{"id":1418,"date":"2011-10-12T17:15:38","date_gmt":"2011-10-12T21:15:38","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2016-04-05T20:48:50","modified_gmt":"2016-04-06T00:48:50","slug":"bibliographical-abbreviations","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/bibliographical-abbreviations\/","title":{"rendered":"Bibliographical Abbreviations (working)"},"content":{"rendered":"

Other bibliographical items, cited only once, can be found in the catalogues.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
AB<\/strong><\/em><\/td>\nThe Art Bulletin<\/em><\/td>\n<\/tr>\n
Achiardi, 1908<\/strong><\/td>\nAchiardi, Pietro d’, Sebastiano del Piombo<\/em>, Rome, 1908<\/td>\n<\/tr>\n
Actes, 1975<\/strong><\/td>\nActes du collogue international sur l’art de Fontainebleau<\/em>\u00a0(Fontainebleau and Paris, 18\u201320 October 1972), ed. Andr\u00e9 Chastel, Paris, 1975<\/td>\n<\/tr>\n
Actes de Francois Ier<\/sup><\/em>, 1887\u2013<\/span>1908<\/strong><\/td>\nCatalogue des Actes de Francois Ier<\/sup><\/em>, 10 vols, 1887\u20131908<\/td>\n<\/tr>\n
Adelson, 1980<\/strong><\/td>\nAdelson, Candace, “Bachiacca, Salviati and the Decoration of the Sala dell’Udienza in Palazzo Vecchio,” Le arti del principato mediceo<\/em>, Specimen<\/em>, 6, Florence, 1980, 141\u2013200<\/td>\n<\/tr>\n
Adh\u00e9mar, 1938<\/strong><\/td>\nAdh\u00e9mar, Jean, Inventaire du fonds fran\u00e7ais, Biblioth\u00e8que nationale, D\u00e8partment des estampes. Graveurs du XVI si\u00e8cle<\/em>, 2, Paris, 1938<\/td>\n<\/tr>\n
Adh\u00e9mar, 1946<\/strong><\/td>\nAdh\u00e9mar. Jean, Les graveurs fran\u00e7ais de la renaissance<\/em>, Paris, 1946<\/td>\n<\/tr>\n
Adh\u00e9mar, GdBA<\/em>, XXX, 1946<\/strong><\/td>\nAdh\u00e9mar, Jean \u201cThe Collection of Paintings of Francis I,” GdBA<\/em>, 6th series, XXX, 1946, 5\u201316<\/td>\n<\/tr>\n
Adh\u00e9mar, 1953<\/strong><\/td>\nAdh\u00e9mar, Jean, “Pierre Milan et les origines de l’\u00e9cole de Fontainebleau” GdBA<\/em>, 6th series, XLI, 1953, 361\u2013364, English trans., 380\u2013381<\/td>\n<\/tr>\n
Adh\u00e9mar, 1954<\/strong><\/td>\nAdh\u00e9mar, Jean, Le dessin fran\u00e7ais au XVI si\u00e8cle<\/em>, Lausanne, 1954<\/td>\n<\/tr>\n
Adh\u00e9mar, JWCI<\/em>, XVII, 1954<\/strong><\/td>\nAdh\u00e9mar, Jean, “Aretino: Artistic Adviser to Francis I,” JWCI<\/em>, XVII, 1954, 311\u2013318; originally published as “L’Ar\u00e9tin conseilleur artistique de Fran\u00e7ois I,” M\u00e9langes van Mo\u00e9<\/em>, Paris, 1950<\/td>\n<\/tr>\n
Adh\u00e9mar, 1955<\/strong><\/td>\nAdh\u00e9mar, Jean, French Drawing of the XVI Century<\/em>, New York, 1955<\/td>\n<\/tr>\n
Adh\u00e9mar, 1959<\/strong><\/td>\nAdh\u00e9mar, Jean, “Compl\u00e9ments de l’inventaire du fonds fran\u00e7ais du Cabinet des Estampes de Paris,” Biblioth\u00e8que d’humanisme et de renaissance<\/em>, XXI, 1959, 468\u2013472<\/td>\n<\/tr>\n
Adh\u00e9mar, 1969<\/strong><\/td>\nAdh\u00e9mar, Jean, “Henri Zerner et les etapes de l’\u00e9cole de Fontainebleau,” GdBA<\/em>, 6th series, LXXIV, 1969, 116\u2013120<\/td>\n<\/tr>\n
Adh\u00e9mar, 1974<\/strong><\/td>\nAdh\u00e9mar, Jean, “Les cartouches de Fontainebleau,” Nouvelles de l’estampes<\/em>, XVII, 1974, 32<\/td>\n<\/tr>\n
Age of Vasari<\/em>, 1970<\/strong><\/td>\nThe Age of Vasari<\/em> exh. cat., Notre Dame\u2013Binghamton, 1970<\/td>\n<\/tr>\n
Alazard, 1924; 1948<\/strong><\/td>\nAlazard, Jean, Le portrait florentine de Botticelli \u00e0 Bronzino<\/em>, Paris, 1924; translated as The Florentine Portrait<\/em>, London\u2013Brussels, n. d. [1948]<\/td>\n<\/tr>\n
Alberti, 1972<\/strong><\/td>\nAlberti, Leon Battista, On Painting and Sculpture<\/em>, ed. Cecil Grayson, London\u2013York, 1972<\/td>\n<\/tr>\n
Alciati\u2013Daly, 1985<\/strong><\/td>\nAlciati, Andreas, Index eblematicus<\/em>, I: The Latin Emblems. Indexes and Lists<\/em>, II: Emblems in Translation<\/em>, ed. Peter M Daly, with Virginia Callahan, assisted by Simon Cuttler, Toronto\u2013Buffalo, 1985<\/td>\n<\/tr>\n
Alleau (and Destanque), 1967<\/strong><\/td>\nAlleau, Ren\u00e9, Guide de Fontainebleau myst\u00e9rieux<\/em>, (“Iconographie” by Pierrette Destanque), Paris, 1967, 204\u2013223<\/td>\n<\/tr>\n
Ames, 1954<\/strong><\/td>\nAmes, Winslow, “Some Physical Types Favored by Western Artists,” GdBA<\/em>, 6th series, KLIV, 1954, 91\u2013116<\/td>\n<\/tr>\n
Amicizia, 1899<\/strong><\/td>\nAmicizia, Giuseppe, Guida artisticocommerciale di Citt\u00e0 di Castello<\/em>, Citt\u00e0 di Castello, 1899<\/td>\n<\/tr>\n
Andrea da Salerno<\/em>, 1985<\/strong><\/td>\nAndrea da Salerno nel Rinascimento meridionale<\/em>, exh. cat., Giovanni Previtali, ed., Padula (Salerno), 1986, San Casciano (Florence), 1986<\/td>\n<\/tr>\n
Andrews, 1968<\/strong><\/td>\nAndrews, Keith, Catalogue of Italian Drawings at the National Gallery of Scotland<\/em>, 2 vols., Cambridge, 1968<\/td>\n<\/tr>\n
Androsov, 1976<\/strong><\/td>\nAndrosov, Sergey O. “Tre bronzi veneziani dell’ inizio del XVI sec. all’Ermitage,” Arte Veneta<\/em>, XXX, 1976, 158\u2013<\/span>163<\/td>\n<\/tr>\n
Angelini, 1986 (1987)<\/strong><\/td>\nAngelini, Alessandro, Review of exhibition Andrea del Sarto 1498\u2013<\/span>1530. Dipinti e disegni a Firenze, Firenze, Palazzo Pitti, novembre 1986\u2013<\/span>marzo 1987<\/em>, Prospettiva<\/em>, 45, 1986 (printed in 1987) 85\u2013<\/span>92<\/td>\n<\/tr>\n
Annunziata Arezzo<\/em>, 1990 (1993)<\/strong><\/td>\nAtti del Convegno di Studi su La Chiesa della SS. Annunziata di Arezzo nel 500o<\/span> della sua Costruzione<\/em>, Arezzo, Casa del Petrarca, 14 September 1990 (Accademia Petrarca di Lettere Arti e Scienze, Arezzo), Citt\u00e0 di Castello, 1993<\/td>\n<\/tr>\n
Antal, 1939\u2013<\/span>1940<\/strong><\/td>\nAntal, Frederick, “Drawings of Salviati and Vasari after a Lost Picture by Rosso,” Old Master Drawings<\/em>, XIV, 1939\u2013<\/span>1940, 47\u2013<\/span>49<\/td>\n<\/tr>\n
Antal, BM<\/em>, 1951<\/strong><\/td>\nAntal, Frederick, “Italian Fifteenth and Sixteenth Century Drawings at Windsor Castle,” (review of Popham and Wilde, 1949), BM<\/em>, XCII, 1951, 28\u2013<\/span>35<\/td>\n<\/tr>\n
Antal, 1955<\/strong><\/td>\nAntal, Frederick, Fuseli Studies<\/em>, London, 1956<\/td>\n<\/tr>\n
Antal, 1966 (1928\u2013<\/span>1929)<\/strong><\/td>\nAntal, Frederick, “Zum Problem des Niederl\u00e4<\/span>ndischen Manierismus,” Kritische Berichte zur Kunstgeschichtlicher Literatur<\/em>, 3\u2013<\/span>4, 1928\u2013<\/span>29; translated as “The Problem of Mannerisim in the Netherlands,” in Antal, Frederick, Classicism and Romanticism with other Studies in Art History<\/em>, London, 1966, 47\u2013<\/span>106<\/td>\n<\/tr>\n
Anxiety and Elegance<\/em>, 1962<\/strong><\/td>\nAnxiety and Elegance, The Human Figure in Italian Art 1520\u2013<\/span>1580<\/em>, exh. cat., 1\u2013<\/span>25 May 1962, Fogg Art Museum, Harvard University, Cambridge, Mass., 1962<\/td>\n<\/tr>\n
Apuleius\u2013<\/span>Gaselee, 1957<\/strong><\/td>\nApuleius, The Golden Ass<\/em>, trans. W. Adlington, revised S. Gaselee, Cambridge, Mass.\u2013<\/span>London, 1958<\/td>\n<\/tr>\n
Archer, 1995<\/strong><\/td>\nArcher, Madeline Cirillo, The Illustrated Bartsch, 28 Commentary (Le Peintre-Grareur 15 [Part 1]), Italian Masters of the Sixteenth Century<\/em>, Abaris Books, Ltd. 1995<\/td>\n<\/tr>\n
Aretino\u2013<\/span>Camesasca, 1957<\/strong><\/td>\nAretino, Pietro, Lettere sull’arte di Pietro Aretino<\/em>, ed. Ettore Camesasca, I, Milan, 1957<\/td>\n<\/tr>\n
Argan, 1968<\/strong><\/td>\nArgan, Carla Giulio, Storia dell’arte italiana<\/em>, Florence, 1968<\/td>\n<\/tr>\n
Arnauldet, 1861<\/strong><\/td>\nArnauldet, Thomas, “No\u00ebl Garnier et Jean Viset, orf\u00e8vres-graveurs en taille-douce<\/em>,” Archives de l’art fran\u00e7ais<\/em>, 1861, 357\u2013<\/span>369<\/td>\n<\/tr>\n
Art Francais Ancien<\/em>, 1935<\/strong><\/td>\nArt Francais Ancien XIIe<\/sup>-XVIIe<\/sup> si\u00e8cle, Exposition des dessins, manuscripts, enlumin\u00e9s, miniatures, livres et xylographies conserv\u00e9s dans les collections de l’\u00c9cole et tir\u00e9<\/span>s en majeure partie de la donation Jean Masson<\/em>, Paris, \u00c9cole nationale sup\u00e9<\/span>rieure des Beaux-Arts, 1935<\/td>\n<\/tr>\n
Art Italien<\/em>, 1935<\/strong><\/td>\nArt italien des XVe<\/sup> et XVIe<\/sup> si\u00e8cle<\/em>, exh. cat., Paris, \u00c9cole des Beaux-Arts, 1935<\/td>\n<\/tr>\n
Askew, 1990<\/strong><\/td>\nAskew, Pamela, Caravaggio’s “Death of the Virgin,”<\/em> Princeton, 1990<\/td>\n<\/tr>\n
Aspetti dell’Arte<\/em>, 1984<\/strong><\/td>\nAspetti dell\u2019Arte a Roma primo e dopo Raffaello<\/em>, exh. Cat., Rome, 1984<\/td>\n<\/tr>\n
Azzi, 1931<\/strong><\/td>\nAzzi, Giustiniano degli, \u201cDocumenti su artisti aretini e non aretini lavoranti in Arezzo,\u201d Il Vasari<\/em>, IV, 1931, 49\u2013<\/span>69; reprinted in Azzi, Giustiniano degli, Documenti su opere d\u2019arte e pittori aretini<\/em>, with notes by Alessandro del Vita, Dalla Casa Vasari, Arezzo, 1933<\/td>\n<\/tr>\n
Babelon, 1989<\/strong><\/td>\nBabelon, Jean-Pierre, Les Ch\u00e2teaux de France au si\u00e8cle de la Renaissance<\/em>, Paris, 1989<\/td>\n<\/tr>\n
Bacchus, V\u00e9nus et l’Amour<\/em>, 1989<\/strong><\/td>\n“Bacchus, Venus, et l’Amour.” Red\u00e9couvert d’un tableau de Rosso Fiorentino, peintre de Francois Ier<\/sup><\/em>, exh. cat., Luxembourg, 1989<\/td>\n<\/tr>\n
Bacou, 1955<\/strong><\/td>\nBacou, Roseline, Choix de dessins de ma\u00eetres florentins et siennois de la premi\u00e8re moiti\u00e9 du XVIe<\/sup> si\u00e8cle<\/em>, exh cat., Louvre, Cabinet des Dessins, Paris, 1955<\/td>\n<\/tr>\n
