY: Random House.Google Scholar
Wittkower, Rudolf, and Wittkower, Margaret. (1964). The Divine Michelangelo: The Florentine Academy’s Homage on His Death in 1564. Introduced, translated, and annotated by Rudolf and Margot Wittkower. London: Phaidon.Google Scholar
Wood, Jeryldene M. (2005). “Young Raphael and the Practice of Painting in Renaissance Italy.” In The Cambridge Companion to Raphael, ed. Hall, Marcia B., 15–35. Cambridge: Cambridge University Press.Google Scholar
Woodhouse, J. R. (1967). “Vincenzo Borghini and the Continuity of the Tuscan Linguistic Tradition.” Italian Studies 22: 26–42.Google Scholar
Woodhouse, J. R. (1971). “Borghini’s Theory of the Decay of Tuscan.” Studi secenteschi 12: 101–15.Google Scholar
Woods-Marsden, Joanna. (1987). “‘Ritratto al Naturale’: Questions of Realism and Idealism in Early Renaissance Portraits.” Art Journal 46: 209–16.Google Scholar
Woodward, William Harrison. (1963). Vittorino da Feltre and Other Humanist Educators. New York, NY: Bureau of Publications, Teachers College, Columbia University.Google Scholar
Yates, Frances A. (1974). The Art of Memory. Chicago, IL: University of Chicago Press.Google Scholar
Zimmermann, T. C. Price. (1976). “Paolo Giovio and the Evolution of Renaissance Art Criticism.” In Cultural Aspects of the Italian Renaissance: Essays in Honour of Paul Oskar Kristeller, ed. Clough, C. H., 406–24. Manchester: Manchester University Press.Google Scholar
Zimmermann, T. C. Price. (1978). “Renaissance Symposia.” In Essays Presented to Myron P. Gilmore, ed. Bertelli, Sergio and Ramakus, Gloria, vol. 1, 363–74. Florence: La Nuova Italia.Google Scholar
Zimmermann, T. C. Price. (1995). Paolo Giovio: The Historian and the Crisis of Sixteenth-Century Italy. Princeton, NJ: Princeton University Press.Google Scholar
Zuccaro, Federico. (1961). Scritti d’arte di Federico Zuccaro. Ed. Heikamp, Detlef. Florence: Olschki.Google Scholar
Zuccolin, Gabriella. (2010). “I chirurghi del Trecento: Formazione dottrinale e professionale.” In Formare alle professioni: Figure di sanità, ed. Ferrari, Monica and Mazzarello, Paolo, 58–77. Milan: FrancoAngeli.Google Scholar