Book contents
- Raphael and the Redefinition of Art in Renaissance Italy
- Raphael and the Redefinition of Art in Renaissance Italy
- Copyright page
- Dedication
- Contents
- Figures
- Introduction
- 1 Universa Pingendi Ratio
- 2 The Systematicity of Representation
- 3 The Rationalization of Labor
- Conclusion
- Bibliography
- Index
- References
Bibliography
Published online by Cambridge University Press: 11 May 2017
Book contents
- Raphael and the Redefinition of Art in Renaissance Italy
- Raphael and the Redefinition of Art in Renaissance Italy
- Copyright page
- Dedication
- Contents
- Figures
- Introduction
- 1 Universa Pingendi Ratio
- 2 The Systematicity of Representation
- 3 The Rationalization of Labor
- Conclusion
- Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Raphael and the Redefinition of Art in Renaissance Italy , pp. 268 - 298Publisher: Cambridge University PressPrint publication year: 2017
References
Acidini Luchinat, Cristina, “La Grottesca,” in Storia dell’arte italiana 4. Forme e modelli, Bollati, Giulio & Fossati, Paolo, eds., Turin, 1982.Google Scholar
Acidini Luchinat, Cristina, Taddeo e Federico Zuccari fratelli pittori del Cinquecento, 2 vols., Milan, 1998.Google Scholar
Adorno, Theodor W., Aesthetic Theory, Hullot-Kentor, Robert, trans., Minneapolis, 1997.Google Scholar
Agamben, Giorgio, Homo Sacer: Sovereign Power and Bare Life, Heller-Roazen, Daniel, trans., Stanford, 1998.Google Scholar
Agamben, Giorgio, Potentialities: Collected Essays in Philosophy, Heller-Roazen, Daniel, trans., Stanford, 1999.Google Scholar
Agosti, Barbara, “Intorno all vita gioviana di Raffaello,” Prospettiva, 110–11, 2003, 58–69.Google Scholar
Aikema, Bernard, “Alle origini dei generi pittorici – un problema mal definitio,” in Alle origini dei generi pittorici fra l’Italia e l’Europa, 1600 ca., Corsato, C. & Aikema, B., eds., Treviso, 2013, 9–19.Google Scholar
Albrecht Bott, Marianne, Die bildende Kunst in der italienischen Lyrik der Renaissance und des Barock, Wiesbaden, 1976.Google Scholar
Allegri, Ettore et al., “Raffaello fra Firenze, Urbino e Perugia (1504–1508),” in Gregori, et al. eds., 1984, 37–46.Google Scholar
Alpers, Svetlana, “Ekphrasis and Aesthetic Attitudes in Vasari’s Lives,” Journal of the Warburg and Courtauld Institutes, 23, 1960, 190–215.CrossRefGoogle Scholar
de Holanda, Francisco, De pintiura antiga, 2 vols., Alves, José da Felicidade, ed., Lisbon, 1984.Google Scholar
Ames-Lewis, Francis, The Intellectual Life of the Early Renaissance Artist, New Haven, 2000.Google Scholar
Ames-Lewis, Francis, “Raphael’s Responsiveness to Michelangelo’s Draughtsmanship,” in Reactions to the Master: Michelangelo’s Effect on Art and Artists in the Sixteenth Century, Ames-Lewis, Francis & Joannides, Paul, eds., Aldershot, 2003, 1–30.Google Scholar
Arasse, Daniel, “Raffaello senza venustà e l’eredità della grazia,” in Hamoud, Sambucco & Strocchi, eds., 1987, 703–12.Google Scholar
von Goethe, Johann Wolfgang, Italian Journey, 1786–1888, Auden, W. H. & Mayer, Elizabeth, trans., New York, 1962.Google Scholar
Aurigemma, Maria Giulia & Cavallaro, Anna, Il Palazzo di Domenico della Rovere in Borgo, Rome, 1999.Google Scholar
Baader, Hannah, “Sehen, Täuschen, und Erkennen. Raffaels Selbstbildnis im Louvre,” in Diletto e Maraviglia. Ausdruck und Wirkung in der Kunst von der Renaissance bis zum Barock. Festschrift für Rudolf Preimesberger, Göttler, C, Müller Hofstede, U., Patz, K., & Zollikofer, K., eds., Emsdetten, 1998, 41–59.Google Scholar
Bacou, Rosalind, ed., Autour de Raphaël: dessins et peintures du Musée du Louvre, Paris, 1983.Google Scholar
Badt, K., “Raphael’s Fire in the Borgo,” Journal of the Warburg and Courtauld Institutes, 22, 1959, 35–59.CrossRefGoogle Scholar
Bagliani, Agostino Paravicini, The Pope’s Body, Peterson, David S., trans., Chicago, 2000.Google Scholar
Baldini, Nicoletta, “Nella bottega fiorentina di Pietro Perugino,” in Perugino a Firenze: qualità e fortuna d’uno stile, Pisani, Rosanna ed., Florence, 2004, 69–74.Google Scholar
Baldinucci, Filippo, Notizie dei professori del disegno da Cimabue in qua …, Ranalli, Ferdinando, Barocchi, Paola, & Boschetto, Antonio, eds., Florence, 1974–5.Google Scholar
Bambach, Carmen, Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600, Cambridge, 1999.Google Scholar
Bambach, Carmen, “Leonardo and Raphael in Rome in 1513–16,” in Falomir, ed., 2013, 26–37.Google Scholar
Bambach, Carmen, “The Cartoon for La Belle Jardinière, Replicas, and Practices of Full-Scale Design in Raphael’s Florentine Madonnas,” in Jacoby, & Sonnabend, eds., 2015, 61–82.Google Scholar
Vitruvius, , I dieci libri dell’architettura tradotti e commentate da Daniele Barbaro (1567), facs., Milan, 1987.Google Scholar
Raphael Urbinas: il mito della Fornarina, Barbiellini Amidei, Rosanna, Englen, Alia, & Mochi-Onori, Lorenza, eds., Milan, 1983.Google Scholar
Barbieri, Costanza, “The Competition between Raphael and Michelangelo and Sebastiano’s Role in It,” in Hall, ed., 2005, 141–64.Google Scholar
Barbieri, Costanza, “Raffaello e Sebastiano alla Farnesina,” in Falomir, ed., 2013, 90–9.Google Scholar
La Vita di Michelangelo nelle redazioni del 1550 e del 1568, 5 vols., Barocchi, Paola, ed., Milan, 1962.Google Scholar
Barocchi, Paola, “L’antibiografia del secondo Vasari,” in Giorgio Vasari tra decorzione ambientale e storiografia artistica, Garfagnin, G. C., ed., Florence, 1985, 1–15.Google Scholar
Barolsky, Paul, “Vasari’s ‘Portrait’ of Raphael,” in Raphael and the Ruins of Rome: The Poetic Dimension, Fehl, Philipp et al., eds., Urbana-Champaign, 1983, 25–33.Google Scholar
Bartalini, Roberto, Le occasioni del Sodoma: dal Milano dalla Leonardo alla Roma di Raffaello, Rome, 1996.Google Scholar
Bartalini, Robert, “Sodoma, the Chigi and the Vatican Stanze,” Burlington Magazine, 143, 2001, 544–53.Google Scholar
Bartalini, Roberto, “Da Raffaello al Sodoma. Sulla camera nuziale di Agostino Chigi alla Farnesina,” in Falomir, ed., 2013, 80–9.Google Scholar
Barthes, Roland, “The Death of the Author,” in Image Music Text, Heath, Stephen, trans., New York, 1977, 142–8.Google Scholar
Battisti, Eugenio, “Il Concetto di imitazione nel Cinquecento italiano,” in Rinascimento e Barocco, Turin, 1960, 175–215.Google Scholar
Battistini, Giovanni, “Raphael’s Portrait of Fedra Inghirami,” Burlington Magazine, 138, 1998, 541–5.Google Scholar
Baxandall, Michael, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, Oxford, 1971.Google Scholar
Baxandall, Michael, Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style, Oxford, 1972.Google Scholar
Becherer, Joseph A. et al., Pietro Perugino: Master Painter of the Italian Renaissance, New York, 1997.Google Scholar
Becherucci, Luisa, “Il Vasari e gli inizi di Raffaello,” in Il Vasari storiografo e artista. Atti del congresso internazionale nel IV centenario della morte, Arezzo, 1974, 179–96Google Scholar
Beck, James, “Raphael and Medici State Portraits,” Zeitschrift für Kunstgeschichte, 38, 1975, 127–44.CrossRefGoogle Scholar
Beck, James, ed., Raphael before Rome (Studies in the History of Art 17), Washington, DC, 1986.Google Scholar
Beck, James, “Raphael, Florence, and Quattrocento Sculpture,” in Sambucco Hamoud, & Strocchi, eds., 1987, 73–8.Google Scholar
Beck, James, “The Portrait of Julius II in London’s National Gallery: The Goose that Turned into a Gander,” Artibus et Historiae, 33, 1996, 69–95.CrossRefGoogle Scholar
Béguin, Sylvie, “Nouvelles recherches sur le ‘Saint Michel’ et le ‘Saint Georges’ du Musée du Louvre,” in Hamoud, Sambucco & Strocchi, eds., 1987, 455–64.Google Scholar
Bell, Janis, “Raphael as a ‘Scientific’ Painter,” in Reframing the Renaissance, Farago, Claire, ed., New Haven, 1995, 91–111.Google Scholar
Bellori, Giovanni Pietro, Descrizzione delle imagini dipinti da Raffaello d’Urbino nelle Camere del Palazzo Apostolico Vaticano, Farnborough, 1968 (repr. of Rome, 1695 edn.).Google Scholar
Bellucci, R., Cetica, M., Coppola, R., Moioli, P., Poggi, P., Seccaroni, C., & Silvestri, C, “La Fornarina: analisi non distruttive a confronto,” Kermes, 49, 2003, 64–72.Google Scholar
Belluzzi, Amedeo, “Gli esordi architettonici di Giulio Romano,” in Fagiolo, & Madonna, eds., 1987, 629–46.Google Scholar
Belluzzi, Amadeo, Palazzo Te a Mantua. The Palazzo Te in Mantua, 2 vols., Mackay, Heather & Roberts, Mark, trans., Modena, 1998.Google Scholar
Belting, Hans, Giovanni Bellini, Pietà: Ikone und Bilderzählung in der venezianischen Malerei, Frankfurt a.M., 1985.Google Scholar
Belting, Hans, “Das Bild als Text: Wandmalerei und Literatur im Zeitalter Dantes,” in Malerei und Stadtkultur in der Dantezeit, Belting, Hans & Blume, Dieter, eds., Munich, 1989.Google Scholar
Belting, Hans, Likeness and Presence: A History of the Image before the Era of Art, Jephcott, Edmund, trans., Chicago, 1994.Google Scholar
Bendersky, Gordon, “Remarks on Raphael’s Transfiguration,” Source, 14, 1995, 18–25.Google ScholarPubMed
Walter, Benjamin, “On the Mimetic Faculty,” in Reflections: Essays, Aphorisms, Autobiographical Writings, Jephcott, Edmund, trans., New York, 1978, 333–6.Google Scholar
Bentley, Jerry H., Humanists and Holy Writ: New Testament Scholarship in the Renaissance, Princeton, 1983.CrossRefGoogle Scholar
Berliner, Rudolf, “Raphaels Sixtinische Madonna als religiöses Kunstwerk,” Das Münster, 11, 1958, 85–102.Google Scholar
Bernhart-Königstein, Gregor, Raffaels Weltverklärung: das berühmteste Gemälde der Welt, Petersberg, 2007.Google Scholar
Vasari, Giorgio, Le Vite … nelle redazioni del 1550 e 1568, Bettarini, Rosanna & Barocchi, Paola, eds., Florence, 1966–.Google Scholar
Bialistocki, Jan, “Das Modusproblem in den bildenden Künsten,” Zeitschrift für Kunstgeschichte, 24, 1961, 128–41.Google Scholar
Bianchi, Maria L. & Grossi, Laria L., “Botteghe, economia e spazio urbano,” in Cardini, et al. eds., 1998–2003, vol. ii (1999), 27–63.Google Scholar
Bloemacher, Anne, “Marcantionio Raimondi and Raphael: The Engraver’s ‘Empty Tablet Signature’ as Plurivalent Sign,” Chicago Art Journal, 2008, 20–41.Google Scholar
Blunt, Anthony, “The Legend of Raphael in Italy and France,” Italian Studies, 13, 1958, 2–20.CrossRefGoogle Scholar
Bocchi, Francesco, Le Bellezze della città di Fiorenza, Florence, 1591 (repr. Farnborough, 1971).Google Scholar
Boehm, Gottfried, Bildnis und Individuum: über die Ursprung der Porträtmalerei in der italienischen Renaissance, Munich, 1985.Google Scholar
Bois, Yve-Alain, “Kahnweiler’s Lesson,” in Painting as Model, Cambridge, MA, 1990, 65–97.Google Scholar
Bolland, Andrea, “Art and Humanism in Early Renaissance Padua: Cennini, Vergerio and Petrarch on Imitation,” Renaissance Quarterly, 49, 1995, 469–87.Google Scholar
Bolzoni, Lina, L’universo dei poemi possibili: studi su Francesco Patrizi da Cherso, Rome, 1980.Google Scholar
Bolzoni, Lina, “La Formazione del canone letterario nel Cinquecento: per ripensare alcuni categorie interpretativi,” in The Italian Renaissance in the Twentieth Century, Grieco, A. J., Rocke, M., & Superbi, F., eds., Florence, 2002, 223–48.Google Scholar
Bolzoni, Lina, Il cuore di cristallo. Ragionamenti d’amore, poesia e ritratto nel Rinascimento, Turin, 2010.Google Scholar
Bondanella, Julia C. & Bondanella, Peter, “Giorgio Vasari, Pietro Perugino, and the History of Renaissance Art,” in Becherer, et al. eds., 1997, 83–99.Google Scholar
Bora, Giulio, “Arcimboldo: le teste ‘caricate’ leonardesche e le ‘grillerie’ dell’Accademia del Val di Blenio,” in Rabisch: il grottesco nell’arte del Cinquecento, Kahn-Rossi, M., ed., Milan 1998, 57–68.Google Scholar
Bellori, Giovanni Pietro, Le Vite de’ pittori, scultori e architetti moderni, Borea, Evelina, ed., Turin, 1976.Google Scholar
Borelli, Giovanni, “A Reading of the Relationship between Cities, Manufacturing Crafts and Guilds in Early Modern Italy,” in Guenzi, et al. eds., 1998, 19–31.Google Scholar
Borgnini, Valentina, “La scelta di tema della Deposizione nel contesto della cappella di San Matteo nella chiesa di San Francesco al Prato di Perugia,” in Herrmann Fiore, ed., 2010.Google Scholar
Borgo, L., “Fra Bartolommeo e Raffaello: l’incontro romano del 1513,” in Sambucco Hamoud, & Strocchi, eds., 1987, 499–507.Google Scholar
Bourdieu, Pierre, The Rules of Art: Structure and Genesis of the Literary Field, Beatti, Caroline & Merriman, Nick, eds., Susan Emanuel, trans., Stanford, 1996.CrossRefGoogle Scholar
Brandt, Kathleen Weil-Garris, Leonardo e la scultura (Lettura vinciana 38), Florence, 1999.Google Scholar
Braudel, Fernand, The Mediterranean and the Mediterranean World in the Age of Philip II, S. Reynolds, trans., New York, 1973.Google Scholar
Bredekamp, Horst, “A Neglected Tradition? Art History as Bildwissenschaft,” Critical Inquiry, 29, 2003, 418–28.CrossRefGoogle Scholar
Brentano, Franz, On the Several Senses of Being in Aristotle, George, Rolf, trans., Berkeley, 1975.Google Scholar
Brink, Claudia & Henning, Andreas, with Schölzel, Christoph, Raffael. Die Sixtinische Madonna: Geschichte und Mythos eines Meisterwerkes, Munich, 2005.Google Scholar
Brizio, Annamaria, “La Santa Cecilia di Raffaello,” Studi in onore di G. Nicco Fasola (Arte Lombarda 9, 1965), 99–104.Google Scholar
Taddeo and Federico Zuccari: Artist-Brothers in Renaissance Rome, Brooks, Julian, ed., Los Angeles, 2007.Google Scholar
Brooks, Julian, “Giorgio Vasari, Federico Zuccari e la biografia di Taddeo Zuccari,” Annali Aretini, 20, 2102, 149–56.Google Scholar