Bacou, 1968<\/strong><\/td>\nBacou, Roseline, with the collaboration of Fran\u00e7oise Viatte, Great Drawings of the Louvre Museum. The Italian Drawings<\/em>, New York, 1968<\/td>\n<\/tr>\n
Baert–<\/span>Reiffenberg, 1848<\/strong><\/td>\nBaert, Phillipe, M\u00e9moires sur les sculpteurs et architects aux Pays-Bas<\/em>, MS, Brussels, Biblioth\u00e8que Royale, Fonds de M. Van Hulthem, Cat. imp., nos. 847 et 848, published by M. le baron de Reiffenberg, in Compte-rendu des s\u00e8ances de la Commission Royale d’Histoire ou Recueil de ses Bulletins<\/em>, XIV, 1848, 39\u2013<\/span>101, 528\u2013<\/span>574<\/td>\n<\/tr>\n
Baldini, 1982<\/strong><\/td>\nBaldini, Umberto, ed., Metodo e scienza operativit\u00e0 e ricerca nel restauro<\/em>, exh. cat., Palazzo Vecchio, 23 June 1982\u2013<\/span>6 January 1983, Florence, 1982<\/td>\n<\/tr>\n
Baldus, 1881<\/strong><\/td>\nBaldus, Edouard, Oeuvre de Jagues Androuet dit du Cerceau<\/em>, H\u00e9liogravure par Edouard Baldus, Paris, n.d. [1881?]<\/td>\n<\/tr>\n
Ballardini, 1938<\/strong><\/td>\nBallardini, Gaetano, Corpus della maiolica italiana. II. Le maioliche datate dal 1531 al 1535<\/em>, Rome, 1938<\/td>\n<\/tr>\n
Balsano, 2006<\/strong><\/td>\n\u00a0Balsano, Jean, \u201cPoetical and Political Readings of Petrarch\u2019s Rime<\/em> in XVIth Century France: A Critical Revaluation,\u201d Petrarch and His Readers in the Renaissance<\/em>, ed. Karl A. E. Enenkel and Jan Papy, Leiden and Boston, 2006, 261\u2013<\/span>285<\/td>\n<\/tr>\n
Banker, 1988<\/strong><\/td>\nBanker, James R., Death in the Community. Memorialization and Confraternites in an Italian Commune in the late Middle Ages<\/em>, Athens\u2013<\/span>London, 1988<\/td>\n<\/tr>\n
Bann, 1989<\/strong><\/td>\nBann, Stephen, The True Vine. On the Visual Representation and the Western Tradition<\/em>, Cambridge, 1989<\/td>\n<\/tr>\n
Baratte, 1993<\/strong><\/td>\nBaratte, Sophie, L\u00e9onard Limosin au mus\u00e9e du Louvre<\/em>, Paris, 1993<\/td>\n<\/tr>\n
Barbet de Jouy, 1861<\/strong><\/td>\nBarbet de Jouy, H, “La Diana de Fontainebleau,” GdBA<\/em>, X, 1861, 7\u2013<\/span>13<\/td>\n<\/tr>\n
Barcia, 1906<\/strong><\/td>\nBarcia, Angel M. de, Cat\u00e0logo de la colecci\u00f3n de dibujos oriainales de la Biblioteca national<\/em>, Madrid, 1906<\/td>\n<\/tr>\n
Bardon, 1963<\/strong><\/td>\nBardon, Fran\u00e7ois, Diane de Poiters et le mythe de Diane<\/em>, Paris, 1963<\/td>\n<\/tr>\n
Barocchi, 1950<\/strong><\/td>\nBarocchi, Paola, Il Rosso Fiorentino<\/em>, Rome, 1950<\/td>\n<\/tr>\n
Barocchi, Commentari, 1950<\/strong><\/td>\nBarocchi, Paola, “Ricognizione testuale e valutazione critica del Rosso di Fontainebleau”‘ Commentari<\/em>, I, 1950, 157\u2013<\/span>162<\/td>\n<\/tr>\n
Barocchi, 1951<\/strong><\/td>\nBarocchi, Paola, “Precisazioni sul Primaticcio,” Commentari<\/em>, II, 3\u2013<\/span>4, 1951, 203\u2013<\/span>223<\/td>\n<\/tr>\n
Barocchi, 1956<\/strong><\/td>\nBarocchi, Paola, “Il Vasari Pittore,” Rinascimento<\/em>, VII, no. 2, Dec. 1956, 187\u2013<\/span>217<\/td>\n<\/tr>\n
Barocchi, 1958<\/strong><\/td>\nBarocchi, Paola, “Riepilogo sul Rosso e sul Primaticcio,” Actes du XIXe<\/sup> Congr\u00e8s International d’Histoire de l’Art<\/em>, Paris, 1958, 233\u2013<\/span>239<\/td>\n<\/tr>\n
Barocchi, 1962<\/strong><\/td>\nBarocchi, Paola, Michelangelo e la sua scuola, I disegni di Casa Buonarroti e degli Uffizi<\/em>, 2 vols., Florence, 1962<\/td>\n<\/tr>\n
Barocchi, 1964<\/strong><\/td>\nBarocchi, Paolo, Mostra di disegni del Vasari e della sua cerchia<\/em>, Florence, 1964<\/td>\n<\/tr>\n
Barocchi, Vasari<\/em>, 1964<\/strong><\/td>\nBarocchi, Paola, Vasari pittore<\/em>, Milan, 1964.<\/td>\n<\/tr>\n
Barocchi and Ristori, 1973<\/strong><\/td>\nBarocchi, Paolo, and Renzo Ristori, Il Carteggio di Michelangelo<\/em>, III, ed. Giovanni Poggi (posthumous), Florence, 1973<\/td>\n<\/tr>\n
Barolsky, 1978<\/strong><\/td>\nBarolsky, Paul, Infinite Jest, Wit, and Humor in Italian Renaissance Art<\/em>, Columbia\u2013<\/span>London, 1978<\/td>\n<\/tr>\n
Barolsky, 1979 (1969)<\/strong><\/td>\nBarolsky, Paul, Daniele da Volterra, A catalogue raisonn\u00e9<\/em>, New York, 1979; from a PhD Thesis, Harvard University, 1969<\/td>\n<\/tr>\n
Barolsky, 1987<\/strong><\/td>\nBarolsky, Paul, Walter Pater’s Renaissance<\/em>, University Park\u2013<\/span>London, 1987<\/td>\n<\/tr>\n
Barolsky, 1990<\/strong><\/td>\nBarolsky, Paul, Michelangelo’s Nose<\/em>, University Park\u2013<\/span>London, 1990<\/td>\n<\/tr>\n
Barolsky, 1991<\/strong><\/td>\nBarolsky, Paul, Why Mona Lisa Smiles and Other Tales by Vasari<\/em>, University Park, 1991<\/td>\n<\/tr>\n
Barolsky, 1992<\/strong><\/td>\nBarolsky, Paul, Giotto’s Father and the Family of Vasari’s “Lives”<\/em>, University Park, 1992<\/td>\n<\/tr>\n
Bartsch<\/strong><\/td>\nBartsch, Adam, Le peintre-graveur<\/em>, 21 vols., Vienna, 1803\u2013<\/span>1808<\/td>\n<\/tr>\n
Basan, (Mariette Sale), 1775<\/strong><\/td>\nBasan, F., Catalogue raisonn\u00e9 des diff\u00e9rence objects de curiosit\u00e9s dans les sciences et arts gui composoient le Cabinet de feu M. Mariette<\/em>…, Paris, 1775<\/td>\n<\/tr>\n
Battistini, 1928<\/strong><\/td>\nBattistini, Mario, “Il Rosso Fiorentino pittore,” Miscellanea Votterrana<\/em>, Pescia, I, 1928, 16<\/td>\n<\/tr>\n
BdA<\/strong><\/td>\nBollettino d’Arte<\/em><\/td>\n<\/tr>\n
Bean, 1960<\/strong><\/td>\nBean, Jacob, Inventaire G\u00e9n\u00e9ral des Dessins des Mus\u00e9es de Province, IV, Bayonne, Mus\u00e9e Bonnat. Les Dessins italiens de la Collection Bonnat<\/em>, Paris, 1960<\/td>\n<\/tr>\n
Bean, 1982<\/strong><\/td>\nBean, Jacob, with the assistance of Lawrence Turcic, 15th and 16th Century Italian Drawincs in the Metropolitan Museum of Art<\/em>, New York, 1982<\/td>\n<\/tr>\n
Becherucci, 1944; 1949<\/strong><\/td>\nBecherucci, Luisa, Manieristi Toscani, Bergamo<\/em>, 1944; 2nd ed., 1949<\/td>\n<\/tr>\n
Becherucci, 1955<\/strong><\/td>\nBecherucci, Luisa, “Momenti dell’artefiorentina nel cinquecento,” Il cinquecento<\/em> (Libera cattedra di storia della civilt\u00e0 fiorentina [Unione Fiorentina]), Florence, Sansoni, 1955, 159\u2013<\/span>183<\/td>\n<\/tr>\n
Becherucci, 1958 (1968)<\/strong><\/td>\nBecherucci, Luisa, “Mannerism,” EWA<\/em>, IX, 1968, cols. 443\u2013<\/span>478; Italian ed. 1958<\/td>\n<\/tr>\n
Becherucci, 1965<\/strong><\/td>\nBecherucci, Luisa, Giuseppe Bellini, Mario Bellini, Carlo L. Ragghianti, Gualtiero Volterra, “Consistenza e valore dei dipinti della Galleria degli Uffizi,” Critica d’Arte<\/em>, new series, XII, fasc. 72, 1965, 16\u2013<\/span>71<\/td>\n<\/tr>\n
Beck, 1996<\/strong><\/td>\nBeck, James, Review of Franklin, 1994, American Historical Review<\/em>, 101, 1, 1996, 202\u2013<\/span>203<\/td>\n<\/tr>\n
B\u00e9guin, 1960<\/strong><\/td>\nB\u00e9guin, Sylvie, L’\u00c9cole de Fontainebleau, Le Manierisme a la Cour de France<\/em>, Paris, 1960<\/td>\n<\/tr>\n
B\u00e9guin, L\u2019Oeil<\/em>, 1960<\/strong><\/td>\nB\u00e9guin, Sylvie, ‘Un aspect neglig\u00e9, de l’\u00c9cole de Fontainebleau: la peinture sacr\u00e9e,” L’Oeil<\/em>, 72, 1960, 55\u2013<\/span>65<\/td>\n<\/tr>\n
B\u00e9guin, 1964<\/strong><\/td>\nB\u00e9guin, Sylvie, “Toussant Dubreuil, premier peintre de Henri IV,” Art de France<\/em>, IV, 1964, 85\u2013<\/span>107<\/td>\n<\/tr>\n
B\u00e9guin, 1965<\/strong><\/td>\nB\u00e9guin, Sylvie, Rosso e Primaticcio al Castello di Fontainebleau<\/em>, Milan\u2013<\/span>Geneva, 1965<\/td>\n<\/tr>\n
B\u00e9guin, 1966<\/strong><\/td>\nB\u00e9guin, Sylvie, Review of exhibition “Between Renaissance and Baroque. European Art 1520\u2013<\/span>1600,” Master Drawings<\/em>, IV, 1, 1966, 56\u2013<\/span>59<\/td>\n<\/tr>\n
B\u00e9guin, Mariette<\/em>, 1967<\/strong><\/td>\nB\u00e9guin, Sylvie, Le cabinet d’un grand amateur, P. J. Mariette<\/em>, exh. cat., Paris, Louvre, 1967<\/td>\n<\/tr>\n
B\u00e9guin, 1969<\/strong><\/td>\nB\u00e9guin, Sylvie, Mostra di Nicol\u00f2 dell’ Abate<\/em>, Bologna, 1969<\/td>\n<\/tr>\n
B\u00e9guin, Revue du Louvre<\/em>, 1969<\/strong><\/td>\nB\u00e9guin, Sylvie, “La vierge, reine des anges par le Primatice,” La Revue du Louvre et des Mus\u00e9es de France<\/em>, XIX, 3, 1969, 143\u2013<\/span>156 B\u00e9guin, RdA<\/em>, 1969<\/td>\n<\/tr>\n
B\u00e9guin, RdA<\/em>,1969<\/strong><\/td>\nB\u00e9guin, Sylvie, Revue of Zerner, 1969, RdA<\/em>, 5, 1969, 103\u2013<\/span>107<\/td>\n<\/tr>\n
B\u00e9guin, 1970<\/strong><\/td>\nB\u00e9guin, Sylvie, Il cinquecento francese, I disegni dei maestri<\/em>, ed. Walter Vitzthum, Milan, 1970<\/td>\n<\/tr>\n
B\u00e9guin, “Ma\u00eetre Roux,” 1972<\/strong><\/td>\nB\u00e9guin, Sylvie, “Le directeur des travaux: “Ma\u00eetre Roux”” “Galerie,” RdA<\/em>, 1972, 102\u2013<\/span>105<\/td>\n<\/tr>\n
B\u00e9guin, \u201cMythologuique\u201d 1972<\/strong><\/td>\nB\u00e9guin, Sylvie, “Le programme mythologique,” “Galerie,” RdA<\/em>, 1972, 165\u2013<\/span>167<\/td>\n<\/tr>\n
B\u00e9guin, et al, 1972<\/strong><\/td>\nB\u00e9guin, Sylvie, Andr\u00e9 Chastel, Georg Kauffman, Myron Laskin, Jacques Thuillier, Henri Zerner, “L’\u00c9cole de Fontainebleau,” L’Oeil<\/em>, 215, 1972, 2\u2013<\/span>13<\/td>\n<\/tr>\n
B\u00e9guin, and Pressouyre, 1972<\/strong><\/td>\nB\u00e9guin, Sylvie, and Sylvie Pressouyre, “Documentation, descriptions, interpr\u00e8tations et ex\u00e9g\u00e9ses,” “Galerie,” RdA<\/em>, 1972, 124\u2013<\/span>142<\/td>\n<\/tr>\n
B\u00e9guin, 1975<\/strong><\/td>\nB\u00e9guin, Sylvie, “Remarques sur la Chambre du roi,” in Actes<\/em>, 1975, 199\u2013<\/span>230<\/td>\n<\/tr>\n
B\u00e9guin, 1976<\/strong><\/td>\nB\u00e9guin. Sylvie, “Emp\u00e9docle, un dessin in\u00e9dit de Rosso,\u201d Paragone<\/em>, 317\u2013<\/span>319, 1976, 77\u2013<\/span>82.<\/td>\n<\/tr>\n