Brown, David A., “Raphael’s Small Cowper Madonna and Madonna of the Meadow: Their Technique and Leonardo Sources,” Artibus et Historiae, 4, 1983, 9–26.CrossRefGoogle Scholar
Brown, David A., “Leonardo and Raphael’s Transfiguration,” in Frommel, & Winner, eds., 1986, 237–43.Google Scholar
Brown, David A., “Raphael, Leonardo and Perugino: Fame and Fortune in Florence,” in Leonardo, Michelangelo and Raphael in Renaissance Florence from 1500–1508, Hager, Serafina, ed., Washington, DC, 1992, 29–53.Google Scholar
Brown, David A., Raphael’s Portrait of Bindo Altoviti,” in Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti, Chong, A, Pegazzano, D, Zikos, D, & Paolozzi Strozzi, B., eds., Boston, 2003, 93–114.Google Scholar
Brown, David A. & Oberhuber, Konrad, “Monna Vanna and the Fornarina: Leonardo and Raphael in Rome,” in Essays Presented to Myron P. Gilmore, vol. ii, Bertelli, Sergio & Ramakus, Gloria, eds., Florence, 1978, 25–86.Google Scholar
Brown, David A. & van Nimmen, Jane, Raphael and the Beautiful Banker: The Story of the Bindo Altoviti Portrait, New Haven, 2005.Google Scholar
Brückle, Wolfgang, “Wege zum Ruhm: Raffael in der Literatur der Akademischen Kunstepoche,” in Raffael und die Folgen: das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, Höper, C., ed., Stuttgart, 2001, 121–33.Google Scholar
Bruschi, Arnaldo, “Bramante, Raffaello, e Palladio,” Bollettino del Centro Internazionale di Studi di Architettura Andrea Palladio, 15, 1973, 69–87.Google Scholar
Bruschi, Arnaldo, “I primi progetti di Antonio da Sangallo il Giovane per San Pietro,” in San Pietro che non c’è, da Bramante a Sangallo il Giovane, Tessari, Cristiano, ed., Milan, 1996, 159–78.Google Scholar
Bruschi, Arnaldo, “The Drawings of Antonio da Sangallo the Younger at St. Peter’s under Leo X,” in Frommel, & Adams, eds., 1996–2000, vol. ii, 23–32.Google Scholar
Buck, August, Italienische Dichtenlehre vom Mittelalter bis zum Ausgang der Renaissance, Tübingen, 1952.CrossRefGoogle Scholar
Buddensieg, Tilman, “Raphaels Grab,” in Munuscula discipilorum. Kunsthistorischen Studien Hans Kaufmann zum 70. Geburtstag, Buddensieg, T. & Winner, M., eds., Berlin, 1968, 45–70.Google Scholar
Burioni, Matteo, “Die Immunität Raffaels. Lehre, Nachahmung und Wettstreit in der Begegnung mit Pietro Perugino,” in Schumacher, ed., 2011, 129–51.Google Scholar
Burnham, Jack, Great Western Salt Works: Essays on the Meaning of Post-Formalist Art, New York, 1974.Google Scholar
Burns, Howard, “Raffaello e ‘quell’antiqua architectura’,” in Frommel, et al. eds., 1984, 381–407.Google Scholar
Burns, Howard, “‘Quelle cose antique et modern belle di Roma’: Giulio Romano, the Theatre, and the Antique,” in Tafuri, et al. eds., 1989, 129–42.Google Scholar
Burns, Howard & Nesselrath, Arnold, “Raffaello e l’antico,” in Frommel, et al. eds., 1984, 379–452.Google Scholar
Bury, Michael, “Perugino, Raphael and the Decoration of the Stanza dell’Incendio,” in Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome, Burke, Jill, ed., Farnham, 2012, 223–44.Google Scholar
Butler, Kim E., “Full of Grace” Raphael’s Madonnas and the Rhetoric of Devotion, Ph.D. diss. Johns Hopkins University, 2002.Google Scholar
Butler, Kim E., “Rethinking Early Raphael,” in Atti del Convegno Internazionale su Raffaello, http://colosseum.biblhertz.it/event/raffael/texte/butler.Google Scholar
Butler, Kim E., “‘Reddita lux est’: Raphael and the Pursuit of Sacred Eloquence in Leonine Rome,” in Artists at Court: Image Making and Identity, 1300–1500, Campbell, Stephen, ed., Boston, 2004, 138–48.Google Scholar
Butler, Kim, “La Cronaca rimata di Giovanni Santi e Raffaello,” in Mochi Onori, ed., 2009, 38–43.Google Scholar
Cadogan, Jean, “Sulla bottega del Ghirlandaio,” in Domenico Ghirlandaio, 1449–1494, Prinz, Wolfram & Seidel, Max, eds., Florence, 1996, 89–96.Google Scholar
Campbell, Stephen, Cosmé Tura of Ferrara: Style, Politics and the Renaissance City, 1450–1495, New Haven, 1997.Google Scholar
Campbell, Thomas et al., Tapestry in the Renaissance: Art and Magnificence, New York, 2002.Google Scholar
Caravaggi, Roberto, ed., Raphael in the Apartments of Julius II and Leo X, Milan, 1993.Google Scholar
La grande storia dell’artigianato, 6 vols., Cardini, Franco et al. eds., Florence, 1998–2003.Google Scholar
Caron, Linda, “Raphael’s Transfiguration and the Failure to Heal: A Medici Interpretation,” Storia dell’arte, 1988, 205–13.Google Scholar
Carruthers, Mary, The Craft of Thought: Meditation, Rhetoric, and the Making of Images, Cambridge, 1998.Google Scholar
Cauzzi, Diego & Seccaroni, Claudio, eds., La Santa Cecilia di Raffaello: studi e indagini, Milan, 2015.Google Scholar
Cave, Terence, The Cornucopian Text: Problems of Writing in the French Renaissance, Oxford, 1979.Google Scholar
Cecchi, Alessandro, “Pratica, fierezza e terribilità nelle grottesche di Marco da Faenza in Palazzo Vecchio a Firenze,” Paragone, 28, 1977 (327), 24–54; (329), 6–26.Google Scholar
Cecchi, Alessandro, “Gli anni fiorentini di Perino,” in Parma, et al. eds., 2001, 39–50.Google Scholar
Chapman, Hugo, Henry, Tom, & Plazzotta, Carol, eds., Raphael: From Urbino to Rome, London, 2004.Google Scholar
Chastel, André, “Amor sacro e profano nell’arte e nel pensiero di Raffaello,” in Frommel, & Winner, eds., 1986, 3–10.Google Scholar
Chastel, André, “Raffaello e Leonardo,” in Sambucco Hamoud, & Strocchi, eds., 1987, 335–44.Google Scholar
Chiarini, Marco, “La ‘Madonna del Granduca’ di Raffaello,” Critica d’arte, 58, 1995, 37–46.Google Scholar
Chiarini, Marco, Ciatti, Marco, & Padovani, Serena, eds., Raffaello a Pitti. “La Madonna del Baldacchino”: storia e restauro, Florence, 1991.Google Scholar
Christian, Kathleen Wren, “The de’ Rossi Collection of Ancient Sculptures, Leo X, and Raphael,” Journal of the Warburg and Courtauld Institutes, 65, 2002, 132–200.CrossRefGoogle Scholar
Christiansen, Keith, “Bellini and Mantegna,” in The Cambridge Companion to Giovanni Bellini, Humfrey, Peter, ed., Cambridge, 2004, 48–74.Google Scholar
Lomazzo, Giovanni Paolo, Scritti sulle arti, 2 vols., Ciardi, Roberto Paolo, ed., Florence, 1973–4.Google Scholar
Cieri Via, Claudia, “Da Urbino a Roma: sapienza umana e sapienza divina nella Stanza della Segnatura,” in Sambucco Hamoud, & Strocchi, eds., 1987, 301–22.Google Scholar
Clarke, Bruce & Hansen, Mark, eds., Emergence and Embodiment: New Essays in Second-Order Systems Theory, Durham, NC, 2009.CrossRefGoogle Scholar
Cohen, Ralph, “Genre Theory, Literary History and Historical Change,” in Theoretical Issues in Literary History, Perkins, David, ed., Cambridge, MA, 1991, 85–113.Google Scholar
Cole, Michael & Pardo, Mary, “Origins of the Studio,” in Inventions of the Studio: Renaissance to Romanticism, Cole, Michael & Pardo, Mary, eds., Chapel Hill, 2005, 1–35.Google Scholar
Colie, Rosalie, Resources of Kind: Genre Theory in the Renaissance, Berkeley, 1973.CrossRefGoogle Scholar
Comanducci, Rita, “‘Buona artista della sua arte’: il concento di ‘artista’ e la pratica di lavoro nella bottega quattrocentesca,” in Cardini, et al. eds., 1998–2003, vol. ii (1999), 149–65.Google Scholar
Comanducci, Rita, “Fattori e garzoni al lavoro nelle botteghe d’arte,” in Cardini, et al. eds., 1998–2003, vol. iii (2000), 41–55.Google Scholar
Comanducci, Rita, “Produzione seriale e mercato d’arte a Firenze tra Quattro- e Cinquecento,” in Fantoni, et al. eds., 2003, 105–13.Google Scholar
Conforti, Claudia, “Architettura e culto della memoria: la committenza di Baldassare Turini datario di Leone X,” in Fagiolo, & Madonna, eds., 1987, 603–28.Google Scholar
Conte, Gian Biagio, The Rhetoric of Imitation: Genre and Poetic Memory in Virgil and Other Latin Poets, Segal, Charles, trans., Ithaca, NY, 1986.Google Scholar
Conte, Gian Biagio, Genres and Readers: Lucretius, Love Elegy, Pliny’s Encyclopedia, G. Most, trans., Baltimore, 1994.Google Scholar
Petrarch’s Songbook: Rerum Vulgarium Fragmenta, Cook, James W., trans., Binghamton, 1996.Google Scholar
The Works of John Ruskin, 39 vols., Cook, Edward & Wedderburn, Alexander, eds., London, 1903–12.Google Scholar
Coonin, A. V., “New Documents Concerning Perugino’s Workshop in Florence,” Burlington Magazine, 141, 1999, 100–4.Google Scholar
Cooper, Donal, “New Documents on Raphael’s Perugian Patrons,” Burlington Magazine, 146, 2004, 742–4.Google Scholar
Cooper, Donal & Plazzotta, Carol, “Raphael’s Ansidei Altarpiece in the National Gallery,” Burlington Magazine, 146, 2004, 720–31.Google Scholar
Cordellier, Dominique & Py, Bernadette, Raphaël, son atelier, ses copistes, Paris, 1992.Google Scholar
Cordellier, Dominique & Py, Bernadette, Raphaël: autour des dessins du Louvre, Paris, 1992.Google Scholar
Cornini, Guido et al., “La Sala Vecchia degli Svizzeri, la Sala dei Chiaroscuri, e la Sala di Costantino,” in Caravaggi, ed., 1993, 81–117, 167–201.Google Scholar
Cranston, Jodi, The Poetics of Portraiture in the Italian Renaissance, Cambridge, 2000.Google Scholar
Cranston, Jodi, “Tropes of Revelation in Raphael’s Transfiguration,” Renaissance Quarterly, 56, 2003, 1–25.CrossRefGoogle Scholar
Cranston, Jodi, “Desire and Gravitas in Bindo’s Portraits,” in Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti, Chong, Alan et al. eds., Boston, 2003.Google Scholar
Craven, Jennifer, “Ut pictura poesis: A New Reading of Raphael’s Portrait of La Fornarina as a Petrarchan Allegory of Painting, Fame, and Desire,” Word and Image, 10, 1994, 371–94.CrossRefGoogle Scholar
Cropper, Elizabeth, “On Beautiful Women: Parmigianino, Petrarchismo, and the Vernacular Style,” Art Bulletin, 48, 1976, 374–94.Google Scholar
Cropper, Elizabeth, The Ideal of Painting: Pietro Testa’s Düsseldorf Notebook, Princeton, 1984.Google Scholar
Cropper, Elizabeth, “The Beauty of Women: Problems in the Rhetoric of Renaissance Portraiture,” in Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, Ferguson, Margaret, Quilligan, Maureen, & Vickers, Nancy, eds., Chicago, 1985, 175–90.Google Scholar
Cropper, Elizabeth, “Tuscan History and Emilian Painting,” in Emilian Painting of the 16th and 17th Centuries, Millon, Henry A. et al. eds., Bologna, 1987, 49–62.Google Scholar
Cropper, Elizabeth, “La più bella antichità che sappiate desiderare: History and Style in Giovanni Pietro Bellori’s Lives,” in Kunst und Kunsttheorie, 1400–1900 (Wolfenbüttler Forschungen 48), Wiesbaden, 1991, 145–73.Google Scholar
Cropper, Elizabeth, “L’Idea del Bellori,” in L’Idea del bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori, Borea, Evelina & Gasparri, Carlo, eds., Rome, 2000, 81–6.Google Scholar
Cropper, Elizabeth, The Domenichino Affair: Novelty, Imitation, and Theft in Seventeenth-Century Rome, New Haven, 2005.Google Scholar
Dacos, Nicole, La Découverte de la Domus Aurea et la formation des grotesques à la Renaissance, London, 1969.CrossRefGoogle Scholar
Dacos, Nicole, “Tommaso Vincidor, un élève de Raphaël aux Pays-Bas,” in Relations artistiques entre les Pays-Bas et l’Italie à la Renaissance. Études dédiées à Suzanne Sulzberger, Brussels, 1980, 61–99.Google Scholar
Dacos, Nicole, Le Logge di Raffaello: maestro e bottega di fronte all’antico, Rome, 1986.Google Scholar
Dacos, Nicole, “La Loggetta du cardinal Bibbiena: décor à l’antique et role de l’atelier,” in Frommel, & Winner, eds., 1986, 225–35.Google Scholar
Dacos, Nicole, “Peruzzi dalla Farnesina alla Cancelleria: qualche proposta sulla bottega del pittore,” in Baldassare Peruzzi: pittura scena e architettura, Fagiolo, Marcello & Madonna, Maria Luisa, eds., Rome, 1987, 469–501.Google Scholar
Dacos, Nicole, “Alle fonti della natura morta italiana: Giovanni da Udine e le nature morte nei festoni,” in La natura morta in Italia, 2 vols., Porzio, Francesco, ed., Milan, 1989, vol. i, 55–68.Google Scholar
Dacos, Nicole, The Loggia of Raphael: A Vatican Art Treasure, Bacon, J., trans., New York, 2008.Google Scholar
Dalli Regoli, Gigetta, “Non da natura ma per lungo studio: riferimenti, citazioni e rielaborazioni nelle Madonne di Raffaello,” in Sambucco Hamoud, & Strocchi, eds., 1987, 419–28.Google Scholar
D’Amico, J., Renaissance Humanism in Papal Rome: Humanists and Churchmen on the Eve of the Reformation, Baltimore, 1983.Google Scholar
Davidson, Bernice, “Pope Paul III’s Additions to Raphael’s Logge. His Imprese in the Logge,” Art Bulletin, 61, 1979, 385–404.CrossRefGoogle Scholar
Davidson, Bernice, “The Landscapes of the Vatican Logge from the Reign of Pope Paul III,” Art Bulletin, 64, 1983, 587–602.CrossRefGoogle Scholar
Davidson, B., Raphael’s Bible: A Study of the Vatican Logge, University Park, PA, 1985.Google Scholar
Davis, Natalie, “A Trade Union in Sixteenth-Century France,” Economic History Review, 19, 1966, 48–69.CrossRefGoogle Scholar
Davis, Natalie, Society and Culture in Early Modern France: Eight Essays, Stanford, 1975.CrossRefGoogle Scholar
Ferrajoli, Alessandro, Il Ruolo della corte di Leone X (1514–16), De Caprio, Vincenzo, ed., Rome, 1984Google Scholar
D’Elia, Una Roman, “Tintoretto, Aretino, and the Speed of Creation,” Word and Image, 20, 2004, 106–18.Google Scholar
Delieuvin, Vincent, ed., Saint Anne: Leonardo da Vinci’s Ultimate Masterpiece, Milan, 2012.Google Scholar
Della Terza, Dante, “Tasso’s Experience of Petrarch,” Italian Quarterly, 53, 1970, 911–113.Google Scholar
Della Terza, Dante, “Imitatio: Theory and Practice. The Example of Bembo the Poet,” Yearbook of Italian Studies, 1, 1971, 119–41.Google Scholar
Del Serra, Alfio et al., Raffaello e il ritratto di Papa Leone: per il restauro del Leone X con due cardinali nella Galleria degli Uffizi, Milan, 1996.Google Scholar
Jean, Delumeau, Vie économique et sociale de Rome dans la seconde moitié du XVIe siècle, Paris, 1957–9.Google Scholar
Félibien, André, Entretiens sur les vies et sur les ouvrages des plus excellent peintres anciens et modernes, Démoris, René, ed., Paris, 1987.Google Scholar
Dempsey, Charles, Annibale Carracci and the Beginnings of Baroque Style, Glückstadt, 1977.Google Scholar
Dempsey, Charles, “Mythic Inventions in Counter-Reformation Painting,” in Rome in the Renaissance: The City and the Myth, Ramsey, P. A., ed., Binghamton, 1982, 55–74.Google Scholar
Dempsey, Charles & Cropper, Elizabeth, Nicolas Poussin: Friendship and the Love of Painting, Princeton, 1996.Google Scholar
Denker Nesselrath, Christiane, “La Loggia di Raffaello,” in Caravaggi, ed., 1993, 39–79.Google Scholar
De’ Vecchi, Pierluigi, “Raffaello nelle Vite del Vasari,” Arte Cristiana, 73, 1985, 258–62.Google Scholar
De’ Vecchi, Pierluigi, “Ritratto di una apparizione: appunti in margine alla Madonna Sistina,” in Lavagetto, ed., 1985, 33–42.Google Scholar
De’ Vecchi, Pierluigi, “The ‘Coronation of the Virgin’ in the Vatican Pinacoteca and Raphael’s Activity between 1502 and 1504,” in Beck, ed., 1986, 73–82.Google Scholar
De’ Vecchi, Pierluigi, Raffaello: la mimesi, l’armonia, e l’invenzione, Florence, 1995.Google Scholar
De’Vecchi, Pierluigi, “Raffaello e il ritratto ‘di naturale’,” in Raffaello e il ritratto di papa Leone. Per il restauro del Leone X con due cardinali nella Galleria degli Uffizi, del Serra, Alfio ed., Milan, 1996, 9–50.Google Scholar
De’ Vecchi, Pierluigi, “‘L’Incendio del Borgo’ alla luce dei restauri di recenti indagini,” in Studi letterari e artistici, Banfi, Luigi, ed., Pisa, 1999, 75–88.Google Scholar
De’ Vecchi, Pierluigi, “Raffaello, Perugino e la ‘imitatio’,” in Teza, ed., 2004, 173–82.Google Scholar
Didi-Huberman, Georges, Confronting Images: Questioning the Ends of a Certain History of Art, Goodman, John, trans., University Park, PA, 2005.Google Scholar
Di Teodoro, Francesco, “‘… e similmente alcuni suoi veli e vestimenti di drappi d’oro e di seta …,’ nota sulla ‘Santa Cecilia’ di Raffaello”, in Gedenkschrift für Richard Harprath, Liebenwein, Wolfgang & Tempestini, Anchise, eds., Munich, 1998, 131–6.Google Scholar
Dohe, Sebastian, Leitbild Raffael – Raffaels Leitbilder: das Kunstwerk als visuelle Autorität, Petersburg, 2014.Google Scholar
Dohna, Yvonne, “La Maddalena nella Trasfigurazione: il ruolo della donna nella religiosità di Raffaello,” Ikon, 1, 2008, 199–213.CrossRefGoogle Scholar
Dunkerton, Jill & Roy, Ashok, “The Altered Background of Raphael’s Portrait of Pope Julius II in the National Gallery, London,” Burlington Magazine, 146, 2004, 757–9.Google Scholar
Duro, Paul, The Academy and the Limits of Painting in Seventeenth-Century France, Cambridge, 1997.Google Scholar
Dussler, Luitpold, Raphael: A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries, London, 1971.Google Scholar
Eberlein, Johannes K., “The Curtain in Raphael’s Sistine Madonna,” Art Bulletin, 55, 1983, 61–77.CrossRefGoogle Scholar
Edwards, Nancy E., The Renaissance Stuffetta in Rome. The Circle of Raphael and the Recreation of the Antique, Ann Arbor, 1984.Google Scholar
Eikema Hommes, Margiet van, “Discoloration or Chiaroscuro? An Interpretation of the Dark Areas in Raphael’s ‘Transfiguration of Christ’,” Simiolus, 28, 2000–1, 4–43.CrossRefGoogle Scholar
Einem, Herbert von, “Die ‘Verklärung Christi’ und die ‘Heilung des Bessessenen’ von Raffael,” Abhandlungen der Klasse der Literatur, Mainzer Akademie für Wissenschaften und der Literatur, 5, 1966, 299–329.Google Scholar
Einem, Herbert von, “Raffaels Sixtinische Madonna,” Konsthistorisk Tidskrift, 37, 1968, 97–114.CrossRefGoogle Scholar
von Einem, Herbert, Das Programm der Stanza della Segnatura im Vatikan, Opladen, 1971.CrossRefGoogle Scholar
von Einem, Herbert, “Bemerkungen zu Raffaels Madonna di Foligno,” in Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, Lavin, I. & Plummer, J., eds., New York, 1977, 131–42.Google Scholar
Elam, Caroline, “Bernardo Bembo and Leonardo’s Ginevra de’ Benci: A Further Suggestion,” in Beltramin, ed., 2013, 407–20.Google Scholar
Elwert, T. W., “Il Bembo imitatore,” in Studi di letteratura Veneziana, Venice, 1958, 111–48.Google Scholar
Emiliani, Andrea et al., Indagini per un dipinto: La Santa Cecilia di Raffaello, Bologna, 1983.Google Scholar
Emison, Patricia, “Raphael’s Dresden Cherubs,” Zeitschrift für Kunstgeschichte, 65, 2001, 242–50.Google Scholar
Esch, Arnold, “Gesellschaft und Wirtschaft: der Alltag im Rom ausserhalb des Hofes im ersten Drittel des 16. Jahrhunderts,” in Kruse, ed., 1999, 145–53.Google Scholar
Ettlinger, Leopold, “A Note on Raphael’s Sybils in Santa Maria della Pace,” Journal of the Warburg and Courtauld Institutes, 24, 1961, 322–3.CrossRefGoogle Scholar
Evans, Mark & Browne, Clare, with Nesselrath, Arnold, Raphael: Cartoons and Tapestries for the Sistine Chapel, London, 2010.Google Scholar
Fagiolo, Marcello & Madonna, Maria Luisa, eds., Baldassare Peruzzi: pittura, scena e architettura nel Cinquecento, Rome, 1987.Google Scholar
Fagiolo, M. & Madonna, M. L., eds., Raffaello e l’Europa. Atti del IV Corso Internazionale di Alta Cultura, Rome, 1990.Google Scholar
Falletti, F. & Nelson, J., eds., Filippino Lippi e Pietro Perugino: la “Deposizione” della Santissima Annunziata e il suo restauro, Città di Castello, 2004.Google Scholar
Falomir, Miguel, ed., Late Raphael: Proceedings of the International Symposium, Madrid, 2013.Google Scholar
Fantoni, Marcello, Chevalier Matthew, Louis, & Matthews Grieco, Sara, eds., The Art Market in Italy: 15th–17th Centuries, Modena, 2003.Google Scholar
Farago, Claire, Leonardo da Vinci’s Paragone: A Critical Interpretation with a New Edition of the Text in the Codex Urbinas, Leiden, 1992.CrossRefGoogle Scholar
Farr, James, Hands of Honor: Artisans and their World in Dijon, 1550–1650, Ithaca, NY, 1988Google Scholar
Farrell, Joseph, “Classical Genre in Theory and Practice,” New Literary History, 34, 2003, 383–408.CrossRefGoogle Scholar
Fehl, Philipp, “Raphael as Historian: Poetry and Historical Accuracy in the Sala di Costantino,” Artibus et Historiae, 14, 1993, 9–76.CrossRefGoogle Scholar
Ferino, Sylvia, “A Master-Painter and his Pupils: Pietro Perugino and his Umbrian Workshop,” Oxford Art Journal, 1, 1979, 9–14.CrossRefGoogle Scholar
Ferino Pagden, Sylvia, “Raphael’s Activity in Perugia as Reflected in a Drawing in the Ashmolean Museum Oxford,” Mitteilungen des Kunsthistorischen Institutes in Florenz, 25, 1981, 231–52.Google Scholar
Ferino Pagden, Sylvia, Disegni Umbri del Rinascimento da Perugino a Raffaello, exh. cat., Florence, 1982.Google Scholar
Ferino Pagden, Sylvia, “Iconographic Demands and Artistic Achievements: The Genesis of Three Works by Raphael,” in Frommel, & Winner, eds., 1986, 13–27.Google Scholar
Ferino Pagden, Sylvia, “The Early Raphael and his Umbrian Contemporaries,” in Beck, ed., 1986, 93–107.Google Scholar
Ferino Pagden, Sylvia, “Post Festum. Die Raffaelforschung seit 1983,” Kunstchronik, 41, 1988, 194–217Google Scholar
Pagden, Sylvia Ferino, “Giulio Romano pittore e disegnatore a Roma,” in Polano, ed., 1989, 65–95.Google Scholar
Pagden, Sylvia Ferino, “Giulio Romano und das künstlerische Vermächtnis Raffaels,” in Fürstenhöfe der Renaissance. Giulio Romano und die klassische Tradition, Vienna, 1989, 46–87.Google Scholar
Pagden, Sylvia Ferino, “From Cult Images to the Cult of Images: The Case of Raphael’s Altarpieces,” in Humfrey, & Kemp, eds., 1990, 165–89.Google Scholar
Ferino Pagden, Sylvia, “Raphael’s Heliodorus Vault and Michelangelo’s Sistine Ceiling: An Old Controversy and a New Drawing,” Burlington Magazine, 132, 1990, 195–204.Google Scholar
Ferino Pagden, Sylvia, “Raphael’s Invention of ‘Storie’ in his Florentine Drawings,” in Leonardo, Michelangelo, and Raphael in Renaissance Florence from 1500 to 1508, Hager, Serafina, ed., Washington, DC, 1992, 89–120.Google Scholar
Ferino Pagden, Sylvia, “Raffaello: gli anni della formazione ovver quando si manifesta il genio?” in Coliva, ed., 2006, 20–33.Google Scholar
Ferino Pagden, Sylvia & Nepi Sciré, Giovanna, eds., Giorgione: Myth and Enigma, Milan, 2004.Google Scholar
Pagden, Sylvia Ferino & Zancan, Maria Antonetta, Raffaello: catalogo completo dei dipinti, Florence, 1989.Google Scholar
Fernetti, Fabio, “Gli allievi di Raffaello e l’insolito utilizzo di un cartone del maestro nella Sala di Costantino,” Prospettiva, 87–8, 1997, 133–6.Google Scholar
Ferrari, Daniella, ed., Giulio Romano: repertorio di fonti documentarie, 2 vols., Mantua, 1992.Google Scholar
Ferreri, Zaccaria, Hymni novi ecclesiastici juxta veram metri et latinitatis normam …, Rome, 1525.Google Scholar
Giorgio Vasari: die Künstler der Raffael-Werkstatt, Feser, Sabine ed., Lorini, Victoria, trans., Berlin, 2007.Google Scholar
Fichtner, Richard, Die verborgene Geometrie in Raffaels “Schule vom Athen,” Munich, 1984.Google Scholar
Fineman, Joel, The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, Cambridge, MA, 1991.Google Scholar
Fletcher, Jennifer, “Bernardo Bembo and Leonardo’s Portrait of Ginevra de’ Benci,” Burlington Magazine, 131, 1989, 811–16.Google Scholar
Fletcher, Jennifer, “Bellini’s Social World,” in The Cambridge Companion to Giovanni Bellini, Humfrey, Peter, ed., Cambridge, 2004, 13–47.Google Scholar
Forlani Tempesti, Anna, “Per Raffaello e Michelangelo, e viceversa,” in Sambucco Hamoud, & Strocchi, eds., 1987, 365–76.Google Scholar
Fowler, Alastair, Kinds of Literature: An Introduction to the Theory of Genres and Modes, Cambridge, MA, 1982.Google Scholar
Fowler, Alastair, “The Formation of the Genres in the Renaissance and After,” New Literary History, 34, 2003, 185–200.CrossRefGoogle Scholar
Franceschi, Franco, “La bottega come spazio di sociabilità,” in Cardini, et al. eds., 1998–2003, vol. ii (1999), 65–83.Google Scholar
Frangenberg, Thomas, “Bartoli, Giambullari and the Prefaces to Vasari’s Lives (1550),” Journal of the Warburg and Courtauld Institutes, 65, 2002, 244–61.CrossRefGoogle Scholar
Franklin, David, “Raffaellino da Colle and Giulio Romano,” in Falomir, ed., 2013, 100–5.Google Scholar
Franks, Paul, All or Nothing: Systematicity, Transcendental Arguments, and Skepticism in German Idealism, Cambridge, MA, 2005.Google Scholar
Fréart de Chambray, Roland, Idée de la perfection de la peinture, Farnborough, 1968 (repr. of 1662 edn.).Google Scholar
Freedberg, Sydney J., Painting of the High Renaissance in Rome and Florence, Cambridge, MA, 1961.Google Scholar
Freedberg, Sydney J., Raphael, Michelangelo and Others: Raphael and his Contemporaries in Rome, Poughkeepsie, 1983.Google Scholar
Freedberg, Sydney J., Mancinelli, Fabrizio, & Oberhuber, Konrad, A Masterpiece Close-Up: The Transfiguration by Raphael, Cambridge, MA, 1981.Google Scholar
Freedman, Ljuba, “Raphael’s Perception of the Mona Lisa,” Gazette des beaux-arts, 7th ser., 114, 1989, 169–82.Google Scholar
Le Vite di Michelangelo Buonarroti scritte da Giorgio Vasari e da Ascanio Condivi, Frey, K., ed., Berlin, 1887.Google Scholar
Der literarische Nachlass Giorgio Vasaris, 3 vols., Frey, Karl & Frey, Herman-Walther, eds., Hildesheim, 1982.Google Scholar
Frommel, Christoph L., “Raffaello e il teatro alla corte di Leone X,” Bollettino del Centro Internazionale di Studi di Architettura “Andrea Palladio,” 16, 1974, 173–87.Google Scholar
Frommel, Christoph L., “Raffaello e al sua carriera architettonica,” in Frommel, et al. eds., 1984, 13–46.Google Scholar
Frommel, Christoph L., “Raffael und Antonio da Sangallo der jüngere,” in Frommel, & Winner, eds., 1986, 261–304.Google Scholar
Frommel, Christoph L., “Le opere romane di Giulio,” in Polano, ed., 1989, 97–133 (trans. in Tafuri, et al., 1989, 56–89).Google Scholar
Frommel, Christoph L., “Villa Lante e Giulio Romano artista universale,” in Baracchi, ed., 1989, 127–53.Google Scholar
Frommel, Christoph L., “Sulla nascita del disegno architettonico,” in Rinascimento da Brunelleschi a Michelangelo: la rappresentazione dell’architettura, Martinis, Roberta, ed., Venice, 1994, 101–22.Google Scholar
Frommel, Christoph L., “Raffaels späte Utopie von St. Peter,” in Festschrift für Konrad Oberhuber, Gnann, Achim & Widauer, Heinz, eds., Milan, 2000, 56–67.Google Scholar
Frommel, Christoph L., “Antonio da Sangallo the Younger and the Practice of Architecture in the Renaissance,” in Frommel, & Adams, eds., 1996–2000, vol. ii, 1–21.Google Scholar
Frommel, Christoph L. & Adams, Nicholas, eds., The Architectural Drawings of Antonio da San Gallo the Younger, 2 vols., Cambridge, 1996–2000.Google Scholar
Frommel, Christoph L., Ray, Stefano, & Tafuri, Manfredo, eds., Raffaello architetto, Milan, 1984.Google Scholar
Frommel, Christoph L. & Winner, Matthias, eds., Raffaello a Roma. Il Convegno del 1983, Rome, 1986.Google Scholar
Fubini, Mario, Entstehung und Geschichte der literarischen Gattungen, Vogt, Ursula, trans., Tübingen, 1971.CrossRefGoogle Scholar
Fumaroli, Marc, L’Âge d’éloquence: rhétorique et “res leteraria” de la Renaissance au seuil de l’époque classique, Geneva, 1980.Google Scholar
Gabrielli, Edith, “Sistemi di lavoro e linguaggio figurativo in un artista imprenditore di secondo Quattrocento: la cappella Bufalini e altri cantieri della giovinezza e della maturità di Bernardino Pinturicchio,” Bollettino d’arte, 89, 2004, 1–50.Google Scholar