B\u00e9guin, 1982<\/strong><\/td>\nB\u00e9guin, Sylvie, “Contribute allo studio dei disegni del Primaticcio,” BdA<\/em>, LXVII, 6th series, 15, 1982, 27\u2013<\/span>52<\/td>\n<\/tr>\n
B\u00e9guin, Louvre, 1982<\/strong><\/td>\nB\u00e9guin, Sylvie, Le XVIe<\/sup> si\u00e8cle florentin au Louvre<\/em>, Paris, 1982<\/td>\n<\/tr>\n
B\u00e9guin, Guillaume, Roy, 1985<\/strong><\/td>\nB\u00e9guin, Sylvie, Jean Guillaume, and Alain Roy, La galerie d’Ulvsse \u00e0 Fontainebleau<\/em>, Paris, 1985<\/td>\n<\/tr>\n
B\u00e9guin, 1988 (1989)<\/strong><\/td>\nB\u00e9guin, Sylvie, “Un projet de Rosso pour le chapitre de Notre-Dame de Paris,” Bulletin de la Soci\u00e9t\u00e9 de l’Histoire de l’Art fran\u00e7ais<\/em>, 1988 (1989), 7\u2013<\/span>16<\/td>\n<\/tr>\n
B\u00e9guin, 1989<\/strong><\/td>\nB\u00e9guin, Sylvie, “New Evidence for Rosso in France,” BM<\/em>, CXXXI, 1989, 828\u2013<\/span>838<\/td>\n<\/tr>\n
B\u00e9guin, CASVA, 1989<\/strong><\/td>\nB\u00e9guin, Sylvie, “Rosso Fiorentino Studies,” Center 9, Research Reports and Record of Activities, June 1988\u2013<\/span>May 1989<\/em>, National Gallery of Art, Center for Advanced Study in the Visual Arts, Washington, 1989, 39\u2013<\/span>40<\/td>\n<\/tr>\n
B\u00e9guin, Paragone, 1989<\/strong><\/td>\nB\u00e9guin, Sylvie, “\u00c0 propos des Andrea del Sarto au Mus\u00e9e du Louvre,” Paragone<\/em>, XL, no. 18 (477), 1989, 3\u2013<\/span>22<\/td>\n<\/tr>\n
B\u00e9guin, 1990<\/strong><\/td>\nB\u00e9guin, Sylvie, “Rosso Fiorentino’s St. Peter and St. Paul, Print Quarterly<\/em>,” VII, 2, 1990, 164\u2013<\/span>167<\/td>\n<\/tr>\n
B\u00e9guin, 1992 (1987)<\/strong><\/td>\nB\u00e9guin, Sylvie, “Projets Bellifontains,” Dal disegno all’opera compiuta, Atti del Convegno Internazionale<\/em>, Torigiano, 1987, ed. M. di Giampolo, Perugia, 1992, 89\u2013<\/span>96<\/td>\n<\/tr>\n
Bdguin, 1994<\/strong><\/td>\nBLguin, Sylvie, “Two Notes on Decorations inthe Galerie Franpois I at Fontainebleau,” JWCI<\/em>, LVII, 1994, 270\u2013<\/span>278<\/td>\n<\/tr>\n
B\u00e9guin, 1995<\/strong><\/td>\nB\u00e9guin, Sylvie, “Paris, Cambridge and New York, Sixteenth-century French drawings,” BM<\/em>, CXXXVII, 1995, 192\u2013<\/span>195<\/td>\n<\/tr>\n
Bell, 1914<\/strong><\/td>\nBell, C. F., Drawings by the Old Masters in the Library of Christ Church<\/em>, Oxford, Oxford, 1914<\/td>\n<\/tr>\n
Bendinelli, 1929<\/strong><\/td>\nBendinelli, Goffredo, “Arpia,” Enciclopedia italiana<\/em>, IV, 1929, 568\u2013<\/span>569<\/td>\n<\/tr>\n
Benesch, 1947<\/strong><\/td>\nBenesch, Otto, The Art of the Renaissance in Northern Europe, Its Relation to the Contemporary Spiritual and Intellectual Movement<\/em>, Cambridge, Mass., 1947<\/td>\n<\/tr>\n
Berckenhagen, 1968<\/strong><\/td>\nBerckenhagen, Ekhart, “Zeichnungen der ‘\u00c9cole de Fontainebleau’ in Berlin,” Berliner Museen<\/em>, 18, 1968, 11\u2013<\/span>23<\/td>\n<\/tr>\n
Berckenhagen, 1970<\/strong><\/td>\nBerckenhagen, Ekhart, Die Franz\u00f6sischen Zeichnungen der Kunstbibliothek Berlin<\/em>, Berlin, 1970<\/td>\n<\/tr>\n
Berenson, 1896; 1909<\/strong><\/td>\nBerenson, Bernhard, The Florentine Painters of the Renaissance<\/em>, 1st ed., New York\u2013<\/span>London, 1896; 3rd ed., revised and enlarged, New York\u2013<\/span>London, 1909<\/td>\n<\/tr>\n
Berenson, 1903<\/strong><\/td>\nBerenson, Bernhard, The Drawings of the Florentine Painters<\/em>, 2 vols., London, 1903<\/td>\n<\/tr>\n
Berenson, 1932<\/strong><\/td>\nBerenson, Bernhard, Italian Pictures of the Renaissance<\/em>, Oxford, 1932<\/td>\n<\/tr>\n
Berenson, 1938<\/strong><\/td>\nBerenson, Bernard, The Drawings of the Florentine Painters, amplified edition<\/em>, 3 vols., Chicago, 1938<\/td>\n<\/tr>\n
Berenson, 1957<\/strong><\/td>\nBerenson, Bernard, Italian Pictures of the Renaissance, Venetian School<\/em>, 2 vols., New York, 1957<\/td>\n<\/tr>\n
Berenson, 1961<\/strong><\/td>\nBerenson, Bernard, I disegni dei pittori fiorentini<\/em>, 3 vols., Milan, 1961<\/td>\n<\/tr>\n
Berenson, 1963<\/strong><\/td>\nBerenson, Bernard, Italian Pictures of the Renaissance, Florentine School<\/em>, Greenwich, Conn., 2 vols., 1963<\/td>\n<\/tr>\n
Berlin cat., 1931<\/strong><\/td>\nBeschreibendes Verzeichnis der Gem\u00e4lde im Kaiser Friedrich-Museum, and Deutschen Museum<\/em>, 9th ed., 1931<\/td>\n<\/tr>\n
Berliner, 1925<\/strong>\u2013<\/span>1926<\/strong><\/td>\nBerliner, Rudolf, Ornamental Vorlaae-Bl\u00e4tter des 15. bis 18. Jahrhunderts<\/em>, Leipzig, I, 1925, II, 1926<\/td>\n<\/tr>\n
Berti, 1955<\/strong><\/td>\nBerti, Luciano, La casa del Vasari in Arezzo e il suo museo<\/em>, Florence, 1955<\/td>\n<\/tr>\n
Berti, 1961<\/strong><\/td>\nBerti, Luciano, Il Museo di Arezzo<\/em>, Rome, 1961<\/td>\n<\/tr>\n
Berti, 1965<\/strong><\/td>\nBerti, Luciano, Pontormo disegni<\/em>, Florence, 1965<\/td>\n<\/tr>\n
Berti, 1973<\/strong><\/td>\nBerti, Luciano, L’opera completa del Pontormo<\/em>, Milan, 1973<\/td>\n<\/tr>\n
Berti, 1983<\/strong><\/td>\nBerti, Luciano, “Per gli inizi del Rosso Fiorentino,” BdA<\/em>, LXVIII, 6th series, 18, 1983, 45\u2013<\/span>60<\/td>\n<\/tr>\n
Berti, 1984<\/strong><\/td>\nBerti, Luciano, “Il paradiso perduto dei manieristi,” Il complesso monumentale di San Lorenzo, la basilica, le sagrestie, le cappelle, la biblioteca<\/em>, ed. Umberto Baldini and Bruno Nardini, Florence, 1984, 153\u2013<\/span>156<\/td>\n<\/tr>\n
Berti, 1993<\/strong><\/td>\nBerti, Luciano, Pontormo e il suo tempo<\/em>, Florence, 1993<\/td>\n<\/tr>\n
Bertini, 1952<\/strong><\/td>\nBertini, Aldo, “Fontainebleau e la maniera italiana,” Emporium<\/em>, CXVI, 1952, 147\u2013<\/span>164<\/td>\n<\/tr>\n
Bertini, 1958<\/strong><\/td>\nBertini, Aldo, I disegni italiani della Biblioteca Reale di Torino<\/em>, Rome, 1958<\/td>\n<\/tr>\n
Bertini, 1987<\/strong><\/td>\nBertini, Giuseppe, La galleria del Duca di Parma, Storia di una Collezione<\/em>, Bologna, 1987<\/td>\n<\/tr>\n
Bertini, BdA<\/em>, 1952<\/strong><\/td>\nBertini, Aldo, “Disegni inediti del Pontormo e della cerchia del Rosso nella Biblioteca Reale di Torino,” BdA<\/em>, XXXVII, 4th series, 4, 1952, 310\u2013<\/span>314<\/td>\n<\/tr>\n
Bettagno, 1966<\/strong><\/td>\nBettagno, Alessandro, Disegni di una collezione veneziana del settecentto<\/em>, exh. cat., Venice, Cini Foundation, Vincenza, 1966<\/td>\n<\/tr>\n
Between Renaissance and Baroque<\/em>, 1965<\/strong><\/td>\nBetween Rennaissance and Baroque, European Art 1524\u2013<\/span>1600<\/em>, exh. cat. by F. G. Grossman, City of Manchester, Art Gallery, 1965<\/td>\n<\/tr>\n
Biagioli, 1993<\/strong><\/td>\nBiagioli, Mario, Galileo, Courtier. The Practice of Science in the Culture of Absolutism<\/em>, Chicago\u2013<\/span>Landon, 1993<\/td>\n<\/tr>\n
Bialostocki, 1981<\/strong><\/td>\nBialostocki, Jan, “La gamba sinistra della Giuditta: il guadro di Giorgione nella storia del tema,” Giorgione e l’umanesimo veneziano<\/em>, 1981, I, (Civilt\u00e0 veneziana, Saggi), 27, 193\u2013<\/span>226<\/td>\n<\/tr>\n
Bimbenet-Privat and Le Bars, 1994<\/strong><\/td>\nBimbenet\u2013<\/span>Privat, Michele and Fabienne Le Bars, “New Documents on Sixteenth-Century Printmaking in Paris,” Print Quarterly<\/em>, XI, no. 2, 1994, 151\u2013<\/span>155<\/td>\n<\/tr>\n
Binenbaum and Pressouyre, 1972<\/strong><\/td>\nBinenbaum, Oreste, and Sylvie Pressouyre, “Dossier Technique,” “Galerie,” RdA<\/em>, 1972, 45\u2013<\/span>96<\/td>\n<\/tr>\n
Bjurstr\u00f6m, 1976<\/strong><\/td>\nBjurstr\u00f6m, Per, Drawings in Swedish Public Collections. French Drawings: Sixteenth and Seventeenth Centuries<\/em>, Stockholm, 1976<\/td>\n<\/tr>\n
Bjurstr\u00f6m, 1987<\/strong><\/td>\nBjurstr\u00f6m, Per, The Art of Drawing in France 1400\u2013<\/span>1900, Drawings from the National Museum, Stockholm<\/em>, exh. cat., New York, 1987<\/td>\n<\/tr>\n
Blomfield, 1911<\/strong><\/td>\nBlomfield, Reginald, A History of French Architecture from the Reign of Charles VIII Till the Death of Mazarin<\/em>, London, I, 1911<\/td>\n<\/tr>\n
Blunt, 1953; 1973<\/strong><\/td>\nBlunt, Anthony, Art and Architecture in France 1500 to 1700, London, 1953; with revisions 1973<\/td>\n<\/tr>\n
Blunt, 1958<\/strong><\/td>\nBlunt, Anthony, Philibert de L`Orme<\/em>, London, 1958<\/td>\n<\/tr>\n
BM<\/strong><\/em><\/td>\nThe Burlington Magazine<\/em><\/td>\n<\/tr>\n
Boase, 1979<\/strong><\/td>\nBoase, Thomas S.R., Giorgio Vasari, The Man and the Book<\/em>, Princeton, 1979<\/td>\n<\/tr>\n
Bober and Rubinstein, 1986<\/strong><\/td>\nBober, Phyllis Bray, and Ruth Rubinstein, Renaissance Artists and Antique Sculpture<\/em>, London\u2013<\/span>Oxford, 1986<\/td>\n<\/tr>\n
Bocchi, 1591<\/strong><\/td>\nBocchi, Francesco, Le Bellezze delta Citt\u00e0 di Firenze<\/em>, Florence, 1591<\/td>\n<\/tr>\n
Bocchi<\/strong>\u2013<\/span>Cinelli, 1677<\/strong><\/td>\nBocchi, Francesco, Le Bellezze della Citte di Firenze<\/em>, 2nd ed., ed. G. Cinelli, Florence, 1677<\/td>\n<\/tr>\n
Bohlin, IB<\/em>, 39, 1980<\/strong><\/td>\nDiane de Grazia, ed., The Illustrated Bartsch<\/em>, 39, Formerly Volume 18 (Part 1), Italian Masters of the Sixteenth Century<\/em>, New York, 1980<\/td>\n<\/tr>\n
Bologna and Causa, 1952<\/strong><\/td>\nBologna, Ferdinando and Raffaello Causa, Fountainebleau e la maniera italiana<\/em>, exh. cat., Naples, 26 July\u2013<\/span>12 October 1952, Florence, 1952<\/td>\n<\/tr>\n
Bolzoni, 1984<\/strong><\/td>\nBolzoni, Lina, Il teatro della memoria: studi di Giulio Camillo con un’appendice di testi<\/em>, Padua, 1984<\/td>\n<\/tr>\n
Bombe, 1916<\/strong><\/td>\nBombe, Walter, “Domenico Alfani,” Jahrbuch der K\u00f6niclich Preuszischen Kunstsammluncen<\/em>, XXXVII, Supplement, Berlin, 1916, 1\u2013<\/span>22<\/td>\n<\/tr>\n
Bonito Oliva, 1976<\/strong><\/td>\nBonito Oliva, Achille, L’ideoloaia del traditore. Arte, maniera, manierismo<\/em>, Milan, 1976<\/td>\n<\/tr>\n
Bonsanti, 1994 (1996)<\/strong><\/td>\nBonsanti, Giorgio, \u201cRosso nella bottega di Andrea del Sarto,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 164\u2013<\/span>168<\/td>\n<\/tr>\n
Boorsch and Spike, IB<\/em>, 28, 1985<\/strong><\/td>\nBoorsch, Suzanne and John Spike, ed., The Illustrated Bartsch, 28, Formerly Volume 15 (Part 1), Italian Masters of the Sixteenth Century<\/em>, New York, 1985<\/td>\n<\/tr>\n
Boorsch, 1988<\/strong><\/td>\nBoorsch, Suzanne, “Rosso Fiorentino at the National Gallery,” The Print Collector’s Newsletter<\/em>, XIX, 1, March\u2013<\/span>April 1988<\/td>\n<\/tr>\n
Boorsch, 1989<\/strong><\/td>\nBoorsch, Suzanne, “Mannerists Prints,” Print Quarterly<\/em>, VI, 2, 1989, 187\u2013<\/span>190<\/td>\n<\/tr>\n
Borea, 1965<\/strong><\/td>\nBorea, Evelina, Rosso Fiorentino<\/em> (I Maestri del colore<\/em>, no. 106), Milan, 1965, (unpaginated)<\/td>\n<\/tr>\n
Borea, 1979<\/strong><\/td>\nBorea, Evelina, “Stampa figurativa e pubblico dalle origini all’affermazione nel Cinquecento,” Storia dell’arte italiana<\/em>, Part I, Materialie problemi<\/em>, Vol. 2, L’artista e il pubblico<\/em>, Turin, 1979, 317\u2013<\/span>413<\/td>\n<\/tr>\n
Borea, 1980<\/strong><\/td>\nBorea, Evelina, “Stampe da modelli fiorentini nel Cinquecento,” Primato del diseano<\/em>, 1980, 225\u2013<\/span>286<\/td>\n<\/tr>\n
Borghini, 1584<\/strong><\/td>\nBorghini, Raffaelo, il Riposo<\/em>, Florence, 1584; facsimile ed., Hildesheim, 1969; ed. Mario Rosci, 2 vols., Milan, 1967<\/td>\n<\/tr>\n
Borghini<\/strong>\u2013<\/span>Bottari, 1730<\/strong><\/td>\nBorghini, Raffaelo, Il Riposo<\/em>, Florence, from 2nd ed. of 1730 with notes by G. Bottari, 3 vols., Classici italiani<\/em>, Milan, 1807<\/td>\n<\/tr>\n
Borgo, 1968 (1976)<\/strong><\/td>\nBorgo, Ludivico, The Works of Mariotto Albertinelli<\/em>, PhD Thesis, Harvard University, May 1968; New York, 1976<\/td>\n<\/tr>\n
Borroni and Kozakiewicz, 1976<\/strong><\/td>\nBorroni, F. and H. Kozakiewicz, “Caraglio, Dizionario Biografico degli italiani<\/em>, Rome, XIK, 1976, 615\u2013<\/span>618<\/td>\n<\/tr>\n
Bottineau, 1962<\/strong><\/td>\nBottineau, Yves, L’art d’Anae-Jaaues Gabriel A Fontainebleau (1735\u2013<\/span>1774)<\/em>, Paris, 1962<\/td>\n<\/tr>\n
Bousquet, 1964<\/strong><\/td>\nBousquet, Jacques, Mannerism. The Painting and Style of the Late Renaissance<\/em>, trans. Simon Watson Taylor, New York, 1964<\/td>\n<\/tr>\n
Brandi, 1980<\/strong><\/td>\nBrandi, Cesare, Disegno della pittura italiana<\/em>, Turin, 1980<\/td>\n<\/tr>\n
Bray, 1935<\/strong><\/td>\nBray, Albert, “Les origines de Fontainebleau. Fontainebleau avant Francois Ier<\/sup>,” Bulletin monumental<\/em>, 1935, 171\u2013<\/span>214<\/td>\n<\/tr>\n
Bray, 1940<\/strong><\/td>\nBray, Albert, “Le premier grand escalier du Ch\u00e2teau de Fontainebleau et les anciens escaliers de la court ovale,” Bulletin Monumental<\/em>, 1940, 193\u2013<\/span>203<\/td>\n<\/tr>\n
Bray, n.d.<\/strong><\/td>\nBray, Albert, Le Ch\u00e2teau de Fontainebleau, (Les plus excellent b\u00e2timents de France)<\/em>, Paris, n.d. [1956]<\/td>\n<\/tr>\n
Briat, 1964<\/strong><\/td>\nBriat, R\u00e9ne, “Fontainebleau retrouve sa jeunesse,” Plaisir de France<\/em>, July 1964, 12\u2013<\/span>23<\/td>\n<\/tr>\n
Brieger, 1938<\/strong><\/td>\nBrieger, Peter H. “Principles of French Classic Painting,” AB<\/em>, KX, 1938, 389\u2013<\/span>358<\/td>\n<\/tr>\n
Briganti, 1945<\/strong><\/td>\nBriganti, Giuliano, Il Manierismo e Pellearino Tibaldi<\/em>, Rome, 1945<\/td>\n<\/tr>\n
Briganti, 1953<\/strong><\/td>\nBriganti, Giuliano, “Una Madonna del Rosso,” Paragone<\/em>, IV, 43, 1953, 51\u2013<\/span>53<\/td>\n<\/tr>\n
Briganti, 1961; 1962<\/strong><\/td>\nBriganti, Giuliano, La maniera italiana<\/em>, Rome, 1961; Italian Mannerism<\/em>, trans. Margaret Kunzle, Leipzig, 1962<\/td>\n<\/tr>\n
Briganti Colonna, 1955<\/strong><\/td>\nBriganti Colonna, Gustavo, Gli Orsini<\/em>, Milan, 1955<\/td>\n<\/tr>\n
Brion\u2013<\/span>Guerry, 1955<\/strong><\/td>\nBrion-Guerry, Liliane, Philbert de l’Orme<\/em>, Milan, 1955<\/td>\n<\/tr>\n
Briquet<\/strong><\/td>\nBriquet, C.M., Les filigranes<\/em>, 2nd ed., Leipzig, 1923; reprint, New York, 1966<\/td>\n<\/tr>\n
Brilli, 1994<\/strong><\/td>\nBrilli, Attilio, Itinerari del manierismo in Toscana<\/em>, Cinisello Balsamo (Milan), 1994<\/td>\n<\/tr>\n
Brizi, 1838<\/strong><\/td>\nBrizi, M. Oreste, Nuova Guida per la Citt\u00e0 di Arezzo<\/em>, Arezzo, 1838<\/td>\n<\/tr>\n
Brookes, 1965<\/strong><\/td>\nBrookes, Peter Cannon, “Three Notes on Maso da San Friano,” BM<\/em>, CVII, 1965, 192\u2013<\/span>196<\/td>\n<\/tr>\n
Brown Butters and Elam, 1980<\/strong><\/td>\nBrawn Butters, Suzanne, and Caroline Elam, review of Florence. Firenze e la Toscana dei Medici nell’Europa del Cinquecento<\/em>, BM<\/em>, CXXII, 1980, 354\u2013<\/span>365<\/td>\n<\/tr>\n
Brugerolles, 1984<\/strong><\/td>\nBrugerolles, Emmanuelle, Les Dessins de la collection Armand\u2013<\/span>Valton: La donation d’un grand collectionneur du XIXe<\/sup> si\u00e8cle \u00e0 l’\u00c9cole des Beaux-Arts. Inventaire g\u00e9n\u00e9ral<\/em>, Paris, n.d. [c.1984]<\/td>\n<\/tr>\n
Brugerolles and Guillet, 1994<\/strong><\/td>\nLe Dessin en France au XVIe<\/sup> si\u00e8cle. Dessins et miniatures des colllections de l’\u00c9cole des Beaux-Arts<\/em>, exh. cat., 1994-1995, Paris, \u00c9coles Nationale Sup\u00e9rieure des Beaux-Arts, Paris, 1944<\/td>\n<\/tr>\n
Brugnoli, 1962<\/strong><\/td>\nBrugnoli, Maria Vittoria, “Gli Affreschi di Perin del Vaga nella Cappella Pucci,” BdA<\/em>, XLVII, 4th series, 47, 1962, 327\u2013<\/span>350<\/td>\n<\/tr>\n
Brulliot, 1832<\/strong><\/td>\nBrulliot, Fran\u00e7ois, Dictionnaire des monogrammes marque figur\u00e9es, lettres initialer, noms abr\u00e9g\u00e9s etc<\/em>. Part I, Munich, 1832<\/td>\n<\/tr>\n
Bryce, 1983<\/strong><\/td>\nBryce, Judith, Cosimo Bartoli (1503\u2013<\/span>1572): The Career of a Florentine Polymath<\/em>, (Travaux d’Humanisme et Renaissance, 191), Geneva, 1983<\/td>\n<\/tr>\n
Bucci, 1969<\/strong><\/td>\nBucci, Mario, Anatomie come arte<\/em>, Florence, 1969<\/td>\n<\/tr>\n
Buffa, IB<\/em>, 34, 1982<\/strong><\/td>\nBuffa, Sebastian, edited by, The Illustrated Bartsch<\/em>, 34, formerly volume 17 (part 1), Italian Artists of the Sixteenth Century<\/em>, New York, 1982<\/td>\n<\/tr>\n
Bulman, 1971<\/strong><\/td>\nBulman, Louisa M., Artistic Patronage at SS. Annunziata 1440\u2013<\/span>c.1520<\/em>, PhD thesis, London University, 1971<\/td>\n<\/tr>\n
Burckhardt, 1855 (1904); 1855 (1910)<\/strong><\/td>\nBurckhardt, Jakob C., Der Cicerone: eine Anleitung zum Genuss der Kunstwerke Italiens<\/em>, Basel, 1855; II, 3, Malerie<\/em>, Leipzig, 1904, 1910<\/td>\n<\/tr>\n
Burlingham, 1980<\/strong><\/td>\nBurlingham, Cynthia M., Perino del Vaga’s Designs for “The Loves of the Gods”<\/em>, Master’s thesis, Oberlin College, 1980<\/td>\n<\/tr>\n
Burresi and Caleca, 1981<\/strong><\/td>\nBurresi, Mariagiulia, and Antonino Caleca, Momenti dell’arte a Volterra<\/em>, exh. cat., Volterra, Palazzo Minucci Soliani, August-September, 1981, Pisa, 1981<\/td>\n<\/tr>\n
Burroughs, 1943<\/strong><\/td>\nBurroughs, Louise, “A Souvenir of Fontainebleau: Nymph of Fontainebleau After a Design by Rosso,” Metropolitan Museum of Art Bulletin<\/em>, New series, I, April 1943, 251\u2013<\/span>253<\/td>\n<\/tr>\n
Busson, 1957<\/strong><\/td>\nBusson, Henri, La rationalisme dans la litt\u00e9rature fran\u00e7aise de la renaissance (1533\u2013<\/span>1601)<\/em>, Paris, 1957<\/td>\n<\/tr>\n
Byam Shaw, 1972<\/strong><\/td>\nByam Shaw, James, Old Master Drawings from Christ Church Oxford<\/em>, International Exhibitions Foundation, Washington, D.C., 1972\u2013<\/span>1973<\/td>\n<\/tr>\n
Byam Shaw, 1976<\/strong><\/td>\nByam Shaw, James, Drawings by Old Masters at Christ Church Oxford<\/em>, 2 vols., Oxford, 1976<\/td>\n<\/tr>\n
Byrne, 1981<\/strong><\/td>\nByrne, Janet S., Renaissance Ornament Prints and Drawings<\/em>, New York, 1981<\/td>\n<\/tr>\n
Calvesi, 1956<\/strong><\/td>\nCalvesi, Maurizio, “Note ai Carracci,” Commentari<\/em>, VII, 41 1956, 263-276<\/td>\n<\/tr>\n
Cam\u00f3n Aznar, 1980<\/strong><\/td>\nCam\u00f3n Aznar, Jos\u00e9, Alonso Berrucuete<\/em>, Madrid, 1980<\/td>\n<\/tr>\n
Campana, 1966<\/strong><\/td>\nCampana, Augusto, “Pueri minaentes<\/em> nel Quattrocento,” Friendship’s Garland. Essays presented to Mario Praz on his Seventieth Birthday<\/em>, ed. Vittorio Gabrieli, Rome, 1966, I, 31\u2013<\/span>42<\/td>\n<\/tr>\n
Campbell, 2002<\/strong><\/td>\nCampbell, Stephen J., \u201c\u2018Fare una Cosa Morta Parer Viva\u2019: Michelangelo, Rosso, and the (Un)Divinity of Art,\u201d AB<\/em>, LXXXIV, No. 4, 2002, 596\u2013<\/span>620<\/td>\n<\/tr>\n
Campori, 1870<\/strong><\/td>\nCampori, Giuseppe, Raccolta di cataloghi ed ventarii inedi inediti di quadri, statue, disegni, bronzi, dorerie, smaltie, medaglie, avorii, ecc. dal secolo XV al secolo XIX<\/em>, Modena, 1870, facsimile edition, Bologna, 1975<\/td>\n<\/tr>\n
Capella, 1925<\/strong><\/td>\nCapella, Martianus Capella<\/em>, ed. Adolf Dick, Leipzig, 1925<\/td>\n<\/tr>\n
Capella, 1977<\/strong><\/td>\nMartianus Capella and the Seven Liberal Arts<\/em>, trans. W. H. Stahl, R. Johnson, and E. L. Burge, II, New York, 1977<\/td>\n<\/tr>\n