Gabrielli, Edith, “Timoteo Viti, Raffaello, e le prattiche di bottega in Italia centrale tra XV e XVI secolo,” in Timoteo Viti, Cleri, Bonita, ed., Urbino, 2008, 217–49.Google Scholar
Gambero, Luigi, Mary in the Middle Ages: The Blessed Virgin Mary in the Thought of Medieval Latin Theologians, Buffet, Thomas, trans., San Francisco, 2000.Google Scholar
Gardini, Nicola, Le Umane Parole: l’imitazione nella lirica europea del Rinascimento da Bembo a Ben Jonson, Milan, 1997.Google Scholar
Gardner von Teuffel, Christa, “Raffaels römische Altarbilder: Aufstellung und Bestimmung,” Zeitschrift für Kunstgeschichte, 50, 1987, 1–45.CrossRefGoogle Scholar
Garibaldi, Vittoria & Mancini, Francesco, eds., Perugino: il Divin Pittore, Perugia, 2004.Google Scholar
Garin, Eugenio, “Raffaelo e i filosofi antichi,” in Fagiolo, & Madonna, eds., 1990, 13–25.Google Scholar
Gaston, Robert, “How Words Control Images: The Rhetoric of Decorum in Counter-Reformation Italy,” in The Sensuous in the Counter-Reformation Church, Hall, Marcia & Cooper, Tracy, eds., Cambridge, 2012, 74–90.Google Scholar
Gentilini, Giancarlo, I Della Robbia e l’arte nuova della scultura invetriata, Florence, 1998.Google Scholar
Gere, John A., Drawings by Raphael and His Circle from British and North American Collections, New York, 1987.Google Scholar
Gere, John A. & Turner, Nicholas, Drawings by Raphael from the Royal Library, the Ashmolean, the British Museum, Chatsworth, and other British Collections, London, 1983.Google Scholar
Gmelin, H., “Das Prinzip der Imitatio in der romanischen Literaturen der Renaissance,” Romanische Forschungen, 46, 1932, 83–360.Google Scholar
Goffen, R., Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, New Haven, 2002.Google Scholar
Goldstein, Carl, Visual Fact over Verbal Fiction: A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy, Cambridge, 1988.Google Scholar
Goldthwaite, Richard, “La cultura economica dell’artigianato,” in Cardini, et al. eds., 1998–2003, vol. i (1998), 57–75.Google Scholar
Goldthwaite, Richard, “Realtà economico-sociale e status culturale dell’artigiano,” in Cardini, et al. eds., 1998–2003, vol. ii (1999), 9–25.Google Scholar
Goldthwaite, Richard, “Il contesto economico,” in Cardini, et al. eds, 1998–2003, vol. iii (2000), 9–23.Google Scholar
Goldthwaite, Richard, “An Entrepreneurial Silk Weaver in Renaissance Florence,” I Tatti Studies in the Italian Renaissance, 10, 2005, 69–126.Google Scholar
Goldthwaite, Richard, “The Painting Industry in Early Modern Italy,” in Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters, Spear, Richard & Sohm, Philip, eds., New Haven, 2010, 275–301.Google Scholar
Gombrich, E. H., Raphael’s Stanza della Segnatura and the Nature of its Symbolism,” in Symbolic Images: Studies in the Art of the Renaissance II, London, 1972, 85–101.Google Scholar
Gombrich, E. H., “The Ecclesiastical Significance of Raphael’s Transfiguration,” in Ars Auro Prior: Studia Ioanni Bialostocki sexagenario dicata, Chroscicki, J., ed., Warsaw, 1981, 241–3.Google Scholar
Gombrich, E. H., “Ideal and Type in Renaissance Painting,” in New Light on Old Masters, London, 1986, 89–124.Google Scholar
Gombrich, E. H., The Preference for the Primitive: Episodes in the History of Western Taste and Art, New York, 2002.Google Scholar
Armenini, Giovan Battista, De’ Veri precetti della pittura, Gorreri, Marina, ed., Turin, 1988.Google Scholar
Gould, Cecil, Raphael’s Portrait of Pope Julius II: The Re-emergence of the Original, London, 1970.Google Scholar
Gould, Cecil, “Raphael versus Giulio Romano: The Swing Back,” Burlington Magazine, 124, 1982, 479–87.Google Scholar
Gould, Cecil, “Raphael’s Double Portrait in the Louvre: An Identification for the Second Figure,” Artibus et Historiae, 10, 1984, 57–60.CrossRefGoogle Scholar
Gouwens, Kenneth, “Ciceronianism and Collective Identity: Defining the Boundaries of the Roman Academy, 1525,” Journal of Medieval and Renaissance Studies, 23, 1993, 173–95.Google Scholar
Gramaccini, Norberto, “Raffael und sein Schüler: eine gemalte Kunsttheorie,” Georg Bloch-Jahbuch des Kunstgeschichtliches Seminar der Universität Zürich, 2, 1995, 45–55.Google Scholar
Grassi, Ernesto, Macht des Bildes, Ohnmacht der rationalen Sprache. Zur Rettung des rhetorischen, Cologne, 1970.Google Scholar
Grassi, Monica & Trani, Silvia, “From Universitas to Accademia: Notes and Reflections on the Origins and Early History of the Accademia di San Luca Based on Documents from the Archives,” in The Accademia Seminars: The Accademia di San Luca in Rome, 1590–1635, Lukehart, Peter, ed., New Haven, 2009, 23–41.Google Scholar
Leon Battista Alberti: On Painting and On Sculpture, Grayson, Cecil, ed. & trans., London, 1972.Google Scholar
Greene, Thomas, The Light in Troy: Imitation and Discovery in Renaissance Poetry, New Haven, 1982.Google Scholar
Gregori, Mina, Paolucci, Antonio, & Acidini Luchinat, Cristina, eds., Maestri e botteghe: pittura a Firenze alla fine del Quattrocento, Milan, 1992.Google Scholar
Grosser, Hermann, La sottigliezza del disputare. Teorie degli stili e teorie dei generi in età rinascimentale e nel Tasso, Florence, 1992.Google Scholar
Vasari, Giorgio, Das Leben des Raffael, Gründler, Hana ed., Lorini, Victoria, trans., Berlin, 2004.Google Scholar
Guazzoni, Valerio, “La tradizione della ritrattisttica papale nel Rinascimento e il Leone X di Raffaello,” in Del Serra, et al. eds., 1996, 89–133.Google Scholar
Guenzi, Alberto, “The Hatmakers’ Guild in Bologna in the Early Modern Period,” in Guenzi, et al. eds., 1998, 284–99.Google Scholar
Guenzi, Alberto, Massa, Paolo, & Caselli, Fausto, eds., Guilds, Markets, and Work Regulations in Italy, 16th–19th Centuries, Aldershot, 1998.Google Scholar
Guillén, Claudio, Literature as System: Essays toward the Theory of Literary History, Princeton, 1971.Google Scholar
Seneca ad Lucilium Epistulae Morales, 3 vols., Gummere, Richard M., trans., Cambridge, MA, 1953.Google Scholar
Gurlitt, Walter, “Die Musik in Raffaels Heiliger Caecilia,” Jahrbuch der Musikbibliothek Peters, 14, 1938, 84–97.Google Scholar
Guyer, Paul, Kant’s System of Nature and Freedom: Selected Essays, Oxford, 2005.CrossRefGoogle Scholar
Hall, Marcia, Color and Meaning: Practice and Theory in Renaissance Painting, Cambridge, 1992.Google Scholar
Hall, Marcia, After Raphael: Painting in Central Italy in the Sixteenth Century, Cambridge, 1999.Google Scholar
Hammerstein, Reinhold, “Raffaels Heilige Caecilia: Bemerkungen eines Musikhistorikers,” in Begegnungen: Festschrift für Peter Anselm Riedl zum 60. Geburtstag, Güthlein, Klause & Matsche, Franz, eds., Worms, 1993, 69–79.Google Scholar
Harprath, Richard, “L’Evoluzione stilistica nei disegni del periodo fiorentino di Raffaello,” in Sambucco Hamoud, & Strocchi, eds., 1987, 391–400.Google Scholar
Harprath, Richard, “Gli Arazzi di Raffaello nella Cappella Sistina,” in Scritti su Raffaello, di Teodoro, F. & Tempestini, A., eds., Urbino, 1997, 131–48.Google Scholar
Harrison, Charles & Wood, Paul, with Geiger, Jason, eds., Art in Theory, 1815–1900: An Anthology of Changing Ideas, Malden, MA, 1998.Google Scholar
Harrison, Charles & Wood, Paul, eds, Art in Theory 1648–1815: An Anthology of Changing Ideas, Malden, MA, 2000.Google Scholar
Harrison, Charles & Wood, Paul, eds., Art in Theory 1900–2000: An Anthology of Changing Ideas, Malden, MA, 2003.Google Scholar
Heikamp, Detlef & Strozzi, Maria Letizia, eds., Baccio Bandinelli, scultore e maestro (1493–1560), Florence, 2014Google Scholar
Henning, A., Raffaels “Transfiguration” und der Wettstreit um die Farbe: koloritgeschichtliche Untersuchungen zur römischen Hochrenaissance, Munich, 2005.Google Scholar
Henry, Tom, “The Vault of the Stanza d’Eliodoro,” Burlington Magazine, 132, 1990, 571–2.Google Scholar
Henry, Tom, “‘Centro e periferia,’ Guillaume de Marcillat and the Modernisation of Taste in the Cathedral of Arezzo,” Artibus et Historiae, 24, 1994, 55–83.CrossRefGoogle Scholar
Henry, Tom, “Cesare da Sesto and Baldino Baldini in the Vatican Apartments of Julius II,” Burlington Magazine, 142, 2000, 29–35.Google Scholar
Henry, Tom, “Reflections of Il Marcillat’s Work in the Vatican Palace,” Apollo, 152, 2001, 18–27.Google Scholar
Henry, Tom, “New Possibilities for Raphael before Rome,” in Atti del Convegno Internazionale su Raffaello, http://colosseum.biblhertz.it/event/raffael/texte/henry.Google Scholar
Henry, Tom, “La formazione di Pietro Perugino,” in Garibaldi, & Mancini, eds., 2004, 73–9.Google Scholar
Henry, Tom & Mancini, Francesco, Gli esordi di Raffaello tra Urbino, Città di Castello e Perugia, Città di Castello, 2006.Google Scholar
Henry, Tom & Plazzotta, Carol, “Raphael: From Urbino to Rome,” in Chapman, et al. eds., eds., 2004, 14–65.Google Scholar
Hermann Fiore, Kristina, “La Deposizione di Raffaello: il restauro e una nuova lettura,” in Hermann Fiore, ed., 2010, 79–169.Google Scholar
Hermann Fiore, Kristina, ed., Raffaello, la “Deposizione” in Galleria Borghese: il restauro e studi storico-artistici, Milan, 2010.Google Scholar
Hiller von Gaertringen, Rudolf, Raffaels Lernerfahrungen in der Werkstatt Peruginos. Kartonverwendung und Motivübernahme im Wandel, Munich, 1999.Google Scholar
Hiller von Gaertringen, Rudolf, “Uso e riuso del cartone nell’opera del Perugino. L’arte fra vita contemplativa e produttività,” in Teza, ed., 2004, 335–50.Google Scholar
Hiller von Gaertringen, Rudolf, “Nuove ipotesi sulla formazione di Raffaello nella bottega di Perugino,” Accademia Raffaello, Atti e Studi, 2, 2006, 9–44.Google Scholar
Hiller von Gaertringen, Rudolf, “Vasari und Perugino. Geschichte einer Verleumdung,” in Schumacher, ed., 2011, 107–27.Google Scholar
Vasari, Giorgio, Das Leben des Perugino und des Pinturicchio, Hiller von Gaertringen, Rudolf, ed., Lorini, Victoria, trans., Berlin 2011.Google Scholar
Hirdt, Willi, Gian Giorgio Trissinos Porträt der Isabella d’Este: ein Beitrag zur Lukian-Rezeption in Italien, Heidelberg, 1981.Google Scholar
Hirst, Michael, “The Chigi Chapel in Santa Maria della Pace,” Journal of the Warburg and Courtauld Institutes, 24, 1961, 161–85.CrossRefGoogle Scholar
Hochmann, Michel, “Les annotations marginales de Federico Zuccaro à un exemplaire des Vies de Vasari,” Revue de l’art, 86, 1988, 64–70.Google Scholar
Holmes, Megan, “Neri di Bicci and the Commodification of Artistic Values in Florentine Painting (1450–1500),” in Fantoni, et al. eds., 2003, 213–23.Google Scholar
Holmes, Megan, “Copying Practices and Marketing Strategies in a Late-Fifteenth-Century Painter’s Workshop,” in Artistic Exchange and Cultural Translation in the Italian Renaissance City, Campbell, Stephen & Milner, Stephen, eds., Cambridge, 2004, 38–74.Google Scholar
The New Art – The New Life: The Collected Writings of Piet Mondrian, Holtzman, Harry & James, Martin, eds., Boston, 1986.Google Scholar
Hope, Charles, “Artists, Patrons, and Advisers in the Italian Renaissance,” in Patronage in the Renaissance, Lytle, Guy F. & Orgel, Stephen, eds., Princeton, 1981, 293–343.Google Scholar
Hope, Charles, “Altarpieces and the Requirements of Patrons,” in Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento, Verdon, Timothy & Henderson, John, eds., Syracuse, 1990, 535–71.Google Scholar
Hope, Charles & McGrath, Elizabeth, “Artists and Humanists,” in The Cambridge Companion to Renaissance Humanism, Kraye, Jill, ed., Cambridge, 1996, 161–88.Google Scholar
Höper, Corinne, Raffael und die Folgen: das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, Ostfildern, 2001.Google Scholar
Howard, Peter, “Painters and the Visual Art of Preaching: The Exemplum of the Fifteenth-Century Frescoes in the Sistine Chapel,” I Tatti Studies in the Italian Renaissance, 13, 2010, 33–77.CrossRefGoogle Scholar
Humfrey, Peter & Kemp, Martin, eds., The Altarpiece in the Renaissance, Cambridge, 1990.Google Scholar
Humfrey, Peter & Lucco, Mauro, “Dosso Dossi in 1513: A Reassessment of the Artist’s Early Works and Influences,” Apollo, 147, 1998, 22–30.Google Scholar
Huntley, G. H.. “What Raphael Meant to Vasari,” Psychoanalytic Perspectives on Art, 3, 1988, 35–45.Google Scholar
Ilchman, Fredrick, Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, Boston, 2009.Google Scholar
Irle, Klaus, Der Ruhm der Bienen: das Nachahmungsprinzip der italienischen Malerei von Raffael bis Rubens, Münster, 1997.Google Scholar
Giorgio Vasari: Das Leben des Perino del Vaga, Irlenbusch, Christina, ed., Lorini, Victoria, trans., Berlin, 2008.Google Scholar
Giorgio Vasari: Das Leben des Daniele da Volterra und des Taddeo Zuccaro, Irlenbusch, Christina ed., Lorini, Victoria trans., Berlin, 2009.Google Scholar
Rabisch: Giovanni Paolo Lomazzo e i facchini della Val di Blenio, Isella, Dante ed., Turin, 1993.Google Scholar
Jacoby, Joachim W., Den Päpsten zu dienen. Raffaels Herrscherzyklus in den Stanza dell’Incendio im Vatikanischer Palast, Hildesheim, 1987.Google Scholar
Jacoby, Joachim, Bildform und Rechtsnorm: Raphael in der Stanza dell’Incendio im Vatikanischen Palast, Munich 2007.Google Scholar
Jacoby, Joachim & Sonnabend, Martin, eds., Raffael als Zeichner: die Beiträge des Frankfurter Kolloquiums, Frankfurt, 2015.Google Scholar
Jay, Martin, “Mimesis and Mimetology: Adorno and Lacoue-Labarthe,” The Semblance of Subjectivity: Essays in Adorno’s Aesthetic Theory, Hun, Tom & Zuidervaart, Lambert, eds., Cambridge, MA, 1992, 29–53.Google Scholar
Joannides, Paul, “The Early Easel Paintings of Giulio Romano,” Paragone, 36, 1985, 17–46.Google Scholar
Joannides, Paul, “Giulio Romano in Raphael’s Workshop,” Quaderni del Palazzo del Te, 8, 2000, 35–45.Google Scholar
Joannides, Paul, “Raphael: A Sorority of Madonnas,” Burlington Magazine, 146, 2004, 749–52.Google Scholar
Joannides, Paul, “Drawings by Raphael and his Immediate Followers for or Employed for Engravings and Chiaroscuro Woodcuts,” in Jacoby, & Sonnabend, eds., 2015, 149–66.Google Scholar
Joost-Gaugier, Christianne, Raphael’s Stanza della Segnatura: Meaning and Invention, Cambridge, 2002.Google Scholar
Jouin, Henry, ed., Conférences de l’Académie Royale de Peinture et de Sculpture, Paris, 1883.Google Scholar
Jungic, Josephine, “Joachimist Prophecies in Sebastiano del Piombo’s Borgherini Chapel and Raphael’s Transfiguration,” Journal of the Warburg and Courtauld Institutes, 51, 1988, 61–83.CrossRefGoogle Scholar
Jungic, Josephine, “Raphael at Bologna and Savonarola’s Prophecies of a Renovatio Ecclesiae,” Art History, 16, 1993, 580–99.CrossRefGoogle Scholar
Karafel, Lorraine, “Raphael’s Tapestries: The Grotesques of Leo X and the Vatican’s Sala dei Pontefici,” in Falomir, ed., 2013, 50–7.Google Scholar
Kecks, Ronald, Madonna und Kind: das häusliche Andacht im Florenz des 15. Jahrhunderts, Berlin, 1988.Google Scholar
Kemp, Martin, “‘Ogni dipintore dipinge se’: A Neoplatonic Echo in Leonardo’s Art Theory?” in Cultural Aspects of the Italian Renaissance, Clough, Cecil, ed., Manchester, 1976, 311–23.Google Scholar
Kemp, Martin, Leonardo da Vinci: The Marvelous Works of Nature and Man, Cambridge, MA, 1981.Google Scholar
Kemp, Martin, “Leonardo da Vinci: Science and the Poetic Impulse,” Journal of the Royal Society of Arts, 133, 1985, 196–214.Google Scholar
Kemp, Martin, “Equal Excellences: Lomazzo and the Explanation of Individual Style in the Visual Arts,” Renaissance Studies, 1, 1987, 1–26.CrossRefGoogle Scholar
Kemp, Martin, Leonardo e lo spazio dello scultore (Lettura vinciana 27), Florence, 1988.Google Scholar
Kemp, Martin, “The Madonna of the Yarnwinder in the Buccleuch Collection Reconsidered in the Context of Leonardo’s Practice,” in I Leonardeschi a Milano, Florio, Maria Tesi, ed., Milan, 1991, 35–48.Google Scholar
Kemp, Martin, “Virtuous Artists and Virtuous Art: Alberti and Leonardo on Decorum in Life and Art,” in Decorum in Italian Narrative Art, Ames-Lewis, Francis & Bednarek, Anka, eds., London, 1992, 15–23.Google Scholar
Kemp, Martin, ed., The Mystery of the Madonna of the Yarnwinder, exh. cat., National Gallery of Scotland, Edinburgh, 1992.Google Scholar
Kemp, Martin, “From Scientific Examination to the Renaissance Market: The Case of Leonardo da Vinci’s Madonna of the Yarnwinder,” Journal of Medieval and Renaissance Studies, 24, 1994, 259–74.Google Scholar
Kemp, Martin, “In the Light of Dante: Meditations on Natural and Divine Light in Piero della Francesca, Raphael, and Michelangelo,” in Ars naturam adiuvans; Festschrift für Matthias Winner, von Flemming, Viktoria, Schütze, Sebastian, & Henze, Hans Werner, eds., Mainz, 1996, 160–77.Google Scholar
Kemp, Wolfgang, “Ganze Teile” zum kunsthistorischen Gattungsbegriff,” Deutsche Vierteljahrschrift für Literaturwissenschaft und Geistesgeschichte, 76, 2002, 294–9.Google Scholar
Leonardo on Painting: An Anthology of Writings by Leonardo da Vinci with a Selection of Documents Relating to his Career, Kemp, M. & Walker, M., trans., New Haven, 1989.Google Scholar
Kempers, Bram, “Words, Images and All the Pope’s Men: Raphael’s Stanza della Segnatura and the Synthesis of Divine Wisdom,” in History of Concepts: Comparative Perspectives, Hampsher-Monk, Iain, Tilmans, Karin, & van Vree, Frank, eds., Amsterdam, 1998, 131–65.Google Scholar
Kennedy, George A., Classical Rhetoric and its Christian and Secular Tradition from Ancient to Modern Times, Chapel Hill, 1994.Google Scholar
King, Catherine, “The Liturgical and Commemorative Allusions in Raphael’s Transfiguration and Failure to Heal,” Journal of the Warburg and Courtauld Institutes, 45, 1982, 148–59.CrossRefGoogle Scholar
King, Catherine, “Late Sixteenth-Century Careers’ Advice: A New Allegory of the Artist’s Training – Albertina, Inv. No. 2763,” Wiener Jahrbuch für Kunstgeschichte, 41, 1988, 77–96.CrossRefGoogle Scholar
Kittler, Friedrich, Gramophone, Film, Typewriter, Winthrop-Young, Geoffrey, trans., Stanford, 1999.Google Scholar
Lomazzo, Giovanni Paolo, Idea del tempio della pittura, 2 vols., Klein, Robert, ed., Florence, 1974.Google Scholar
Kleinbub, Christian, “Raphael’s Transfiguration as Visio-Devotional Program,” Art Bulletin, 90, 2008, 367–93.Google Scholar
Knab, Eckhart, Mitsch, Erwin, Oberhuber, Konrad, & Ferino Pagden, Sylvia, Raphael. Die Zeichnungen, Stuttgart, 1983.Google Scholar
Körner, Hans, Auf der Suche nach der “wahren Einheit”: Ganzheitsvorstellungen in der französischen Malerei und Kunstliteratur vom mittleren 17. bis zum mittleren 19. Jahrhundert, Munich, 1988.Google Scholar
Koos, Marianne, Bildnisse des Begehrens: das lyrische Männerporträt in der venezianischen Malerei des frühen 16, Jahrhunderts, Berlin, 2006.Google Scholar
Korrick, Leslie, “On the Meaning of Style: Nicolò Circignani in Counter-Reformation Rome,” Word and Image, 15, 1999, 170–89.CrossRefGoogle Scholar
Kranz, Gisbert, “Gedichte über die Sixtinische Madonna,” Zeitschrift für Kunstgeschichte, 44, 1981, 159–70.CrossRefGoogle Scholar
Krems, Eva Bettina, “Il nuovo Raffaello romano: Anmerkungen zum späten Raffael aus Anlass zweier Ausstellungen und einer Monographie,” Kunstchronik, 2000, 453–68.Google Scholar
Krems, Eva Bettina, Raffaels römische Altarbilder: Kontext, Ikonographie, Erzählkonzept. Die Madonna del Pesce und Lo Spasimo di Sicilia, Munich, 2002.Google Scholar
Krüger, Manfred, Die Verklärung auf dem Berge: Erkenntnis und Kunst, Hildesheim, 2003.Google Scholar
Kruse, Petra, ed., Hoch Renaissance im Vatikan (1503–1534). Kunst und Kultur im Rome der Päpste, Bonn, 1999.Google Scholar
Kubersky-Piredda, Susanne, “Immagini devozionali nel Rinascimento fiorentino: produzione, commercio, prezzi,” in Fantoni, et al. eds., 2003, 115–25.Google Scholar
Kubersky-Piredda, Susanne, Kunstwerke-Kunstwerte: die Florentiner Maler der Renaissance und der Kunstmarkt ihrer Zeit, Norderstedt, 2005.Google Scholar
Kwakkelstein, Michael, “The Model’s Pose: Raphael’s Early Use of Antique and Italian Art,” Artibus et Historiae, 23, 2002, 37–58.CrossRefGoogle Scholar
Kwakkelstein, Michael, “The Development of the Figure Study in the Early Work of Raphael,” in The Translation of Raphael’s Roman Style, van Veen, Henk, ed., Leuven, 2007, 21–33.Google Scholar
Labowsky, Lotte, Die Ethik des Panaitios. Untersuchungen zur Geschichte des Decorum bei Cicero und Horaz, Leipzig, 1934.Google Scholar
Lacoue-Labarthe, Philippe & Nancy, Jean-Luc, The Literary Absolute: The Theory of Literature in German Romanticism, Barnard, Philip & Lester, Cheryl, trans., Albany, 1988.Google Scholar
Ladis, Andrew, Perugino and the Wages of Fortune,” in Victims and Villains in Vasari’s Lives, Chapel Hill, 2008, 69–81.Google Scholar
Ladwein, Michael, Raphaels Sixtinische Madonna. Zeugnisse aus zwei Jahrhunderten deutschen Geisteslebens, Stuttgart, 1993.Google Scholar
Larsen, E., “A New Interpretation of a Passage from Vasari’s Life of Raphael,” L’Arte, n.s. 58, 1959, 303–8.Google Scholar
Lauenstein, Hajo, Arithmetik und Geometrie in Raffael’s “Schule vom Athen”: die geheimnisvolle Schlüsselrolle der Tafeln im Fresko für das Konzept harmonischer Komposition und der ungeahnte Bezug zum Athenatempel von Paestum, Frankfurt, 1998.Google Scholar
Lavagetto, Paola Ceschi, ed., La Madonna di San Sisto di Raffaello e la cultura piacentina della prima metà del Cinquecento, Parma, 1985.Google Scholar
Lee, Renssalaer W., Ut Pictura Poesis: The Humanistic Theory of Painting, New York, 1967.Google Scholar
Lincoln, Evelyn, The Invention of the Italian Renaissance Printmaker, New Haven, 2000.Google Scholar
Lindemann, Bernd, “‘Was soll dieser nackte Knabe da mit seinem Täfelchen?’ und andere Probleme der Deutung von Raffaels Madonna di Foligno,” Zeitschrift für Kunstgeschichte, 46, 1983, 307–12.CrossRefGoogle Scholar
Wassily Kandinsky: The Complete Writings on Art, Lindsay, Kenneth & Vergo, Peter, eds., Boston, 1982.Google Scholar
Liu, Alan, The Laws of Cool: Knowledge Work and the Culture of Information, Chicago, 2004.CrossRefGoogle Scholar
Locher, H., Raffael und das Altarbild der Renaissance: die “Pala Baglioni” als Kunstwerk im sakralen Kontext, Berlin, 1994.Google Scholar
Locher, H., “Vasaris Raffael – und die Folgen,” in Atti del Convegno Internazionale su Raffaello, http://colosseum.biblhertz.it/event/Raffael.Google Scholar
Loh, Maria, “New and Improved: Repetition as Originality in Italian Baroque Practice and Theory,” Art Bulletin, 86, 2004, 477–504.CrossRefGoogle Scholar
Löhneysen, Wolfgang, Raffael unter den Philosophen – Philosophen über Raffael: Denkbild und Sprache der Interpretation, Berlin, 1992.CrossRefGoogle Scholar
Lorenzoni, Antonio, ed., Il carteggio artistico inedito di Don Vincenzo Borghini, Florence, 1912.Google Scholar
Love, David, “Giovanfrancesco Penni: Designs for Overlooked Panel Paintings,” in Falomir, ed., 2013, 136–49.Google Scholar
Love, David, “Gianfrancesco Penni: A Biographical and Iconographic Introduction to His Two Versions of The Holy Family with Saint John and Saint Catherine,” Journal of the National Museum of Warsaw, 3 (39), 2014, 2–14, 217–31.Google Scholar
Lukehart, Peter, ed., The Artist’s Workshop (Studies in the History of Art 38), Washington, DC, 1993.Google Scholar
Lütgens, Hans, Raffaels Transfiguration in der Kunstliteratur der letzten vier Jahrhunderte, Göttingen, 1929.Google Scholar
Vasari on Technique, Being an Introduction to the Three Arts of Design …, Maclehouse, Louisa, trans., with notes by G. Baldwin Brown, New York, 1960.Google Scholar
McGuckin, John A., The Transfiguration of Christ in Scripture and Tradition, Lewiston, NY, 1986.Google Scholar
McLaughlin, Martin, Literary Imitation in the Italian Renaissance: The Theory and Practice of Literary Imitation from Dante to Bembo, Oxford, 1995.Google Scholar
Leonardo da Vinci, Treatise on Painting (Codex Urbinas Latinus 1270), 2 vols., A. McMahon, Philip, ed., Princeton, 1956.Google Scholar
Malme, Heikki, “La Stufetta del cardinal Bibbiena e l’iconografia dei suoi affreschi,” in Quando gli dei si spogliano: il bagno di Clemente VII a Castel Sant’Angelo e le altre stufe romane del primo Cinquecento, Contardi, Bruno & Lilius, Henrik, eds., Rome, 1984, 34–50.Google Scholar
Mancinelli, Fabrizio, Primo piano di un capolavoro: la “Trasfigurazione” di Raffaello, Vatican City, 1979.Google Scholar
Mancinelli, Fabrizio, “Raphael’s Coronation of Charlemagne and its Cleaning,” Burlington Magazine, 126, 1984, 404–10.Google Scholar
Mancinelli, Fabrizio, “The ‘Coronation of the Virgin’ by Raphael,” in Beck, ed., 1986, 127–37.Google Scholar
Mancinelli, Fabrizio, “L’Incoronazione di Francesco I nella Stanza dell’Incendio di Borgo,” in Frommel, & Winner, eds., 1986, 163–72.Google Scholar
Mancinelli, Fabrizio, “La Trasfigurazione e la Pala di Monteluce: considerazioni sulla loro tecnica esecutiva alla luce dei recenti restauri,” in Shearman, & Hall, eds., 1990, 149–60.Google Scholar
Mancinelli, Fabrizio & DeStrobel, Anna Maria, eds., Raffaello in Vaticano, Milan, 1984.Google Scholar
Mancinelli, Fabrizio & Nesselrath, Arnold, “La Stanza dell’Incendio,” in Caravaggi, ed., 1993, 293–337.Google Scholar
Mancini, Roberto, “Il principe e l’artigiano. Proposti di emarginazione sociale nella Firenze del Cinquecento,” in Cardini, et al. eds., 1998–2003, vol. iii (2000), 25–39.Google Scholar
Marek, Michaela, “Raffaels Loggia di Psiche in der Farnesina. Überlegungen zu Rekonstruktion und Deutung,” Jahrbuch der Berliner Museen, 26, 1984, 257–90.CrossRefGoogle Scholar
Marek, Michaela, “La Loggia di Psiche nella Farnesina: per la ricostruzione e il significato,” in Frommel, & Winner, eds., 1986, 209–16.Google Scholar
Marinacci, Marco, Raffaello e la biblioteca di Giulio II: un’ esegi della Stanza della Segnatura, Genoa, 2010.Google Scholar
Marocchini, Bruno & Piacentini, Fabio, “L’organizzazione del cantiere della Loggia di Amore e Psiche,” in Varoli-Piazza, ed., 2002, 71–97.Google Scholar
Mancini, Giulio, Considerazioni sulla pittura, 2 vols., Marucchi, Adriana & Salerno, Luigi, eds., Rome, 1956.Google Scholar
Mazza, Angelo, “Le vicende storiche della Santa Cecilia,” in Valli, et al. eds., 1983, 63–103.Google Scholar
Mazzacurati, Giancarlo, Letteratura cortegiana e imitazione umanistica nel primo ’500, Naples, 1966.Google Scholar
Mazzacurati, Giancarlo, Il Rinascimento dei moderni: la crisi culturale del XVI secolo e la negazione delle origini, Bologna, 1985.Google Scholar
Mazzini, Franco, “Fortuna storica di Raffaello nel Cinquecento,” Rinascimento, 4, 1953, 67–78.Google Scholar
Mazzini, Franco, “Fortuna storica di Raffaello nel Sei e Settecento,” Rinascimento, 6, 1955, 145–62.Google Scholar
Melion, Walter, Shaping the Netherlandish Canon: Karel van Mander’s Schilder-boeck, Chicago, 1991.Google Scholar
Meyer zur Capellen, Jürg, “Die Virtus Raffaels,” in Die Virtus des Künstlers in der italienischen Renaissance, Poeschke, Joachim, Weigel, Thomas, & Kusch-Arnhold, Britta, eds., Münster, 2006, 129–41.Google Scholar