Capretti, 1996<\/strong><\/td>\nCapretti, E, \u201cMaestro dei Paesaggi Kress Madonna col Bambino e San Giovannino,\u201d L\u2019Et\u00e0 di Savonarola. Fra\u2019 Bartolomeo e la Scuola di San Marco<\/em>, ed. Serena Padovani, Venice, 1996, 153, 155<\/td>\n<\/tr>\n
Carli, 1978<\/strong><\/td>\nCarli, Enzo, Volterra nel medioevo e nel rinascimento<\/em>, Pisa, 1978<\/td>\n<\/tr>\n
Carli, 1980<\/strong><\/td>\nCarli, Enzo, La Pinacoteca di Volterra<\/em>, Pisa, 1980<\/td>\n<\/tr>\n
Carocci, II, 1907<\/strong><\/td>\nCarocci, Guido, I Dintorni di Firenze, Florence<\/em>, 2 vols., 1906\u2013<\/span>1907<\/td>\n<\/tr>\n
Caron, 1983<\/strong><\/td>\nCaron, Linda, “A Presentation Work to Pope Leo X by Rosso Fiorentino,” Source<\/em>, II, 3, 1983, 5\u2013<\/span>8<\/td>\n<\/tr>\n
Caron, 1985<\/strong><\/td>\nCaron, Linda, “Choices Concerning Modes of Modeling During the High Renaissance and After,” Zeitschrift fur Kunstceschichte<\/em>, 48, I, 1985, 476\u2013<\/span>489<\/td>\n<\/tr>\n
Caron, 1988<\/strong><\/td>\nCaron, Linda, “The Use of Color By Rosso Fiorentino,” The Sixteenth Century Journal<\/em>, XIX, 31 1988, 355\u2013<\/span>378<\/td>\n<\/tr>\n
Caron, 1994<\/strong><\/td>\nCaron, Linda, “Monkey Business: The Puzzle of Rosso’s Ape,” Source: Notes in the Historyof Art<\/em>, XIII, 2, 1994, 25\u2013<\/span>30<\/td>\n<\/tr>\n
Carpenter, 1845<\/strong><\/td>\nCarpenter, W. H. Manuscript Catalogue of the Cracherode Collection, Department of Prints and Drawings, The Brittish Museum<\/em>, London, 1845<\/td>\n<\/tr>\n
Carroll, 1961<\/strong><\/td>\nCarroll, Eugene A., “Some Drawings by Rosso Fiorentino,” BM<\/em>, CIII, 1961, 446\u2013<\/span>454<\/td>\n<\/tr>\n
Carroll, 1964 (1976)<\/strong><\/td>\nCarroll, Eugene A., The Drawings of Rosso Fiorentino<\/em>, 2 vols., New York\u2013<\/span>London, 1976; PhD Thesis, Harvard University, 1964<\/td>\n<\/tr>\n
Carroll, 1966<\/strong><\/td>\nCarroll, Eugene A., “Drawings by Rosso Fiorentino in the British Museum,” BM<\/em>, 108, 1966, 168\u2013<\/span>180<\/td>\n<\/tr>\n
Carroll, 1967<\/strong><\/td>\nCarroll, Eugene A., “Lappoli, Alfani, Vasari, and Rosso Fiorentino,” AB<\/em>, XLIX, 1967, 297\u2013<\/span>304<\/td>\n<\/tr>\n
Carroll, 1971<\/strong><\/td>\nCarroll, Eugene A.,”Some Drawings by Salviati Formerly Attributed to Rosso Fiorentino,” Master Drawings<\/em>, IX, 1, 1971, 15\u2013<\/span>37<\/td>\n<\/tr>\n
Carroll, 1973<\/strong><\/td>\nCarroll, Eugene A., “Fontainebleau: Fruit of a Royal Commitment,” Art News<\/em>, May, 1973, 72\u2013<\/span>75<\/td>\n<\/tr>\n
Carroll, 1975<\/strong><\/td>\nCarroll, Eugene A., “Rosso in France,” Actes<\/em>, 1975, 17\u2013<\/span>28<\/td>\n<\/tr>\n
Carroll, 1978<\/strong><\/td>\nCarroll, Eugene A., “A Drawing by Rosso Fiorentino of Judith and Holofernes,” Los Angeles County Museum of Art Bulletin<\/em>, 1978, 24\u2013<\/span>49, and cover<\/td>\n<\/tr>\n
Carroll, 1985<\/strong><\/td>\nCarroll, Eugene A., Review of Darragon, 1983, Renaissance Quarterly<\/em>, XXXVIII, 1, 1985, 140\u2013<\/span>142<\/td>\n<\/tr>\n
Carroll, 1987<\/strong><\/td>\nCarroll, Eugene A., Rosso Fiorentino. Drawings. Prints, and the Decorative Arts<\/em>, exh. cat., National Gallery of Art, Washington, D.C., 1987<\/td>\n<\/tr>\n
Carroll, 1989<\/strong><\/td>\nCarroll, Eugene A., The Print Images of Rosso Fiorentino<\/em>, Grunwald Center for the Graphic Arts at UCLA, Los Angeles, 1989<\/td>\n<\/tr>\n
Carroll, 1994 (1996)<\/strong><\/td>\nCarroll, Eugene A., \u201cOn Rosso\u2019s Volterra Deposition<\/em> and Other Tragedies,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 116\u2013<\/span>120<\/td>\n<\/tr>\n
Carroll, 1995<\/strong><\/td>\nCarroll, Eugene A., “Printmaking in Renaissance France,” Print Quarterly<\/em>, XII, 3, 1995, 299\u2013<\/span>303<\/td>\n<\/tr>\n
Casciu, 1994<\/strong><\/td>\nCasciu, Stefano and Alessandra Baroni, Dal Rosso a Santi di Tito. Guida alle opere (La maniera moderna nell’Aretino), <\/em>Venice, 1994<\/td>\n<\/tr>\n
Castiglione\u2013<\/span>Singleton, 1959<\/strong><\/td>\nCastiglione, Baldesar, The Book of the Courtier<\/em>, trans. Charles Singleton, Garden City, 1959<\/td>\n<\/tr>\n
Castellan, 1840<\/strong><\/td>\nCastellan, Antoine Laurent, Fontainebleau. \u00c9tudes pittoresques et historioues sur ce ch\u00e2teau<\/em>, Paris, 1840<\/td>\n<\/tr>\n
Cave, 1979<\/strong><\/td>\nCave, Terrance, The Cornucopian Text: Problems of Writing in the French Renaissance<\/em>, Oxford, 1979<\/td>\n<\/tr>\n
Cazelles, 1974<\/strong><\/td>\nCazelles, Raymond, Fran\u00e7ois I et l’art renouvel\u00e9 au XVIe sibcle dans les collections du Ch\u00e2teau de Chantilly<\/em>, exh. cat., Chantilly, Mus\u00e9e Cond\u00e9, Senlis, 1974[?]<\/td>\n<\/tr>\n
Celletti, 1963<\/strong><\/td>\nCelletti, Vincenzo, Gli orsini di Bracciano<\/em>, Rome, 1963<\/td>\n<\/tr>\n
Cellini, 1843<\/strong><\/td>\nTassi, Francesco, Le opere di Benvenuto Cellini<\/em>, Florence, 1843<\/td>\n<\/tr>\n
Cellini\u2013<\/span>Ferrero 1971<\/strong><\/td>\nCellini, Benvenuto, Opere<\/em>, ed. Giuseppe Guido Ferrero, Turin, 1971<\/td>\n<\/tr>\n
Cellini\u2013<\/span>Symonds, 1929<\/strong><\/td>\nCellini, Benvenuto, The Autobiography of . . . translated by John ‘Addington Symonds with an introduction by Harry Morgan Ayers, 2 vols., New York, 1929<\/td>\n<\/tr>\n
Chambers and Martineau, 1981<\/strong><\/td>\nChambers, David, and Jane Martineau, Splendours of the Gonzaga<\/em>, exh. cat., London, 1981<\/td>\n<\/tr>\n
Champion, 1935<\/strong><\/td>\nChampion, Pierre, Paris au temps de laRenaissance. L’envers de la tapisserie Le r\u00e8gne de Francois Ier<\/sup><\/em>, Paris, 1935<\/td>\n<\/tr>\n
Champollion-Figeac, 1866<\/strong><\/td>\nChampollion-Figeac, Jacques Joseph, Le palais de Fontainebleau, ses origins, son histoire artisique et politique, son \u00e9tat actuel<\/em>, 2 vols. (Text and Plates), Paris, 1866.<\/td>\n<\/tr>\n
Chastel, 1955<\/strong><\/td>\nChastel, Andr\u00e9, “Le Baroque et la mort,” Retorica e Barocco, Atti del III Congresso Internazionale di Studi umanistici (Venice, 1954), ed. Enrico Castelli, Rome, 33-46; Chastel, 1978, I, 205-226<\/td>\n<\/tr>\n
Chastel, 1959 (1978, I)<\/strong><\/td>\nChastel, Andr\u00e9, “Masque, mascarade, (1978) mascaron,” Le Masque<\/em>, Mus\u00e9e Guimet, Paris, 1959, 87\u2013<\/span>93; Chastel, 1978, I, 249\u2013<\/span>258<\/td>\n<\/tr>\n
Chastel, 1966 (1978, I)<\/strong><\/td>\nChastel, Andr\u00e9, “Diane de Poitiers: ‘l’eros de la beaut\u00e9 froider'” Friendship’s Garland<\/em> (M\u00e9langes Mario Praz), I, Rome, 1966, 95\u2013<\/span>104; Chastel, 1978, I, 263\u2013<\/span>272<\/td>\n<\/tr>\n
Chastel, 1967 (1978, I)<\/strong><\/td>\nChastel, Andr\u00e9, “L’Escalier de la Cour Ovale \u00e0 Fontainebleau,” Essays in the History of Architecture presented to Rudolf Wittkower<\/em>, ed. D. Fraser, H. Hibbard, and M. J. Lewine, London. 1967, 74\u2013<\/span>80; Chastel, 1978, I, 455\u2013<\/span>468<\/td>\n<\/tr>\n
Chastel, 1968<\/strong><\/td>\nChastel, Andr\u00e9, “La Galerie Fran\u00e7ois Ier \u00e0 Fontainebleau,” Bulletin de la Soci\u00e9t\u00e9 Nationale des Antiuuaires de France<\/em>, 1968, 186\u2013<\/span>188<\/td>\n<\/tr>\n
Chastel, Crisis<\/em>, 1968<\/strong><\/td>\nChastel, Andr\u00e9, The Crisis of the Renaissance, 1520\u2013<\/span>1600<\/em>, trans. Peter Price, Geneva, 1968<\/td>\n<\/tr>\n
Chastel, 1972<\/strong><\/td>\nChastel, Andr\u00e9, “Le syst\u00e8me de la galerie,” in “Galerie,” RdA<\/em>, 1972, 143\u2013<\/span>149<\/td>\n<\/tr>\n
Chastel, “Salamandre,” “Galerie,” RdA<\/em>, 1972<\/strong><\/td>\nChastel, Andr\u00e9, “La Salamandre,” in”Galerie,” RdA<\/em>, 1972, 151\u2013<\/span>152<\/td>\n<\/tr>\n
Chastel, 1977 (1978, I)<\/strong><\/td>\nChastel, Andr\u00e9, “Le dictum Horatii quid libet audendi potestas<\/em> et les artistes (XIIIe<\/sup>-XVe<\/sup> si\u00e8cle),” Acad\u00e9mie des inscriptions et belles-lettres Comptes rendus<\/em>, January\u2013<\/span>March, 1977, 30\u2013<\/span>44; Chastel, 1978, If 363\u2013<\/span>376<\/td>\n<\/tr>\n
Chastel, 1978<\/strong><\/td>\nChastel, Andr\u00e9, Fables. Formes, Figures<\/em>, 2 vols., Paris, 1978<\/td>\n<\/tr>\n
Chastel, 1983<\/strong><\/td>\nChastel, Andrd, The Sack of Rome, 1527<\/em>, translated from the French by Beth Archer. The A.W. Mellon Lectures in the Fines Arts, 1977. The National Gallery of Arts, Washington, D.C. Bollingen Series XXXV 26. Princeton University Press, 1983<\/td>\n<\/tr>\n
Chatelet and Thullier, 1963<\/strong><\/td>\nCh\u00e2telet, Albert, and Jaques Thuillier, French Painting from Fouguet to Poussin<\/em>, Geneva, 1963<\/td>\n<\/tr>\n
Cheney, 1963<\/strong><\/td>\nCheney, Iris H., Francesco Salviati (1510\u2013<\/span>1563), 4<\/em> vols. PhD Thesis, New York University, 1963<\/td>\n<\/tr>\n
Cheney, AB<\/em>, 1963<\/strong><\/td>\nCheney, Iris H.,”Francesco Salviati’s North Italian Journey,” AB<\/em>, XLV, 1963, 337\u2013<\/span>349<\/td>\n<\/tr>\n
Chenn\u00e8vieres, 1894<\/strong><\/td>\nChennevi\u00e8res, Philippe de, “Une collection dedessins d’artiste fran\u00e7ais, ” L’Artiste<\/em>, New Period, VIII, October, 1894, 252\u2013<\/span>273<\/td>\n<\/tr>\n
Choulant, 1920 (1852)<\/strong><\/td>\nChoulant, (Johann) Ludwig, Geschichte und Bibliouraphie der anatomischen Abbildung nach ihre Beziehung auf anatomische Wissenschaft and bildende Kunst<\/em>, Leipzig, 1852; History and Bibliography of Anatomic Illustration in its Relation to the Anatomic Science and the Graphic Arts<\/em>, trans. and ed. with notes and a biography by Mortimer Frank, Chicago, 1920<\/td>\n<\/tr>\n
Christiansen, 1986<\/strong><\/td>\nChristiansen, Keith, “Lorenzo Lotto and the Tradition of Epithalamic Paintings,” Apollo<\/em>, CKKIV, no. 295, 1986, 166\u2013<\/span>173<\/td>\n<\/tr>\n