Santi, Giovanni, La Vita e Le Gesta di Federico di Montefeltro, Michelini Tocci, Luigi, ed., Vatican City, 1985.Google Scholar
van Mander, Karel, Den Grondt der edel vry Schilder-Const, Miedema, Hessel, ed., Utrecht, 1973.Google Scholar
van Mander, Karel, The Lives of the Illustrious Netherlandish and German Painters, Miedema, Hessel, ed. & trans., Doornspijk, 1994.Google Scholar
Mildner, Ursula, Das Decorum. Herkunft, Wesen und Wirkung des Sujetstils am Beispiel Nicolas Poussin, Sankt Augustin, 1983.Google Scholar
Minnich, Nelson, “Raphael’s Portrait of Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi: A Religious Interpretation,” Renaissance Quarterly, 54, 2003, 1005–52.Google Scholar
Mischiati, Oscar et al., “Significato musicale del quadro di Santa Cecilia,” in Valli, et al. eds., 1983, 235–43.Google Scholar
Mitsch, Erwin, ed., Raffael in der Albertina. Aus Anlass des 500. Geburtstages des Künstlers, Vienna, 1983.Google Scholar
Mitsch, Erwin, “Florentinische und frühe römische Jahre,” in Knab, et al. eds., 1983, 11–17.Google Scholar
Mochi Onori, Lorenza, “Il restauro della Fornarina,” Accademia Raffaello, 0, 2002, 33–48.Google Scholar
Mochi Onori, Lorenza, “La cultura della corte di Urbino e il giovane Raffaello: l’influsso della memoria,” in Mochi Onori, ed., 2009, 22–7.Google Scholar
Mochi Onori, Lorenza, ed., Raffaello e Urbino: la formazione giovanile e i rapporti con la città natale, Milan, 2009.Google Scholar
Monfasani, John, “Erasmus, the Roman Academy, and Ciceronianism: Battista Casali’s Invective,” Erasmus of Rotterdam Society Yearbook, 17, 1997, 19–54.CrossRefGoogle Scholar
Morel, Philippe, “Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento,” in Roma e l’antico nell’arte e nella cultura del Cinquecento, Fagiolo, Marcello, ed., Rome, 1985, 147–78.Google Scholar
Morel, Philippe, Les grotesques: les figures de l’imaginaire dans la peinture italienne de la fin de la Renaissance, Paris, 1997.Google Scholar
Morolli, Gabriele, “Le Belle Forme degli edifici antichi”: Raffaello e il progetto el primo trattato rinascimentale sulle antichità di Roma, Florence, 1984.Google Scholar
Mossakowski, Stanislaw, “Raphael’s ‘St. Cecilia’. An Iconographical Study,” Zeitschrift für Kunstgeschichte, 31, 1968, 1–26.CrossRefGoogle Scholar
Mossakowski, Stanislaw, “Il significato della ‘Santa Cecilia’ di Raffaello,” in Emiliani, et al. eds., 1983, 49–79.Google Scholar
Mossakowski, Stanislaw, “Trent’anni dopo. Ricerche sul significato della Santa Cecilia di Raffaello,” in Per la storia dell’arte in Italia e in Europa: studi in onore di Luisa Mortari, Ferrari, Mimma Pasculli, ed., Rome, 2004, 269–76.Google Scholar
Most, Glenn, “Generating Genres: The Idea of the Tragic,” in Matrices of Genre: Authors, Canons, and Society, Depew, Mary & Obbink, Dirk, eds., Cambridge, MA, 2000, 15–35.Google Scholar
Mozzati, Tommaso, “Produzioni in serie, derivazioni e modelli: Perugino e la bottega di Andrea del Verrocchio,” in Garibaldi, & Mancini, eds., 2004, 95–103.Google Scholar
Muller, Jeffrey, “Rubens’ Theory and Practice of the Imitation of Art,” Art Bulletin, 64, 1982, 229–47.Google Scholar
Müller, Jürgen, Concordia pragensis. Karel van Manders Kunsttheorie im Schilder-boeck, Munich, 1993.Google Scholar
Nagel, Alexander, “Structural Indeterminacy in Early Sixteenth-Century Italian Painting,” in Subject as Aporia in Early Modern Art, Nagel, Alexander & Pericolo, Lorenzo, eds., New York, 2010, 17–42.Google Scholar
Natali, Antonio, “Leone come Giulio? Tracce per un’indagine sull’invenzione del ritratto di Leone X con due cardinali,” in Del Serra, et al. eds., 1996, 51–66.Google Scholar
Nees, Lawrence, “Le Quos Ego de Marc-Antoine Raimondi,” Nouvelle de l’Estampes, 1978, 18–22.Google Scholar
Nelson, Jonathan, “The High Altar-Piece of Santissima Annunziata in Florence: History, Form, and Function,” Burlington Magazine, 139, 1997, 84–94.Google Scholar
Nelson, Jonathan, “La Disgrazia di Pietro: l’importanza della pala della Santissima Annunziata nella Vita del Perugino del Vasari,” in Teza, ed., 2004, 65–74.Google Scholar
Nesselrath, Arnold, “Raphael’s Archaeological Method,” in Frommel, & Winner, eds., 1986, 357–71.Google Scholar
Nesselrath, Arnold, “Art Historical Findings during the Restoration of the Stanza dell’Incendio,” Master Drawings, 30, 1992, 31–60.Google Scholar
Nesselrath, Arnold, “Päpstliche Malerei der Hochrenaissance und des frühen Manierismus von 1506 bis 1534,” in Kruse, ed., 1998, 240–58.Google Scholar
Nesselrath, Arnold, “Lorenzo Lotto in the Stanza della Segnatura,” Burlington Magazine, 162, 2000, 4–12.Google Scholar
Nesselrath, Arnold, “Lotto as Raphael’s Collaborator in the Stanza d’Eliodoro,” Burlington Magazine, 146, 2004, 732–41.Google Scholar
Nesselrath, Arnold, Raphaël et Pinturicchio: les grands décors des appartements du pape au Vatican, Paris, 2012.Google Scholar
Nesselrath, Arnold, “L’antico vissuto: la stuffetta del Cardinal Bibbiena,” in Beltramini, ed., 2013, 284–91.Google Scholar
Newman, Sara, “Aristotle’s Notion of ‘Bringing-before-the-Eyes’: Its Contributions to Aristotelian and Contemporary Conceptualizations of Metaphor, Style, and Audience,” Rhetorica, 20, 2002, 1–23.Google Scholar
della Francesca, Piero, De Prospettiva pingendi, Nicco Fasola, Giusta, ed., Florence, 1984.Google Scholar
Nichols, Tom, “Understanding Tintoretto’s ‘Prestezza’: Literary and Other Approaches to the Contested Artistic Culture of Mid-Cinquecento Venice,” in Officine del Nuovo: Sodalizi fra letterati, artisti ed editori nella cultura italiana fra Riforma a Controriforma, Henrix, H. & Procaccioli, P., eds., Rome, 2008, 51–64.Google Scholar
Nova, Alessandro, “Salviati, Vasari, and the Reuse of Drawings in their Working Practice,” Master Drawings, 30, 1992, 83–108.Google Scholar
Nova, Alessandro, “Cesare da Sesto, 1477–1523,” Burlington Magazine, 139, 1997, 483–85.Google Scholar
Nova, Alessandro, “La Trasfigurazione di Raffaello tra teoria dell’arte e filosofia,” http://colosseum.biblhertz.it/event/Raffael.Google Scholar
Nova, Alessandro, “Vasari y el retrat,” in Vidas de artistas y otras narrativas biograficas, March, Eva & Narváez, Carme, eds., Barcelona, 2012, 13–56.Google Scholar
Nucciarelli, Franco & Severini, Giovanna, Raffaello: La Madonna di Foligno, Perugia, 2007.Google Scholar
Oberhuber, Konrad, “Die Fresken der Stanza dell’Incendio im Werk Raffaels,” Jahrbuch der Kunsthistorischen Sammlungen in Wien, n.s. 22, 1962, 23–72.Google Scholar
Oberhuber, Konrad, “Vorzeichnungen zu Raffaels ‘Transfiguration’,” Jahrbuch der Berliner Museen, 4, 1962, 116–49.CrossRefGoogle Scholar
Oberhuber, Konrad, “A Drawing by Raphael Mistakenly Attributed to Bandinelli,” Master Drawings, 2, 1964, 398–401.Google Scholar
Oberhuber, Konrad, “Raphael und Michelangelo,” in Stil und Überlieferung in der Kunst des Abendlandes, vol. ii, Berlin, 1967, 156–64.Google Scholar
Oberhuber, Konrad, Raphael and the State Portrait: I. The Portrait of Julius II; II. The Portrait of Lorenzo de’ Medici,” Burlington Magazine, 113, 1971, 124–31; 436–43.Google Scholar
Oberhuber, Konrad, Raffaels Zeichnungen, Abteilung IX. Entwürfe zu Werken Raffaels und seiner Schüler im Vatikan, 1511/12 bis 1520, Berlin, 1972.Google Scholar
Oberhuber, Konrad, “The Colonna Altarpiece in the Metropolitan Museum and Problems in the Early Style of Raphael,” Metropolitan Museum Journal, 12, 1977, 55–92.CrossRefGoogle Scholar
Oberhuber, Konrad, Polarität und Synthese in Raffaels “Schule von Athen”, Stuttgart, 1983.Google Scholar
Oberhuber, Konrad, “Raffaello e l’incisione,” in Mancinelli, & DeStrobel, eds., 1984, 333–42.Google Scholar
Oberhuber, Konrad, “Raphael’s Drawings for the Loggia of Psyche in the Villa Farnesina,” in Frommel, & Winner, eds., 1986, 189–207.Google Scholar
Oberhuber, Konrad, “Raphael and Giorgione,” in Sambucco Hamoud, & Strocchi, eds., 1987, 117–24.Google Scholar
Oberhuber, Konrad & Vitali, Lamberto, Raffaello: il cartone della Scuola di Atene, Milan, 1972.Google Scholar
Olin, John C., Catholic Reform: From Cardinal Ximenes to the Council of Trent, 1495–1563, New York, 1990.Google Scholar
Olin, John C., The Catholic Reformation: Savonarola to Ignatius Loyola, New York, 1992.Google Scholar
Armenini, Giovanni Battista, On the True Precepts of the Art of Painting, Olszewski, Edward J., trans., New York, 1977.Google Scholar
O’Malley, John W., “The Vatican Library and the School of Athens: A Text of Batista Casali, 1508,” Journal of Medieval and Renaissance Studies, 7, 1977, 271–87.Google Scholar
O’Malley, John W., Praise and Blame in Renaissance Rome: Rhetoric, Doctrine, and Reform in the Sacred Orators of the Papal Court, c. 1450–1521, Durham, NC, 1979.Google Scholar
O’Malley, Michelle, The Business of Art: Contracts and the Commissioning Process in Renaissance Italy, New Haven, 2005Google Scholar
O’Malley, Michelle, Painting under Pressure: Fame, Reputation and Demand in Renaissance Florence, New Haven, 2013Google Scholar
Alberti, Leone Battista, L’Architettura (De re aedificatoria): testo latino e traduzione, Orlandi, Giovanni, ed. & trans., Milan, 1966.Google Scholar
Padovani, Serena, “Considerazioni sulla fortuna della ‘Madonna del Baldacchino’ e un’ ipotesi,” in Chiarini, et al. eds., 1991, 21–34.Google Scholar
Paolucci, Antonio, “Perugino visto da Giorgio Vasari,” in Garibaldi, & Mancini, eds., 2004, 25–7.Google Scholar
Parker, Karl T., Catalogue of the Collection of Drawings in the Ashmolean Museum I: Italian Schools, Oxford, 1956.Google Scholar
Parker, Deborah, “Bronzino and the Diligence of Art,” Artibus et Historiae, 25, 2004, 161–74.CrossRefGoogle Scholar
Parlato, Enrico, “Giulio Romano,” in Dizionario biografico degli italiani, vol. lvii, Rome, 2001, 37–50.Google Scholar
Partridge, Loren & Starn, Randolph, A Renaissance Likeness: Art and Culture in Raphael’s Julius II, Berkeley, 1981.Google Scholar
Pasti, Stefania, “Giulio de’ Medici e l’Apocalypsis Nova: una fonte per i quadri do Raffaello e Sebastiano del Piombo per la cattedrale di Narbonne,” Bollettino dei Monumenti, Musei e Gallerie Pontificie, 30, 2012, 103–45.Google Scholar
Pastor, Ludwig, The History of the Popes from the Close of the Middle Ages, Antrobus, Frederick, R. F. Kerr, & Ernest Graf, trans., St. Louis, 1936–61.Google Scholar
Penny, Nicholas, “Raphael’s ‘Madonna dei garofani’ Rediscovered,” Burlington Magazine, 134, 1992, 67–81.Google Scholar
Penny, Nicholas, “Der Renaissance-Maler und seine Werkstatt in Italien,” in Cassanelli, ed., 1998, 31–54.Google Scholar
Perini, Giovanna, “‘L’ottimo universale’ del divino Raffaello: alle radici di un prassi eclettica dell’imitazione,” Accademia Raffaello: Atti e studi, 0, 2002, 9–31.Google Scholar
Perini, Giovanna, “Raphael’s European Fame in the Seventeenth and Eighteenth Centuries,” in Hall, ed., 2005, 261–75.Google Scholar
Lettere sull’arte di Pietro Aretino, 3 vols., Pertile, Fidenzio & Camesasca, Ettore, eds., Milan, 1957–60.Google Scholar
Pezzini, Grazia et al., Raphael Invenit: stampe da Raffaello nelle collezioni dell’Istituto Nazionale per la Grafica, Rome, 1985.Google Scholar
Pfeiffer, Heinrich, “Die Predigt des Egidio da Viterbo über das goldene Zeitalter und die Stanza della Segnatura,” in Festschrift Luitpold Dussler, Schmoll, J. ed., Munich, 1972, 237–47.Google Scholar
Pfeiffer, Heinrich, Zur Ikonographie von Raffaels Disputa. Egidio da Viterbo und die christlich-platonische Konzeption der Stanza della Segnatura, Rome, 1975.Google Scholar
Pfeiffer, Heinrich, “Die drei Tugenden und die Übergabe der Dekretalen in der Stanza della Segnatura,” in Frommel, & Winner, eds., 1986, 47–57.Google Scholar
Pfisterer, Ulrich, “Raffaels Muse: erotische Inspiration in der Renaissance,” Jahrbuch der staatlichen Kunstsammlungen Dresden, 38, 2012, 62–83.Google Scholar
Pich, Federica, “Il ritratto letterario nel Cinquecento. Ipotesi e prospettive per una tipologia,” in Il ritratto nell’Europa del Cinquecento, Galli, Aldo, Piccinini, Chiara, & Rossi, Massimiliano, eds., Florence, 2007, 137–68.Google Scholar
Piel, Friedrich, Die Ornament-Grotteske in der italienischen Renaissance: zu ihrer kategorialen Struktur und Entstehung, Berlin, 1962.CrossRefGoogle Scholar
Pietrangeli, Carlo, “La ‘Madonna di Foligno’ di Raffaello e le sue vicende,” Bollettino storico della citta di Foligno, 7, 1983, 341–68.Google Scholar
Pietrangeli, Carlo et al., Raphael in the Apartments of Julius II and Leo X, Milan, 1993.Google Scholar
Pigman, George W., “Imitation and the Renaissance Sense of the Past: The Reception of Erasmus’ Ciceronianus,” Journal of Medieval and Renaissance Studies, 9, 1979, 155–77.Google Scholar
Pigman, George W., “Versions of Imitation in the Renaissance,” Renaissance Quarterly, 32, 1980, 1–32.CrossRefGoogle Scholar
Pinelli, Antonio, “Raffaello ‘convenevole,’ Michelangelo ‘sconveniente’,” in Sambucco Hamoud, & Strocchi, eds., 1987, 683–94.Google Scholar
Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print, New Haven, 2004.Google Scholar
Pon, Lisa, “Raphael’s Acts of the Apostles Tapestries for Leo X: Sight, Sound and Space in the Sistine Chapel,” Art Bulletin, 97, 2015, 36–56.Google Scholar
Poni, Carlo, “Norms and Disputes: The Shoemakers’ Guild in Eighteenth-Century Bologna,” Past and Present, 1989, 80–108.CrossRefGoogle Scholar
Porzio, Francesco, “Lomazzo e il realismo grottesco: un capitolo del primitivismo nel Cinquecento,” in Bora, et al. eds., 1998, 23–36.Google Scholar