Cianfogni, 1804<\/strong><\/td>\nCianfogni, Canonico Pier Nolasco, Memorie istoriche dell’Ambrosiana R. Basilica di S. Lorenzo di Firenze<\/em>, opera postuma del Canonico Pier Nolasco Canonico Umiliata dall’editore Canonico Domenico Moreni…, Florence, 1804<\/td>\n<\/tr>\n
Ciaranfi, 1934<\/strong><\/td>\nCiaranfi, Anna Maria Francini, “Alcune Opere del Beccafumi,” Bollettino Senese di Storia Patria<\/em>, V, 1934, 1\u2013<\/span>12<\/td>\n<\/tr>\n
Ciaranfi, 1957<\/strong><\/td>\nCiaranfi, Anna Maria, The Pitti Gallery<\/em>, Florence, 1957<\/td>\n<\/tr>\n
Ciardi, 1987<\/strong><\/td>\nCiardi, Roberto Paolo, M. Bocci, and F. A. Lessi, Il Rosso Fiorentino. Deposizione dalla Croce, Volterra<\/em>, Volterra, 1987<\/td>\n<\/tr>\n
Ciardi, 1994<\/strong><\/td>\nCiardi, Roberto Paolo, “Il Rosso e Volterra,” in Il Rosso e Volterra<\/em>, Venice, 1994, 15\u2013<\/span>99<\/td>\n<\/tr>\n
Ciardi and Mugnaini, 1991<\/strong><\/td>\nCiardi, Roberto Paolo, and Alberto Mugnaini, Rosso Fiorentino. Catalogo completo dei dipinti<\/em>, Florence, 1991<\/td>\n<\/tr>\n
Ciardi and Mugnaini, 1994<\/strong><\/td>\nCiardi, Robert Paolo, and Alberto Mugnaini, Il Rosso e Volterra<\/em>, exh. cat., Volterra, 15 July\u2013<\/span>20 October 1994, Venice, 1994<\/td>\n<\/tr>\n
Ciardi Dupr\u00e9, 1961<\/strong><\/td>\nCiardi Dupr\u00e9, Maria Grazia, “La prima attivit\u00e0 dell ‘Ammannati scultore,” Paragone<\/em>, 135, 1961, 3\u2013<\/span>28<\/td>\n<\/tr>\n
Ciardi Dupr\u00e9, 1963<\/strong><\/td>\nCiardi Dupr\u00e9, Maria Grazia, “Giovan Francesco Rustici,” Paragone<\/em>, 157, 1963, 29\u2013<\/span>50<\/td>\n<\/tr>\n
Ciardi Dupr\u00e9, 1966<\/strong><\/td>\nCiardi Dupr\u00e9, Maria Grazia, “Per la cronologia dei disegni di Baccio Bandinelli fino al 1540,” Commentari<\/em>, XVII, 1966, 146\u2013<\/span>170<\/td>\n<\/tr>\n
Cinci, 1884<\/strong><\/td>\nCinci, Annibale, La chiesa di San Francesco e la Madonna di San Sebastiano<\/em>, Volterra, 1884; no. 10 in Cinci, Annibale, Dall’archivio artistico. Memorie e documenti<\/em>. Volterra, 1885<\/td>\n<\/tr>\n
Cinci, 1885<\/strong><\/td>\nCinci, Annibale, Ouida di Volterra, Volterra<\/em>, 1885<\/td>\n<\/tr>\n
Ciseri, 1990<\/strong><\/td>\nCiseri, Ilaria, L’ingresso trionfale di Leone X in Firenze nel 1515<\/em> (Biblioteca Storica Toscana, XXVI), Florence, 1990<\/td>\n<\/tr>\n
Clapp, 1914<\/strong><\/td>\nClapp, Frederick Mortimer, Les Dessins de Pontormo<\/em>, Paris, 1914<\/td>\n<\/tr>\n
Clapp 1916<\/strong><\/td>\nClapp, Frederick Mortimer, Jacopo Carucci da Pontormo, His Life and Work<\/em>, New Haven, 1916<\/td>\n<\/tr>\n
Clark, 1966<\/strong><\/td>\nClark, Kenneth, Rembrandt and the Italian Renaissance<\/em>, New York, 1966<\/td>\n<\/tr>\n
Clark, 1967<\/strong><\/td>\nClark, Kenneth, A Failure of Nerve, Italian Painting 1520\u2013<\/span>1535<\/em>, Oxford, 1967<\/td>\n<\/tr>\n
Clement, 2005<\/strong><\/td>\nGouwens, Kenneth, and Sheryl E. Reiss, The Pontificated of Clement VII. History, Politics, Culture<\/em>, Burlington, VT : Ashgate, 2005<\/td>\n<\/tr>\n
Cleugh, 1965<\/strong><\/td>\nCleugh, James, The Divine Aretino<\/em>, London,1965<\/td>\n<\/tr>\n
Clifford, 1974<\/strong><\/td>\nClifford, Timothy, Review of Berckenhagen, 1970, Master Drawings<\/em>, XII, 4, 1974, 393\u2013<\/span>394<\/td>\n<\/tr>\n
Coleschi, 1886<\/strong><\/td>\nColeschi, Lorenzo, Storia della Citt\u00e0 di Sansepolcro<\/em>, Citt\u00e0 di Castello, 1886<\/td>\n<\/tr>\n
Collections de Louis XIV, 1977\u2013<\/span>1978<\/em><\/strong><\/td>\nCollections de Louis XIV, dessins, albums, manuscripts<\/em>, exh. cat., Paris, 1977\u2013<\/span>1978<\/td>\n<\/tr>\n
Collignon, 1910<\/strong><\/td>\nCollignon, Albert, Le M\u00e9c\u00e9nat du Cardinal Jean de Lorraine<\/em> (1498\u2013<\/span>1550), Paris\u2013<\/span>Nancy, 1910<\/td>\n<\/tr>\n
Collijn, 1933<\/strong><\/td>\nCollijn, Isak, Katalog der Ornament-stichsammlung des Magnus Gabriel de la Gardie in der Kgl. Bibliothek zu Stockholm<\/em>, Stockholm-Upsala, 1933<\/td>\n<\/tr>\n
Collobi, “Libra de’ disegni,” 1971<\/strong><\/td>\nCollobi Ragghianti, Lucia, “Il `Libro de’ disegni’ di Giorgio Vasari,” Critica d’Arte<\/em>, New series, XVIII, 1971, 13\u2013<\/span>40<\/td>\n<\/tr>\n
Colnaghi, 1928<\/strong><\/td>\nColnaghi, Dominic Ellis, A Dictionary of Florentine Painters from the 13th to the 17th Centuries<\/em>, ed. P.G. Konody and Selwyn Brinton, London, 1928<\/td>\n<\/tr>\n
Colonna, 1980<\/strong><\/td>\nColonna, Francesco, Hypnerotomachia Polophili<\/em>, ed. Giovanni Pozzi and Lucia A. Ciapponi, 2 vols., Padua, 1980<\/td>\n<\/tr>\n
Comte d’Orsay, 1983<\/strong><\/td>\nLes Collections du Comte d’Orsay: Dessins du Mus\u00e9e du Louvre<\/em>, exh. cat., Paris, 1983<\/td>\n<\/tr>\n
Comunit\u00e0 Cristiana, 1980<\/strong><\/td>\nLa comunit\u00e0 cristiana fiorentina e Toscana nella dialettica religiosa del Cinquecento<\/em>, Firenze e la Toscana dei Medici nell’Europa del Cinquecento, exh. cat., Florence, 1980<\/td>\n<\/tr>\n
Conti, 1973<\/strong><\/td>\nConti, Alessandro, Storia del restauro e della conservazione delle opere d’arte<\/em>, Milan, n.d., [1973?]<\/td>\n<\/tr>\n
Coradini, 1960<\/strong><\/td>\nCoradini, F., “La chiesa monumentale della SS. Annunziata in Arezzo,” Rivista d’Arte<\/em>, XXXV, 1960 (1961), 107\u2013<\/span>142<\/td>\n<\/tr>\n
Cordellier, 2003<\/strong><\/td>\nCordellier, Dominique, \u201cAcquisitions,\u201d R\u00e9vue du Louvre. La r\u00e9vue des Mus\u00e9es de France, 2003, no. 1, pp. 90\u2013<\/span>91<\/td>\n<\/tr>\n
Cordellier, 2004<\/strong><\/td>\nCordellier, Dominique, \u201cTrois dessins de Benvenuto Cellini,\u201d Revue de l\u2019Art<\/em>, 143, 2004-1, 101<\/td>\n<\/tr>\n
Corte, mare, mercanti<\/em>, 1980<\/strong><\/td>\nLa corte Il mare I mercanti, la rinascita della scienza, editoria e societ\u00e0, astrologia, magia e alchimia<\/em>, Firenze e la Toscana dei Medici nell’Europa del Cinquecento, exh. cat., Florence, 1980<\/td>\n<\/tr>\n
Corti, 1989<\/strong><\/span><\/td>\nCorti, Laura, Vasari. Catalogo completo dei di pinti<\/em>, Florence, 1989<\/span><\/td>\n<\/tr>\n
Costamagna, 1989 (1984\u2013<\/span>1985)<\/strong><\/td>\nCostamagna, Phillipe, “La formation de Carlo Portelli: pr\u00e9cisions et adjonctions au catalogue” (1984\u2013<\/span>1985), Annali. Fondazione di studi di storia dell’arte Roberto Lonahi, Florence<\/em>, II, 1989, 17\u2013<\/span>25<\/td>\n<\/tr>\n
Costamagna, 1991<\/strong><\/td>\nCostamagna, Philippe, “L’\u00e9tude d’apr\u00e8s les ma\u00eetres et le role de la copies dans la formation des artistes \u00e0 Florence au XVIe<\/sup> si\u00e8cle,” Disegno. Actes du Collogue du Mus\u00e9e des Beaux-Arts de Rennes. 9 et 10 novembre 1990<\/em>, Rennes, 1991<\/td>\n<\/tr>\n
Costamagna, 1992<\/strong><\/td>\nCostamagna, Philippe, Maso da San Friano. “La Piet\u00e0” de l’\u00e9glise florentine de Santa Maria dei Candelli red\u00e9couverte<\/em>, Paris, Gismondi, n.d. [1992]<\/td>\n<\/tr>\n
Costamagna, 1994<\/strong><\/td>\nCostamagna, Philippe, Pontormo. Catalogue raisonn\u00e9 de l’oeuvre peint, Paris\u2013<\/span>Milan, 1994<\/td>\n<\/tr>\n
Costamagna, 1994 (1996)<\/strong><\/td>\nCostamagna, Phillipe, \u201cLa cr\u00e9ation de l\u2019ordre des Th\u00e9atins et ses r\u00e9percussions sur l\u2019art de Rosso Fiorentino et de ses contemporains,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 157\u2013<\/span>163<\/td>\n<\/tr>\n
Costamagna and Fabre, 1985<\/strong><\/td>\nCostamagna, Philippe, and Anna Fabre, “Un ritratto di Tommaso di Stefano agli Uffizi,” Prospettiva<\/em>, 40, 1985, 72\u2013<\/span>74<\/td>\n<\/tr>\n
Costamagna and Fabre, 1991<\/strong><\/td>\nCostamagna, Philippe and Anne Fabre, “Di alcuni problemi della bottega di Andrea del Sarto,” Paragone<\/em>, 491, 1991, 15\u2013<\/span>28<\/td>\n<\/tr>\n
Cox, 1911<\/strong><\/td>\nCox, Mary L. “Inventory of Pictures etc., in the Possession of Alethea, Countess of Arundel, at the time of Her Death at Amsterdam in 1654,” BM<\/em>, XIX, 1911, 282\u2013<\/span>286, 323\u2013<\/span>325<\/td>\n<\/tr>\n
Cox\u2013<\/span>Rearick, 1964<\/strong><\/td>\nCox\u2013<\/span>Rearick, Janet, The Drawings of Pontormo<\/em>, 2 vols., Cambridge, 1964<\/td>\n<\/tr>\n
Cox\u2013<\/span>Rearick, 1972<\/strong><\/td>\nCox\u2013<\/span>Rearick, Janet, La Collection de Fran\u00e7ois Ier<\/sup><\/em>, Paris, 1972<\/td>\n<\/tr>\n
Cox\u2013<\/span>Rearick, 1984<\/strong><\/td>\nCox\u2013<\/span>Rearick, Janet, Dynasty and Destiny in Medici Art. Pontormo. Leo X, and the Two Cosimos<\/em>, Princeton, 1984<\/td>\n<\/tr>\n
Cox\u2013<\/span>Rearick, 1989<\/strong><\/td>\nCox\u2013<\/span>Rearick, Janet, “From Bandinelli to Bronzino: The Genesis of the Lamentation for the Chapel of Eleonoro di Toledo,” Mitteilungen des Kunsthistorischen Institues in Florenz<\/em>, XXXIII, I, 1989, 37\u2013<\/span>84<\/td>\n<\/tr>\n
Cox\u2013<\/span>Rearick, 1993<\/strong><\/td>\nCox\u2013<\/span>Rearick, Janet, Bronzino’s Chapel of Eleanora in the Palazzo Vecchio<\/em>, Berkeley\u2013<\/span>Los Angeles\u2013<\/span>Oxford, 1993<\/td>\n<\/tr>\n
Craven, 1973<\/strong><\/td>\nCraven, Stephanie Jane, Aspects of Patronage in Florence. 1494\u2013<\/span>1512<\/em>, PhD thesis, University of London, 1973<\/td>\n<\/tr>\n
Crowe and Cavalcaselle, 1949<\/strong><\/td>\nCrowe, J. A., and G. B. Cavalcaselle, A History of Painting in Italy<\/em>, V, ed. Tancred Borenius, London, 1914<\/td>\n<\/tr>\n
Cummings, 1992<\/strong><\/td>\nCummings, Anthony M., The Polticized Muse. Music for Medici Festivals. 1512\u2013<\/span>1537<\/em>, Princeton, 1992<\/td>\n<\/tr>\n
Cunyghame, 1946<\/strong><\/td>\nCunyghame, Henry H., European Enamels<\/em>, New York\u2013<\/span>London, 1906<\/td>\n<\/tr>\n
Curl, 1982<\/strong><\/td>\nCurl, James Steens, The Egyptian Revival<\/em>, London\u2013<\/span>Boston\u2013<\/span>Sydney, 1982<\/td>\n<\/tr>\n
Cuzin, 1977<\/strong><\/td>\nCuzin, Jean-Pierre, La diseuse de Bonne Aventure de Caravage<\/em>, exh. cat., Paris, 1977<\/td>\n<\/tr>\n
Dacos, 1984<\/strong><\/td>\nDacos, Nicole, “Pedro Machuca en Italie,” Scritti in onore di Zeri<\/em>, 1984, 332\u2013<\/span>361<\/td>\n<\/tr>\n
Dalli Regoli, 1994 (1996)<\/strong><\/td>\nDalli Regoli, Gigetta, \u201cRosso e altri di fronte alla \u2018scuola del mondo,\u2019\u201d in Empoli e Volterra<\/em>, 1994 (1996), 140\u2013<\/span>146<\/td>\n<\/tr>\n
Dal Mas, 1939<\/strong><\/td>\nDal Mas, Italo, “Altri restauri nella Pinacoteca Communale,” Rassegna Volterrana<\/em>, X\u2013<\/span>XI, 1939, 118\u2013<\/span>126<\/td>\n<\/tr>\n
Dal Poggetto, 1969<\/strong><\/td>\nDal Poggetto, Paolo, Museo di Fucecchio<\/em>, Fucecchio, 1969<\/td>\n<\/tr>\n
Dal Poggetto, 1983<\/strong><\/td>\nDal Poggetto, Paolo, “Raffaellino del Colle tra Marche, Toscana e Umbria (1525\u2013<\/span>45),” Urbino e le Marche prima e dopo Raffaello<\/em>, exh. cat., Urbino, Palazzo Ducale and Chiesa di San Domenico, July 30\u2013<\/span>October 30, 1983, ed. Maria Grazia Ciardi Dupr\u00e8 dal Poggetto and Paolo olo Dal Poggetto, Florence, 1983<\/td>\n<\/tr>\n
Dan, 1642<\/strong><\/td>\nDan, R. P. F. Pierre, Le tr\u00e9sor des merveilles de la Maison royale de Fontainebleau<\/em>, Paris, 1642<\/td>\n<\/tr>\n
Darcel, 1869<\/strong><\/td>\nDarcel, Alfred and Henri Delange (dditeur), Recueil de fa\u00efences italiennes des XVe<\/sup>, XVIe<\/sup>, et XVIIe<\/sup> si\u00e8cles<\/em>, Paris, 1869<\/td>\n<\/tr>\n
Daremberg and Saglio, 1899<\/strong><\/td>\nDaremberg, C., and E. Saglio, Dictionnaire des Antiquit\u00e9s gr\u00e8gues et romaines d’apr\u00e8s les texts et les monuments<\/em>, Paris, 1899<\/td>\n<\/tr>\n
Darragon, 1983<\/strong><\/td>\nDarragon, Eric, Manierisme en crise, Le “Christ en Gloire” de Rosso Fiorentino \u00e0 Citt\u00e0 di Castello (1528\u2013<\/span>1530)<\/em>, Collection Academie de France a Rome, VI, Rome, 1983<\/td>\n<\/tr>\n
Davidson, 1966<\/strong><\/td>\nDavidson, Bernice F., Mostra di disegni di Pietro del Vaga e la sua cerchia<\/em>, exh. cat., Florence, 1966<\/td>\n<\/tr>\n
Davidson, 1990<\/strong><\/td>\nDavidson, Bernice, “The Navigatione d’Enea<\/em> Tapestries Designed by Perino del Vaga for Andrea Doria, ” AB<\/em>, LXXII, 1990, 35\u2013<\/span>50.<\/td>\n<\/tr>\n
Davis, 1963<\/strong><\/td>\nDavis, Frank, “A Page for Collectors. Attending to Details,” Illustrated London News<\/em>, 242, 19 January 1963, 93<\/td>\n<\/tr>\n
Davis, 1984<\/strong><\/td>\nDavis, Bruce, “In Honor of Ebria Feinblatt, Curator of Prints and Drawings 1947\u2013<\/span>1985,” Bulletin, Los Angeles County Museum of Art<\/em>, XXVIII, 1984<\/td>\n<\/tr>\n
Davis, 1988<\/strong><\/td>\nDavis, Bruce, Mannerist Prints International Style in the Sixteenth Century<\/em>, exh. cat., Los Angeles County Museum of Art, Los Angeles, 1988<\/td>\n<\/tr>\n
De Boer, 1915<\/strong><\/td>\nDe Boer, C., ed., “Ovide moralis\u00e9:” Po\u00e8me du commencement du quatorzi\u00e8me si\u00e8cle<\/em>, Amsterdam, I, 1915; reprint, Weisbaden, 1966<\/td>\n<\/tr>\n
De Boom, 1957<\/strong><\/td>\nDe Boom, Ghislaine, Les Voyage de Charles Quint<\/em>, Brussels, 1957<\/td>\n<\/tr>\n
Decrue, 1885<\/strong><\/td>\nDecrue, Francis, Anne de Montmorency. Grand M\u00e2itre et conn\u00e9table de France a la cour, aux arm\u00e9es et au conseil du Roi Fran\u00e7ois Ier<\/sup><\/em>, Paris, 1885<\/td>\n<\/tr>\n
De Jong and de Groot, 1988<\/strong><\/td>\nDe Jong, Marijnke and Irene de Groot, Ornamentnrenten in het Rijkprentenkabinet. 15de e 16 de eeuw<\/em>, ‘s-Gravenhage, 1988<\/td>\n<\/tr>\n
Delacre, 1938<\/strong><\/td>\nDelacre, Maurice, Les Dessins de Michel-Ange<\/em>, Acad\u00e9mie Royale de Belgique, Brussels, 1938<\/td>\n<\/tr>\n
Delay, 1987<\/strong><\/td>\nDelay, Florence, Les Dames de Fontainebleau<\/em>, Introduction by Patrick Mauri\u00e8s, Iconographic comments by Sylvie B\u00e8guin and Alessandro Tosi, 1987<\/td>\n<\/tr>\n
Del Bravo, 1993<\/strong><\/td>\nDel Bravo, Carlo, “Scale di immaginazione,” Artista: Critica dell’arte in Toscana<\/em>, 1993, 212\u2013<\/span>221<\/td>\n<\/tr>\n
Del Bravo, 1994 (1996)<\/strong><\/td>\nDel Bravo, Carlo, \u201cRitratti petrarcheschi,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 113\u2013<\/span>115<\/td>\n<\/tr>\n
Del Bruno, 1698<\/strong><\/td>\nDel Bruno, Ristretto delle cose pi\u00f9 notabili della citt\u00e0 di Firenze<\/em>. Florence, 2nd<\/sup> edition, 1698<\/td>\n<\/tr>\n
Del Conde, 1975<\/strong><\/td>\nDel Conde, Teresa, “Rosso Fiorentino, Un Pintor Manierista,” Anales del Instituto de Investigaciones est\u00e9ticas<\/em>, Universidad Nacional Autonomic de Mexico, 44, 1975, 123\u2013<\/span>133<\/td>\n<\/tr>\n
Del Vita, 1913<\/strong><\/td>\nVita, Alessandro del, “L’affresco scoperto nella Nunziata d’Arezzo,” BdA<\/em>, VII, 1913, 320\u2013<\/span>324<\/td>\n<\/tr>\n
Demartial, 1912<\/strong><\/td>\nDemartial, Andr\u00e9, “L\u00e9onard Limosin \u00c9mailleur et Graveur,” Revue de l’Art Chretien<\/em>, LXII, 1912, 18\u2013<\/span>28<\/td>\n<\/tr>\n
De Michel-Anne \u00e0 Gericault<\/em>, 1981\u2013<\/span>1982<\/strong><\/td>\nDe Michel-Ange \u00e0 Gericault. Dessins de la donation Armande=Valton<\/em>, exh. cat., Introduction by Emmanuelle Brugerolles, \u00c9cole nationale sup\u00e9rieure de Beaux-Arts, Paris,J. Paul Getty Museum, Malibu; Kunsthalle, Hamburg; Paris, 1981\u2013<\/span>1982<\/td>\n<\/tr>\n
Demmel, 1969<\/strong><\/td>\nDemmel, Wolfgang, “Rosso Fiorentino’s Holy Family<\/em>,” unpublished paper, University of California, Los Angeles, 10 December 1969<\/td>\n<\/tr>\n
Denieul-Cormier, 1962, 1969<\/strong><\/td>\nDenieul-Cormier, Anne, The Renaissance in France 1488\u2013<\/span>1559<\/em>, Trans. Anne and Christopher Fremantle, London, 1969 (La France de las Renaissance 1488\u2013<\/span>1559<\/em>, Grenoble, 1962)<\/td>\n<\/tr>\n
Deonna, 1955<\/strong><\/td>\nDeonna, W., “La l\u00e9gend de P\u00e9ro et de Micon et l’allaitement symbolique,” in Deonna, W., Deux dtudes de symbolisme religieux<\/em>, Collection Latomus, XVIII, Berchan\u2013<\/span>Brussels, 1955, 5\u2013<\/span>50 (also Latomus<\/em>, XIII, 1954, 140\u2013<\/span>166, 356\u2013<\/span>375)<\/td>\n<\/tr>\n
Deonna, 1958<\/strong><\/td>\nDeonna, W., “Fontaines anthropomorphes. La femme aux reins jaillissants et l’enfant ‘mingens,”‘ Geneva<\/em>, New series, 6, 1958, 239\u2013<\/span>296<\/td>\n<\/tr>\n
Dessins…de Lyon<\/em>, 1984<\/strong><\/td>\nDessins du XVIe<\/sup> au XIXe si\u00e8cle de la collection du Mus\u00e9e des Arts D\u00e9coratifs de Lyons<\/em>, exh. cat., Lyons, 1964\u2013<\/span>1985<\/td>\n<\/tr>\n
Destailleur, 1895<\/strong><\/td>\nDestailleur, Hippolyte, Catalogue de livres et estampes relatifs aux Beaux-Arts…provenant de la biblioth\u00e8que de feu M Hippolyte Destailleur<\/em>, Paris, 1895<\/td>\n<\/tr>\n
De Witt, 1932<\/strong><\/td>\nDe Witt, Anthony, “Sull’acquaforte italiana prima dell’800,” BdA<\/em>, XXVI, 1932, 470\u2013<\/span>481<\/td>\n<\/tr>\n
De Witt, 1938<\/strong><\/td>\nde Witt, Anthony, La collezione delle stampe<\/em> (R. Galleria degli Uffizi), Rome, 1938<\/td>\n<\/tr>\n
Dezallier d’Argenville, 1745<\/strong><\/td>\nDesallier d’Argenville, Antoine Joseph, Abr\u00e9ge de la vie des plus fameux peintures<\/em> I, Paris, 1745<\/td>\n<\/tr>\n
Dezzi Bardeschi, 1964<\/strong><\/td>\nDezzi Bardeschi, Marco, “La SS. Annunziata d’Arezzo nella continuit\u00e0 creativa di Giuliano e di Antonio da Sangallo,” Marmo<\/em>, IV, 1964, 52\u2013<\/span>100<\/td>\n<\/tr>\n
Dimier, 1897<\/strong><\/td>\nDimier, Louis, “Rercherches sur la grotte du Jardin des Pins,” Annales de la Soci\u00e9t\u00e9 Arch\u00e9ologigue du G\u00e2tinais<\/em>, XV, 1897, 72\u2013<\/span>91<\/td>\n<\/tr>\n
Dimier, 1898<\/strong><\/td>\nDimier, Louis, “Les Logis Royaux au Ch2teau de Fontainbleau,” Annales de la Sociatd Archdologigue du Getinais<\/em>, XVI, 1898, 89\u2013<\/span>127<\/td>\n<\/tr>\n
Dimier, 1900<\/strong><\/td>\nDimier, Louis, Le Primatico<\/em>, Paris, 1900<\/td>\n<\/tr>\n
Dimier, 1904<\/strong><\/td>\nDimier, Louis, French Painting in the XVIth<\/sup> Century<\/em>, London\u2013<\/span>New York, 1904<\/td>\n<\/tr>\n
Dimier, 1905<\/strong><\/td>\nDimier, Louis, “Les origines de la peinture fran\u00e7ais, Part III,” Les Arts<\/em>, no. 40, April 1905, 18\u2013<\/span>28<\/td>\n<\/tr>\n
Dimier, 1908<\/strong><\/td>\nDimier, Louis, Fontainebleau<\/em>, Paris, 1908 (2nd ed., 1911)<\/td>\n<\/tr>\n
Dimier, 1914<\/strong><\/td>\nDimier, Louis, “La statue d’Hercule, en argent, command\u00e9e par Frangois Ier<\/sup> \u00e0 Benvenuto Cellini, pour l’entr\u00e9e de Charles-Quint \u00e0 Paris, en 1540,” Bulletin de la soci\u00e9t\u00e9 nationale de antiquaires de France<\/em>, 1914, 112\u2013<\/span>116<\/td>\n<\/tr>\n
Dimier, 1925<\/strong><\/td>\nDimier, Louis, Fontainebleau<\/em> (Les Villes d’Art c\u00e9l\u00e8bres), 3rd ed., revised, Paris, 1925<\/td>\n<\/tr>\n
Dimier, Histoire<\/em>, 1925<\/strong><\/td>\nDimier, Louis, Histoire de la neinture fran\u00e7ais des oriaines au retour de Vouet, 1300 \u00e0 1627<\/em>, Paris, 1925<\/td>\n<\/tr>\n
Dimier, 1928<\/strong><\/td>\nDimier, Louis, Le Primatice<\/em>, Paris, 1928<\/td>\n<\/tr>\n
Dimier, 1942<\/strong><\/td>\nDimier, Louis, La Peinture Francais au XVIe<\/sup> Si\u00e8cle<\/em>, Marseille, 1942<\/td>\n<\/tr>\n