Posner, Kathleen Weil-Garris, Leonardo and Central Italian Painting, 1515–1550, New York, 1974.Google Scholar
Pouncey, Philip & Gere, J. A., Italian Drawings in the Department of Prints and Drawings in the British Museum. Raphael and His Circle, London, 1962.Google Scholar
Pozzi, Mario, “Note sulla cultura artistica e sulla poetica di Pietro Aretino,” Giornale storico della letteratura italiana, 85, 1968, 293–322.Google Scholar
Pozzi, Mario, “Teoria e fenomenologia del descriptio,” in Lingua, cultura, società, Alessandria, 1989, 28–40.Google Scholar
Prater, Andreas, “Jenseits und diesseits des Vorhangs. Bemerkungen zu Raffaels ‘Sixtinische Madonna’ als religiöses Kunstwerk,” Münchner Jahrbuch der bildenden Kunst, 42, 1991, 117–36.Google Scholar
Preimesberger, Rudolf, “Tragische Motive in Raffaels ‘Transfiguration’,” Zeitschrift für Kunstgeschichte, 50, 1987, 89–115.CrossRefGoogle Scholar
Prohaska, Wolfgang, “The Restoration and Scientific Examination of Raphael’s Madonna in the Meadow,” in Shearman, & Hall, eds., 1990, 57–64.Google Scholar
Putscher, Marielene, Raffaels Sixtinische Madonna. Das Werk und seine Wirkung, Tübingen, 1955.Google Scholar
Puttfarken, Thomas, “Poussin’s Thoughts on Painting,” in Commemorating Poussin, Scott, Katie & Warwick, Genevieve, eds., Cambridge, 1999, 53–75.Google Scholar
Puttfarken, Thomas, Theories of Pictorial Composition: Theories of Visual Order in Painting, 1400–1800, New Haven, 2000.Google Scholar
Quednau, Rolf, Die Sala di Costantino im Vatikanischen Palast. Zur Dekoration der beiden Medicipäpste Leo X und Clement VII, Hildesheim, 1979.Google Scholar
Quednau, Rolf, “Raphael und ‘alcune stampe di maniera todesca’,” Zeitschrift für Kunstgeschichte, 46, 1983, 129–75.CrossRefGoogle Scholar
Quednau, Rolf, “‘Imitatione d’altrui’: Anmerkungen zu Raphaels Verarbeitung entlehnter Motive,” in De arte et libris: Festschrift Erasmus, 1934–1984, Horodisch, A., ed., Amsterdam, 1984, 349–67.Google Scholar
Quednau, Rolf, Päpstliches Geschichtsdenken und seine Verbildlichung in der Stanza del Incendio,” Münchner Jahrbuch der bildenden Kunst, 35, 1984, 83–128.Google Scholar
Quednau, Rolf, “Aspects of Raphael’s ‘ultima maniera’ in the Light of the Sala del Constantino,” in Frommel, & Winner, eds., 1986, 245–57.Google Scholar
Quednau, Rolf, “Aemulatio veterum. Lo studio e la ricezione dell’antichità in Peruzzi e Raffaello,” in Baldassare Peruzzi: pittura, scena e architettura, Fagiolo, Marcello & Madonna, Maria Luisa, eds., Rome, 1987, 399–431.Google Scholar
Quint, David, Origin and Originality in Renaissance Literature: Versions of the Source, New Haven, 1983.Google Scholar
Quint, David, “Humanism and Modernity: A Reconsideration of Bruni’s Dialogues,” Renaissance Quarterly, 38, 1985, 423–35.CrossRefGoogle Scholar
Quondam, Amedeo, Il petrarchismo mediato: per una critica della forma antologia, Rome, 1973.Google Scholar
Quondam, Amedeo, “Il naso di Laura. Considerazioni sul ritratto poetico e la communicazione lirica,” in Il naso di Laura. Lingua e poesia lirica nella tradizione del classicismo, Ferrara, 1991, 291–328.Google Scholar
Quondam, Amedeo, ed., Rinascimento e classicismo. Materiali per l’analisi del sistema culturale dell’Antico Regime, Rome, 1999.Google Scholar
Quondam, Amedeo, “Sul petrarchismo,” in Il Petrarchismo: un modello di poesia per l’Europa, vol. i, Chines, Loredana, ed., Rome, 2006, 27–92.Google Scholar
Ray, Stefano, Raffaello architetto: linguaggio artistico e ideologia nel Rinascimento romano, Bari, 1974.Google Scholar
Ray, Stefano, “Antonio da Sangallo il giovane e Raffaello: il connotato di un confronto,” in Antonio da Sangallo il Giovane: la vita e l’opera, Spagnesi, Gianfranco, ed., Rome, 1986, 43–62.Google Scholar
Ray, Stefano, “Vasari, Raffaello, Giulio e Antonio. Problemi di storia, problemi di documenti,” Architettura: storia e documenti, 2, 1986, 24–39.Google Scholar
Reale, Giovanni, La “Scuola di Atene”: una nuova interpretazione dell’affresco con il cartone a fronte, Milan, 1997.Google Scholar
Redig de Campos, Dioclecio, “La ‘Madonna di Foligno’ di Raffaello: note sulla sua storia e i suoi restauri,” in Miscellanea Bibliothecae Hertzianae zu Ehren von Leo Bruhns, Franz Graf Wolf Metternich, Ludwig Schudt (Römische Forschungen der Biblioteca Hertziana 16), Munich, 1961, 184–97.Google Scholar
Redig de Campos, Dioclecio, “Restauro della Trasfigurazione di Raffaello: nota sulla sua autografia,” Colloqui del Sodalizio tra Studiosi d’Arte, 5, 1975–6, 173–5.Google Scholar
Redig de Campos, Dioclecio, “La Stufetta del Cardinal Bibbiena in Vaticano e il suo restauro,” Römisches Jahrbuch für Kunstgeschichte, 20, 1983, 221–40.Google Scholar
Reilly, Patricia, “Raphael’s Fire in the Borgo and the Italian Pictorial Vernacular,” Art Bulletin, 92, 2010, 208–25.Google Scholar
Reiss, Sheryl, “Raphael and his Patrons: From the Court of Urbino to the Curia and Rome,” in Hall, ed., 2005, 36–55.Google Scholar
Ricciardi, R., “Sigismondo de’ Conti,” in Dizionario biografico degli italiani, vol. xxviii, Rome, 1983, 470–5.Google Scholar
Rice, Eugene & Grafton, Anthony, The Foundations of Early Modern Europe, 1460–1559, New York, 1994.Google Scholar
The Literary Works of Leonardo da Vinci, 2 vols., Richter, Jean Paul, ed., Los Angeles, 1970.Google Scholar
Riedl, Peter Anselm, “Raffael’s Madonna del Baldacchino,” Mitteilungen des Kunsthistorischen Institutes in Florenz, 8, 1957–9, 223–46.Google Scholar
Rijser, David, Raphael’s Poetics: Art and Poetry in High Renaissance Rome, Amsterdam, 2012.Google Scholar
Rinaldi, Simona & Falcucci, Claudio, “Raffaello lettore di Plinio e la tecnica di chiaroscuro,” in Metafora di un pontificato: Giulio II (1503–1513), Cantatore, F, Chiabò, M, Fargna, P., Gargano, M., Morisi, A., Modigliani, A., & Piperno, F., eds., Rome, 2010, 387–402.Google Scholar
Ringbom, Sixten, From Icon to Narrative: The Rise of the Dramatic Close-Up in Fifteenth-Century Devotional Painting, Åbo, 1965.Google Scholar
Rogers, Mary, “The Decorum of Women’s Beauty: Trissino, Firenzuola, Luigini and the Representation of Women in Sixteenth-Century Painting,” Renaissance Studies, 2, 1978, 47–88.CrossRefGoogle Scholar
Rogers, Mary, “Sonnets on Female Portraits from Renaissance North Italy,” Word and Image, 2, 1986, 291–305.CrossRefGoogle Scholar
Rohlmann, Michael, “Raffaels Sixtinische Madonna,” Römisches Jahrbuch, 30, 1995, 223–46.Google Scholar
Rohlmann, Michael, “‘Dominus mihi adiutor’: zu Raffaels Ausmalung der Stanza d’Eliodoro unter den Päpsten Julius II und Leo X,” Zeitschrift für Kunstgeschichte, 59, 1996, 1–28.CrossRefGoogle Scholar
Romani, Vittoria, “Raffaello e Pietro Bembo negli anni di Giulio II,” in Beltramini, ed., 2013, 339–56.Google Scholar
Rosand, David, “The Portrait, the Courtier, and Death,” in Castiglione: The Ideal and the Real in Renaissance Culture, Hanning, R., ed., New Haven, 1983, 91–121.Google Scholar
Rosand, David, “Raphael’s School of Athens and the Artist of the Modern Manner,” in The World of Savonarola: Italian Elites and the Perception of Crisis, Fletcher, Stella & Shaw, Christine, eds., Aldershot, 2000, 212–32.Google Scholar
Rosand, David, Drawing Acts: Studies in Graphic Expression and Representation, Cambridge, 2001.Google Scholar
Rosen, Valeska von, “Die Enargeia des Gemäldes: zu einem vergessenen Inhalt der Ut-pictura-poesis und seine Relevanz für das cinquecenteske Bildkonzept,” Marburger Jahrbuch für Kunstwissenschaft, 27, 2000, 171–208.CrossRefGoogle Scholar
Rosenberg, Martin, Raphael and France: The Artist as Paradigm and Symbol, University Park, PA, 1995.Google Scholar
Dolce’s “Aretino” and Venetian Art Theory of the Cinquecento, Roskill, Mark, ed. and trans., New York, 1968.Google Scholar
Rossi, Sergio, Dalle botteghe alle accademie: realtà sociale e teorie artistiche a Firenze dal XIV al XVI secolo, Milan, 1980.Google Scholar
Rossi, Sergio, “La Compagnia di San Luca nel Cinquecento e la sua evoluzione in Accademia,” Ricerche per la storia religiosa di Roma, 5, 1984, 367–94.Google Scholar
Rowland, Ingrid, “The Intellectual Background of the School of Athens: Tracking Divine Wisdom in the Rome of Julius II,” in Hall, ed., 1997, 131–70.Google Scholar
Rowland, Ingrid, The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome, Cambridge, 1998.Google Scholar
Vitruvius: Ten Books on Architecture, Rowland, I., trans., Howe, T., comm., Cambridge, 1999.Google Scholar
Roy, Ashok & Spring, Marika, eds., Raphael’s Painting Technique: Working Practices before Rome, Florence, 2007.Google Scholar
Rubin, Patricia, “What Men Saw: Vasari’s Life of Leonardo da Vinci and the Image of the Renaissance Artist,” Art History, 13, 1990, 33–45.CrossRefGoogle Scholar
Rubin, Patricia L., “Il Contributo di Raffaello allo sviluppo delle pale d’altare rinascimentali,” Arte Cristiana, 78, 1990, 169–82.Google Scholar
Rubin, Patricia L., “Raphael and the Rhetoric of Art,” in Renaissance Rhetoric, Mack, P., ed., London, 1994, 165–82.Google Scholar
Rubin, Patricia & Wright, Alison, Renaissance Florence: The Art of the 1470s, London, 1999.Google Scholar
Ruffini, Franco, “‘Historie’ e immagini: la stufetta del cardinal Bibbiena,” in Commedia e festa nel Rinascimento. La “Calandria” alla Corte di Urbino, Bologna, 1986, 31–98.Google Scholar
Ruffini, Marco, Art without an Author: Vasari’s “Lives” and Michelangelo’s Death, New York, 2011.Google Scholar
Lomazzo, Giovan Paolo, Rime ad imitazione de i grotteschi usati da’ pittori, Ruffino, Alessandra, ed., Rome, 2006.Google Scholar
Russell, Francis, “Perugino and the Early Experience of Raphael,” in Beck, ed., 1986, 189–201.Google Scholar
Rutherford, I. & Mildner, U., “Decorum,” in Historisches Wörterbuch der Rhetorik, vol. ii, Ueding, Gert, Jens, Walter, & Kalivoda, Gregor, eds., Tübingen, 1996–2001, cols. 423–52.Google Scholar
Alberti, Leon Battista, On the Art of Building in Ten Books, Rykwert, J., Leach, Neil, & Tavernor, Robert, trans., Cambridge, MA, 1989.Google Scholar
Saari, Lars, “Lettura della decorazione pittorica del bagno di Clemente VII,” in Contardi, & Lilius, eds., 1984, 72–95.Google Scholar
Sabbatino, Pasquale, La “Scienza” della scrittura: dal progetto del Bembo al manuale, Florence, 1988.Google Scholar
Sabbatino, Pasquale, La bellezza di Elena: l’imitazione nella letteratura e nelle arti figurative del Rinascimento, Florence, 1997.Google Scholar
Salvagni, Isabella, “The Università dei Pittori and the Accademia di San Luca: From the Installation in San Luca sull’Esquilino to the Reconstruction of Santa Martina al Foro Romano,” in Lukehart, ed., 2009, 69–121.Google Scholar
Salvagni, Isabella, Da “Universitas” ad “Academia”: la corporazione dei pittori nella chiesa di San Luca a Roma, 1478–1588, Rome, 2012.Google Scholar
Sambucco Hamoud, Maria & Strocchi, Maria Letizia, eds., Studi su Raffaello. Atti del congresso internazionale di studi, Urbino-Florence, 1984, 2 vols., Urbino, 1987.Google Scholar
Sammer, Jan, “Tommaso Vincidor and the Flemish Romanists,” in Falomir, ed., 2013, 116–25.Google Scholar
Sandström, Sven, “The Programme for the Decoration of the Belvedere of Innocent VIII,” Konsthistorisk Tidskrift, 29, 1960, 35–75.CrossRefGoogle Scholar
Sandström, Sven, Levels of Unreality: Studies in Structure and Construction in Italian Mural Painting during the Renaissance, Uppsala, 1963.Google Scholar
Le Epistole “De Imitatione” di Giovanfrancesco Pico della Mirandola e di Pietro Bembo, Santangelo, Giorgio, ed., Florence, 1954.Google Scholar
Neri di Bicci: Le ricordanze (10 marzo 1453–24 aprile 1475), Santi, Bruno, ed., Pisa, 1976.Google Scholar
Schröder, Gerhart, “‘Una pittura licenziosa e ridicola.’ Zur Groteskenmalerei des Cinquecento,” in Der stumme Diskurs der Bilder: Reflexionsformen des Ästhetischen in der Kunst der frühen Neuzeit, von Rosen, Valeska et al., eds., Munich, 2003, 205–20.Google Scholar
Schroer-Trambowsky, Suzanne, “Rafe’el – Heil von Gott. Das Vermächtnis von Raffaels Transfiguration: Heilungswirkung durch Malerei,” in Gnann, & Widauer, eds., 2000, 43–55.Google Scholar
Schröter, E., “Raffaels Madonna di Foligno – Ein Pestbild?” Zeitschrift für Kunstgeschichte, 50, 1987, 46–87.CrossRefGoogle Scholar
Schulz, Jürgen, “Pinturicchio and the Revival of Antiquity,” Journal of the Warburg and Courtauld Institutes, 25, 1962, 35–55.CrossRefGoogle Scholar
Schumacher, Andreas, “‘Il Perugino’: ein umbrischer Klassiker in Florenz,” in Schumacher, ed., 2011, 11–49.Google Scholar
Schumacher-Wolfgarten, Renate, “Raffaels Madonna di Foligno und ihr Stifter. Zu Ikonographie und Auftrag,” Das Münster, 39, 1996, 15–23.Google Scholar
Schwartz, Michael, “Raphael’s Authorship in the Expulsion of Heliodorus,” Art Bulletin, 79, 1997, 466–92.Google Scholar
Schwarz, Michael V., “Unsichtbare sichtbar: Raffaels Sixtinische Madonna,” in Visuelle Medien im christlichen Kult: Fallstudien aus dem 13. bis 16. Jahrhundert, Vienna, 2002, 173–215.CrossRefGoogle Scholar
Scott, Izora, Controversies over the Imitation of Cicero as a Model for Style and Some Phases of their Influence on the Schools of the Renaissance, New York, 1910.Google Scholar
Scrivano, Riccardo, “Cultura letteraria di Raffaello,” in Sambucco Hamoud, & Strocchi, eds., 1987, 69–82.Google Scholar
Shaneyfelt, Sheri, “The Società del 1496: Supply, Demand, and Artistic Exchange in Renaissance Perugia,” Art Bulletin, 97, 2015, 10–33.CrossRefGoogle Scholar
Shearman, John, “Leonardo’s Colour and Chiaroscuro,” Zeitschrift für Kunstgeschichte, 25, 1962, 13–47.CrossRefGoogle Scholar
Shearman, John, “Die Loggia der Psyche in der Villa Farnesina und die Probleme der letzten Phase von Raffaels graphischem Stil,” Jahrbuch der Kunsthistorischen Sammlungen in Wien, 24, 1964, 59–100.Google Scholar
Shearman, John, “Raphael’s Unexecuted Projects for the Stanze,” in Walter Friedländer zum 90. Geburtstag: eine Festgabe seiner europaischer Schuler, Freunde und Verehrer, Kauffmann, G. & Sauerlaender, W., eds., Berlin, 1965, 158–80.Google Scholar
Shearman, John, “Raphael … ‘Fa il Bramante’,” in Studies in Renaissance and Baroque Presented to Anthony Blunt, Courtauld, Jeanne et al., eds., London, 1967, 12–17.Google Scholar
Shearman, John, “Raphael as Architect,” Journal of the Royal Society of Arts, 116, 1968, 388–409.Google Scholar
Shearman, John, “Raphael at the Court of Urbino,” Burlington Magazine, 112, 1970, 72–8.Google Scholar
Shearman, John, “The Vatican Stanze: Functions and Decoration,” Proceedings of the British Academy, 57, 1971, 369–424.Google Scholar
Shearman, John, Raphael’s Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel, London, 1972.Google Scholar
Shearman, John, “Raphael, Rome, and the Codex Escurialensis,” Master Drawings, 15, 1977, 107–46.Google Scholar
Shearman, John, “Le portrait de Baldassare Castiglione par Raphaël,” Revue du Louvre et des Musées de France, 29, 1979, 261–70.Google Scholar
Shearman, John, “The Organization of Raphael’s Workshop,” Museum Studies (Art Institute of Chicago) 10, 1983, 41–57.Google Scholar
Shearman, John, “Raffaello e la bottega,” in Raffaello in Vaticano, Muratore, Giorgio, ed., Milan, 1984, 258–63.Google Scholar
Shearman, John, “The Expulsion of Heliodorus,” in Frommel, & Winner, eds., 1986, 75–87.Google Scholar
Shearman, John, Only Connect …: Art and the Spectator in the Italian Renaissance, Princeton, 1992.CrossRefGoogle Scholar
Shearman, John, “The Apartments of Julius II and Leo X,” in Caravaggi, ed., 1993, 15–37.Google Scholar
Shearman, John, “Castiglione’s Portrait of Raphael,” Mitteilungen des Kunsthistorischen Institutes in Florenz, 38, 1994, 69–97.Google Scholar
Shearman, John, “On Raphael’s Chronology 1502–1508,” in Ars naturam adiuvans: Festschrift für Matthias Winner zum 11. März 1996, von Flemming, V. & Schütze, S., eds., Mainz, 1996, 201–7.Google Scholar
Shearman, John & Hall, Marcia, eds., Science in the Service of Art History: The Princeton Raphael Symposium, Princeton, 1990.Google Scholar
Sigel, Brigitt A., Der Vorhang der Sixtinischen Madonna: Herkunft und Bedeutung eines Motivs der Marienikonographie, Zurich, 1977.Google Scholar
Silvestrelli, Iolanda, “Le veste di Santa Cecilia,” in Valli, et al. eds., 1983, 244–9.Google Scholar
Alighieri, Dante, The Divine Comedy, 3 vols., Singleton, Charles, ed. & trans., Princeton, 1970.Google Scholar
Smith, Pamela, The Body of the Artisan: Art and Experience in the Scientific Revolution, Chicago, 2004.CrossRefGoogle Scholar
Sorella, Antonio, “La norma di Bembo e l’autorità di Petrarca,” in Il petrarchismo: un modello di poesia per l’Europa, vol. ii, Calitti, Floriana & Gigliucci, Roberto, eds., Rome, 2006, 81–97.Google Scholar
Spinelli, Giovanni, “L’Ambiente monastica di S. Sisto di Piacenza agli inizi del Cinquecento ed un probabile committente della ‘Madonna Sistina’,” in Lavagetto, ed., 1985, 22–32.Google Scholar
Stefaniak, Regina, “Raphael’s Madonna of Foligno: Civitas sancta Hierusalem nova,” Konsthistorisk Tidskrift, 69, 2000, 65–98.CrossRefGoogle Scholar
Stefaniak, Regina, “Raphael’s Madonna of Foligno: Vergine Bella,” Konsthistorisk Tidskrift, 69, 2000, 169–95.CrossRefGoogle Scholar
Steingräber, Erich, “Anmerkungen zu Raffaels Bildnissen des Ehepaars Doni,” in Forma e subtilitas: Festschrift für Wolfgang Schöne zum 75. Geburtstag, Schlink, Wilhelm & Sperlich, Martin, eds., Berlin, 77–88.Google Scholar
Stoichita, Victor, The Self-Aware Image: An Insight into Early Modern Meta-Painting, Glasheen, Anne-Marie, trans., Cambridge, 1997.Google Scholar
Stöve, E., “Zaccaria Ferreri,” in Dizionario biografico degli italiani, vol. xlvi, Rome, 1996, 809–11.Google Scholar
Summers, David, “Contrapposto: Style and Meaning in Renaissance Art,” Art Bulletin, 59, 1977, 336–61.Google Scholar
Summers, David, “Aria II: The Unity of the Image and Artist as an Aesthetic Ideal in Renaissance Art,” Artibus et Historiae, 20, 1989, 15–31.CrossRefGoogle Scholar
Malvasia’s Life of the Carracci, Summerscale, Anne, trans., University Park, PA, 2000.Google Scholar
Swoboda, Karl M., “Raffaels Madonna im Grünen in der Wiener Gemäldegalerie,” in Kunst und Geschichte, Vienna, 1969, 180–95.Google Scholar
Talvacchia, Bette, “Raphael’s Workshop and the Development of a Managerial Style,” in Hall, ed., 2005, 167–85.Google Scholar
Taylor, Paul, “Julius II and the Stanza della Segnatura,” Journal of the Warburg and Courtauld Institutes, 72, 2009, 103–41.CrossRefGoogle Scholar
Tenenti, Alberto, Il senso della morte e l’amore nella vita del Rinascimento (Francia e Italia), Turin, 1957.Google Scholar
Teza, Laura, ed., Pietro Vannucci il Perugino. Atti del Convegno Internazionale di studio 25–28 ottobre 2000, Perugia, 2004.Google Scholar
Thoenes, Christoff, “Zu Raffaels Galatea,” in Festschrift für Otto von Simson zum 65. Geburtstag, Grisebach, Lucius & Renger, Konrad, eds., Berlin, 1977, 220–71.Google Scholar
Thoenes, Christoff, “Galatea: tentative di avvicinamento,” in Frommel, & Winner, eds., 1986, 59–73.Google Scholar
Thoenes, Christoff, “La ‘lettera’ a Leone X,” in Frommel, & Winner, eds., 1986, 373–83.Google Scholar
Tönnesmann, Andreas, “Ein psychologisches Motiv bei Raffael,” in Arbor amoena comis. 25 Jahre Mittellateinsches Seminar in Bonn, 1965–1990, Könsgen, Ewald, ed. Stuttgart, 1990, 293–304.Google Scholar
Traeger, Jörg, “Raffaels Stanza di Eliodoro und ihr Bildprogramm,” Römisches Jahrbuch für Kunstgeschichte, 13, 1971, 29–100.Google Scholar
Traeger, Jörg, “Die Begegnung Leos des Grossen mit Attila,” in Frommel, & Winner, eds., 1986, 97–115.Google Scholar
Traeger, Jörg, Renaissance und Religion. Die Kunst des Glaubens im Zeitalter Raphaels, Munich, 1997.Google Scholar
Truant, Cynthia, The Rites of Labor: Brotherhoods of Compagnonnage in Old and New Regime France, Ithaca, NY, 1994.Google Scholar
Valli, Francesca et al., eds., L’Estasi di Santa Cecilia di Raffaello da Urbino nella Pinacoteca Nazionale di Bologna, Bologna, 1983.Google Scholar
Varoli-Piazza, Rosalia, “Il fregio della Sala delle Prospettive: un’ ipotesi per la bottega del Peruzzi,” in Baldassare Peruzzi: pittura scena e architettura, Fagiolo, Marcello & Madonna, Maria Luisa, eds., Rome, 1987, 363–98.Google Scholar
Varoli-Piazza, Rosalia, ed., Raffaello: La loggia di Amore e Psiche alla Farnesina, Milan, 2002.Google Scholar
Verdon, Timothy, “Pagans in the Church: The “School of Athens” in Religious Context,” in Hall, ed., 1997, 114–30.Google Scholar
Verdon, Timothy, “La teologia della Stanza della Segnatura: ‘Dominus finis est humanae historiae’,” Arte Cristiana, 86, 1998, 241–52; 321–33.Google Scholar
Vetter, Ewald, “Mulier amicta sole und mater salvatoris,” Münchner Jahrbuch der bildenden Kunst, 9–10, 1958–9, 32–71.Google Scholar
Viljoen, Madeleine, “Raphael and the Restorative Power of Prints,” Print Quarterly, 18, 2001, 379–91.Google Scholar
Viljoen, Madeleine, “Prints and False Antiquities in the Age of Raphael,” Print Quarterly, 21, 2004, 235–47.Google Scholar
Wagner, Christoph, “Farbe und Metapher,” Die Entstehung einer neuzeitlichen Bildmetaphorik in der vorrömischen Malerei Raffaels, Berlin, 1999.Google Scholar
Wagner, Christoph, “Ascolto come visione nella Trasfigurazione di Raffaello: la metafora visiva dell’ombumbratio tra demonstratio diurna e demonstratio nocturna,” Accademia Raffaello, 2, 2004, 93–106.Google Scholar
Warhol, Andy, The Philosophy of Andy Warhol (From A to B and Back Again), New York, 1975.Google Scholar
Weddigen, Tristan, “Tapisseriekunst unter Leo X. Raffaels Apostelgeschichte für die Sixtinische Kapelle,” in Kruse, ed., 1999, 268–84.Google Scholar
Weddigen, Tristan, “Federico Zuccaro zwischen Michelangelo und Raffael: Kunstideal und Bilderkult zur Zeit Gregors XIII,” in Federico Zuccaro: Kunst zwischen Ideal und Reform, Weddigen, Tristan, ed., Basel, 2000, 196–268.Google Scholar
Weddigen, Tristan, Raffaels Papagaienzimmer: Ritual, Raumfunktion und Dekoration im Vatikanpalast der Renaissance, Berlin, 2006.Google Scholar
Weinberg, Bernard, A History of Literary Criticism in the Italian Renaissance, 2 vols., Chicago, 1961.Google Scholar
White, John, “Raphael: The Relationship between Failure and Success,” in Studies in Renaissance and Baroque Presented to Anthony Blunt, Courtauld, Jeanne et al., eds., London, 1967, 18–23.Google Scholar
White, Hayden, “Anomalies of Genre: The Utility of Theory and History for the Study of the Literary Genres,” New Literary History, 34, 2003, 597–615.CrossRefGoogle Scholar
Williams, Robert, “The Façade of the Palazzo dei Visacci,” I Tatti Studies in the Italian Renaissance, 5, 1993, 209–44.Google Scholar
Williams, Robert, “The Vocation of the Artist as Seen by Giovanni Battista Armenini,” Art History, 18, 1995, 518–36.CrossRefGoogle Scholar
Williams, Robert, Art, Theory, and Culture in Sixteenth-Century Italy: From Techne to Metatechne, Cambridge, 1997.Google Scholar
Williams, Robert, “The Spiritual Exercises of Leonardo da Vinci,” in The Blackwell Companion to Art Theory, Smith, Paul & Wilde, Carolyn, eds., Oxford, 2002, 75–8.Google Scholar
Williams, Robert, “Italian Renaissance Art and the Systematicity of Representation,” Rinascimento, 43, 2004, 309–31 (repr. in James Elkins & Robert Williams, eds., Renaissance Theory, New York, 2008, 159–84).Google Scholar
Williams, Robert, “Bronzino’s Gaze,” in The Beholder: The Experience of Art in Early Modern Europe, Frangenberg, Thomas & Williams, Robert, eds., Aldershot, 2006, 87–101.Google Scholar
Winner, Matthias, “Il Giudizio del Vasari sulle prime tre Stanze di Raffaello in Vaticano,” in Mancinelli, & DeStrobel, eds., 1984, 179–93.Google Scholar
Winner, Matthias, “Disputa und Schule von Athen,” in Frommel, & Winner, eds., 1986, 29–45.Google Scholar
Winner, Matthias, “… una certa idea …”: Maratta zitiert einen Brief Raffaels in einer Zeichnung,” in Der Künstler über sich in seinem Werk, Winner, Matthias, ed., Weinheim, 1992, 511–70.Google Scholar
Winner, Matthias, “Progetti ed esecuzione nella Stanza della Segnatura,” in Caravaggi, ed., 1993, 247–91.Google Scholar
Witcombe, Christopher, Copyright in the Renaissance: Prints and the Privilegio in Sixteenth-Century Venice and Rome, Leiden, 2004.CrossRefGoogle Scholar
Witcombe, Christopher, Print Publishing in Sixteenth-Century Rome: Growth and Expansion, Rivalry and Murder, London, 2014.Google Scholar
Witt, Charlotte, Ways of Being: Potentiality and Actuality in Aristotle’s Metaphysics, Ithaca, NY, 2003.CrossRefGoogle Scholar
Rudolf, & Wittkower, Margot, The Divine Michelangelo: The Florentine Academy’s Homage on his Death in 1564, London, 1964.Google Scholar
Bellori, Giovanni Pietro, The Lives of the Modern Painters, Sculptors, and Architects, Wohl, Alice Sedgwick & Wohl, Hellmut, trans., Cambridge, 2005.Google Scholar
Wölfflin, Heinrich, Classic Art: An Introduction to the Italian Renaissance, Peter, & Murray, Linda, trans., London, 1968.Google Scholar
Wolk-Simon, Linda, “He Says, She Says: Giulio Romano’s Early Graphic Oeuvre and the Fine Art of Attribution,” Quaderni del Palazzo del Te, 8, 2000, 21–33.Google Scholar
Wolk-Simon, Linda, Raphael at the Metropolitan: The Colonna Altarpiece, New Haven, 2006.Google Scholar
Wood, Jeremy, “Cannibalized Prints and Early Art History: Vasari, Bellori, and Fréart de Chambray on Raphael,” Journal of the Warburg and Courtauld Institutes, 51, 1988, 210–20.CrossRefGoogle Scholar
Woods-Marsden, Joanna, “‘Ritratto al naturale’: Questions of Realism and Idealism in Early Renaissance Portraits,” Art Journal, 46, 1987, 209–16.CrossRefGoogle Scholar
Woods-Marsden, Joanna, Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist, New Haven, 1998.Google Scholar
Woods-Marsden, Joanna, “One Artist, Two Sitters, One Role: Raphael’s Papal Portraits,” in Hall, ed., 2005, 120–40.Google Scholar
Woods-Marsden, Joanna, “Theorizing Renaissance Portraiture,” in Renaissance Theory, Elkins, James & Williams, Robert, eds., London, 2006, 360–66.Google Scholar
Wright, Alison, “Between the Patron and the Market: Production Strategies in the Pollaiuolo Workshop,” in Fantoni, et al. eds., 2003, 225–36.Google Scholar
Wright, Alison, The Pollaiuolo Brothers: The Arts of Florence and Rome, New Haven, 2005.Google Scholar
Cesare Malvasia, Carlo, Felsina pittrice: vite dei pittori bolognesi, Zanotti, Giampietro, ed., Bologna, 1967 (repr. of 1841 edn.).Google Scholar
Zapperi, Roberto, “Raffaels Bildnis Papst Leos X mit zwei Kardinalen,” in Re-Visionen: zur Aktualität von Kunstgeschichte, Hütell, Barbara et al., eds., Berlin, 2002, 97–105.CrossRefGoogle Scholar
Zarri, Gabriella, “L’altra Cecilia: Elena Duglioli dall’Olio (1472–1520),” in Emiliani, et al. eds., 1983, 81–118.Google Scholar
Zöllner, Frank, “‘Ogni dipintore dipinge sé’: Leonardo da Vinci and Automimesis,” in Künstler über sich in seinem Werk: Internationales Symposium der Bibliotheca Hertziana, Winner, Matthias, ed., Weinheim, 1992, 137–60.Google Scholar