Dimier, 1967<\/strong><\/td>\nDimier, Louis, Fontainebleau<\/em>, Paris, 1967 (also 1949)<\/td>\n<\/tr>\n
Dobroklonsky, 1927<\/strong><\/td>\nDobroklonsky, M., Dessins des M\u00e2itres Anciens<\/em>, exh. of 1926, Leningrad, 1927<\/td>\n<\/tr>\n
Dobroklonsky, 1940<\/strong><\/td>\nDobrokonsky, M.V., Catalogue of Italian Drawings of the XV-XVII Centuries (Risunki ital’yanskoi shkoly XV i XVI vekov)<\/em>, The Acedemy of Sciences, Moscow\u2013<\/span>Leningrad, 1940<\/td>\n<\/tr>\n
Dobroklonsky, 1962<\/strong><\/td>\nDobroklonsky, M. V., “Rosso’s Drawings in theHermitage,” Bulletin de Mus\u00e9e de l’Hermitage<\/em>. XXII, 1962, 11\u2013<\/span>15 (“Risunki Rosso v sobranii Ermitaza,” Soobscenija Gosudarstvennogo Ermitaza<\/em>) 47, summary in English.<\/td>\n<\/tr>\n
D\u00f6ry, 1950<\/strong><\/td>\nD\u00f6ry [-Jobahazal], Ludwig, Katalog der Ornamentation-Sammlung<\/em>, Hamburg, Museum fur Kunst and Gewerbe, Hamburg, 1960<\/td>\n<\/tr>\n
Dorez, 1916, 1917<\/strong><\/td>\nDorez, L\u00e9on, “Nouvelles Recherches sur Michal-Ange et son entourage,” Biblioth\u00e8que de l’\u00c9cole des Chartes<\/em>, 77, 1916, 448\u2013<\/span>470; 78, 1917, 179\u2013<\/span>220<\/td>\n<\/tr>\n
Dragoni, 1759<\/strong><\/td>\nDragoni, Domenico Agostino, Antichit\u00e0 e Riquardevolezza della Venerabil Compagnia della SS. Annunziata d’Arezzo e della sua Chiesa Altrimenti detta dipoi S. Maria delle Lagrime<\/em>, Florence, 1759<\/td>\n<\/tr>\n
Du Cerceau, 1579<\/strong><\/td>\nDu Cerceau, Jaques Androuet, Le second Volume des Plus Excellents Bastiments de France<\/em>, Paris, 1579<\/td>\n<\/tr>\n
Dumont, 1973<\/strong><\/td>\nDumont, Catherine, Francesco Salviati au Palais Sacchetti de Rome et la D\u00e9coration Murale Italienne<\/em> (1520\u2013<\/span>1560), Bibliotheca Helvetica Romana, XII, Rome, 1973<\/td>\n<\/tr>\n
Dunand, 1973<\/strong><\/td>\nDunand, Louis, Estamue de l’\u00c9cole de Fontainebleau<\/em> exh. cat., Mus\u00e8e des Beaux-Arts, Palais Saint-Pierre, Lyons, 1973<\/td>\n<\/tr>\n
Dumont, “AdF”, 1973<\/strong><\/td>\nDumont, Catherine, “L’Art de Fontainebleau,” Biblioth\u00e8que d’Humanisme et de la Renaissance. Travaux et Documents<\/em>, 35, 1973, 339\u2013<\/span>352<\/td>\n<\/tr>\n
Dunand and Lemarchande, 1973<\/strong><\/td>\nDunand, Louis, and Philippe Lemarchande, Les compositions de Jules Romain institul\u00e9 Les Amours des Dieux grar\u00e8es par Marc-Antoine Raimondi<\/em>, I, Lausanne, 1973<\/td>\n<\/tr>\n
Dunkelman, 1976<\/strong><\/td>\nDunkelman, Martha Levine, Donatello’s Influence on Italian Renaissance Painting<\/em>, 2 vols., PhD thesis, New York University, June 1976<\/td>\n<\/tr>\n
Du Sommerard, 1838<\/strong><\/td>\nDu Sommerard, Alexandre, Les arts du Moven Age<\/em>, I, Paris, 1838<\/td>\n<\/tr>\n
Du Sommerard, 1883<\/strong><\/td>\nDu Sommerard, E., Mus\u00e9e des Thermes et de l’Hotel de Cluny, Catalogue et descriptions des objects d’art de l’antinguit\u00e9 du Moven Age et de la Renaissance expos\u00e9s au mus\u00e9e<\/em>, Paris, 1883<\/td>\n<\/tr>\n
Dussler, 1942<\/strong><\/td>\nDussler, Luitpold, Sebastian del Piombo<\/em>, Basel, 1942<\/td>\n<\/tr>\n
Dussler, 1959<\/strong><\/td>\nDussler, Luitpold, Die Zeichnungen des Michelangelo<\/em>, Berlin, 1959<\/td>\n<\/tr>\n
Dussler, 1971<\/strong><\/td>\nDussler, Luitpold, Raphael, a Critical Catalogue of His Pictures, Wall Paintings, and Tapestries<\/em>, London\u2013<\/span>New York, 1971<\/td>\n<\/tr>\n
Dvorak, 1928<\/strong><\/td>\nDvorak, Max, Geschichte der italienischen Kunst im Zeitalter der Renaissance<\/em>, II, Munich, 1928<\/td>\n<\/tr>\n
Dyce Collection<\/em>, 1874<\/strong><\/td>\nDvice Collection. A Catalogue of the Paintings, Miniatures, Drawings, Engravings, Rings, and Miscellaneous Objects Bequeathed by the Revernd Alexander Dyce<\/em>, Science and Art Department of the Committee of Council on Education, South Kensington Museum, London, 1874<\/td>\n<\/tr>\n
EdF<\/em>, 1972<\/strong><\/td>\nL’\u00c9cole de Fontainebleau<\/em>, exh. cat., \u00c9ditions des Mus\u00e9e Nationaux, Paris, 1972<\/td>\n<\/tr>\n
Ehrle, 1908<\/strong><\/td>\nEhrle, Francesco, Roma prima di Sisto V, la pianta di Roma Dup\u00e9rac-Lafr\u00e9ry del 1577<\/em>, Rome, 1908<\/td>\n<\/tr>\n
Eisler, 1969<\/strong><\/td>\nEisler, Colin, “The Golden Christ of Cortona and the Man of Sorrows in Italy,” Part Two, AB<\/em>, LI, 1965, 233\u2013<\/span>246<\/td>\n<\/tr>\n
Eisler, 1973<\/strong><\/td>\nEisler, Colin, Review of Henry Zerner, The School of Fontainebleau, Etchings and Engravings<\/em>, trans. Stanley Baron, New York, 1969, AB<\/em>, LV, 1973, 639\u2013<\/span>640<\/td>\n<\/tr>\n
Elam, 1982<\/strong><\/td>\nElam, Caroline, Florence, “Gli Uffizi, quattro Secoli di una Galleria,” BM<\/em>, 124, November 1982, 718\u2013<\/span>723<\/td>\n<\/tr>\n
Elam, 1988<\/strong><\/td>\nElam, Caroline, “Art and Diplomacy in Renaissance Florence,” Selwyn Brinton Lecture (25 May 1988), Journal of the Royal Society of Arts<\/em>, CXXXVI, no. 5387, October, 1988, 813\u2013<\/span>826<\/td>\n<\/tr>\n
Elam, 1993<\/strong><\/td>\nElam, Caroline, “Art in the Service of Liberty. Battista dell Palla, Art Agent for Francis I,” I Tatti Studies<\/em>, V, 1993, 33\u2013<\/span>109<\/td>\n<\/tr>\n
Emiliani, 1960<\/strong><\/td>\nEmiliani, Andrea, Il Bronzino<\/em>, Busto Arsizio, 1960<\/td>\n<\/tr>\n
Empoli e Volterra<\/em>, 1996 (1994)
<\/strong><\/td>\n		Pontormo e Rosso, Atti del convegno di Empoli e Volterra<\/em>, ed. Roberto P. Ciardi and Antonio Natali, Venice, 1996 (1994)<\/td>\n<\/tr>\n
EWA<\/strong><\/em><\/td>\nEncyclopedia of World Art<\/em>, 16 vols., New York\u2013<\/span>Toronto\u2013<\/span>London, 1959\u2013<\/span>1983; Encyclopedia universale dell’arte<\/em>, Venice\u2013<\/span>Rome, 1958<\/td>\n<\/tr>\n
L’Etruria pittrice<\/em>, 1791<\/strong><\/td>\nL\u2019Etruria pittrice ovvero storia della pittura toscana dedotta dai suoi monumenti che si esibiscono in stampa dal secolo X fino al presente<\/em>, I, Florence, 1791<\/td>\n<\/tr>\n
Fabriczy, 1906<\/strong><\/td>\nFabriczy, Cornelius von, “Ein Unbekanntes Jugendwerk Andrea Sansovinos,” Jahrbuch der K\u00f6niglich Preuszischen Kunstsammlungen<\/em>, XXVII, 1906, 90\u2013<\/span>92<\/td>\n<\/tr>\n
Fagiolo dell’Arco, 1970<\/strong><\/td>\nFagiolo dell’Arco, Maurizio, Il Parmigianino, Un saggio sull’Ermetismo nel Cinauecento<\/em>, Rome, 1970<\/td>\n<\/tr>\n
Falciani, 1994<\/strong><\/td>\nFalciani, Carlo, “Il Rosso Fiorentino per Carlo Ginori,” Artista: Critica dell’arte in Toscana<\/em>, 1994, 8\u2013<\/span>25<\/td>\n<\/tr>\n
Falciani, 1996<\/strong><\/td>\nFalciani, Carlo, Il Rosso Fiorentino<\/em>, Leo S. Olschki Editore, Fondazione Carlo Marchi, Studi 8, Verona, 1996, printed Stamperia Valdonega, Verona<\/td>\n<\/tr>\n
Falciani, “Intorno alla committenza Appiani,” 1996 (1994)<\/strong><\/span><\/td>\nFalciani, Carlo, “Intorno alla committenza Appiani: l’\u00a0“immaginazione“<\/em> della morte di Cristo nelle opere del Rosso Fiorentino,” in Empoli e Volterra<\/i>, 1996 (1994), 258\u2013<\/span>80<\/span><\/td>\n<\/tr>\n
Farulli, 1713<\/strong><\/td>\nFarulli, Pietro, Annali, a memorie dell’antica, a nobile cittA di S. Seuolcro<\/em>, Foligno, 1713<\/td>\n<\/tr>\n
Fehl, 1974<\/strong><\/td>\nFehl, Philip, “The Worship of Bacchus and Venus,” Studies in the History of Art, National Gallery of Art<\/em>, Washington, 6, 1974, 37\u2013<\/span>95<\/td>\n<\/tr>\n
Feinblatt, 1981<\/strong><\/td>\nFeihblatt, Ebria, “Criteria for Building a Public Graphic Art Collection, ” The Journal of the Theory and Criticism of the Visual Arts<\/em>, Tempe, Arizona, I, 1981, 75\u2013<\/span>87<\/td>\n<\/tr>\n
Felibien, 1725<\/strong><\/td>\nFelibien, Michel, Histoire de la ville de Paris<\/em>, 5 vols., Paris, 1725<\/td>\n<\/tr>\n
Ferrara, 1956<\/strong><\/td>\nFerrara, Luciana, Galleria Borahese<\/em>, Novara, 1956<\/td>\n<\/tr>\n
Ferrara and Gaeta Bertela, 1975<\/strong><\/td>\nFerrara, Stefano and Giovana Gaeta Bertelk, Catalogo Generale della raccolta di stampa antiche della Pinacoteca Nazionale di Bologna, Gabinetto delle Stampe, Incisori bolognesi ed emiliani del secolo XVI<\/em>, Bologna, 1975<\/td>\n<\/tr>\n
Ferri, 1917<\/strong><\/td>\nFerri, Pasquale Nerino, I disegni della R. Galeria degli Uffizi<\/em>, 4th series, IV, Florence, 1917; also 1921<\/td>\n<\/tr>\n
Ferri, 1980<\/strong><\/td>\nFerri, Pasquale Nerino, Catalogo riassuntivo della raccolta di disegni antichi e moderni posseduta dalla R. Galleria degli Uffizi di Firenze<\/em>, Rome, 1890<\/td>\n<\/tr>\n
Ferrini, 1954<\/strong><\/td>\nFerrini, Paolo, Volterra<\/em>, Volterra, 1954<\/td>\n<\/tr>\n
F\u00eates<\/em>, I, 1956, II, 1969, III, 1975<\/strong><\/td>\nLes F\u00eates de la Renaissance<\/em>, 3 vols., Paris, 1956, 1960, 1975<\/td>\n<\/tr>\n
ffolliott<\/em>, 1989<\/strong><\/td>\nffolliott, Sheila, “Casting a Rival into the Shade: Catherine de Medici and Diane de Poitiers,” Art Journal<\/em>, 48, 2, 1989, 138\u2013<\/span>148<\/td>\n<\/tr>\n
Fiocco, 1932<\/strong><\/td>\nFiocco, Giuseppe, “Michele da Firenze,” Dedalo<\/em>, XII, 7, 1932, 542\u2013<\/span>563<\/td>\n<\/tr>\n
Fischer, 1986<\/strong><\/td>\nFischer, Chris, Disegni di Fra Bartolommeo e della sua Scuola, exh. cat., Gabinetto disegni a stampe degli Uffizi, trans. Stefano Baldi Lanfranchi, Florence, 1986<\/td>\n<\/tr>\n
Fischer, 1969<\/strong><\/td>\nFischer, Chris, “Fra Bartolommeo’s Landscape Drawings,” Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, XXKIII, 2\/3, 1989,301\u2013<\/span>342<\/td>\n<\/tr>\n
Fischer, 1990<\/strong><\/td>\nFischer, Chris, Fra Bartolommeo. Master Draughtsman of the High Renaissance<\/em>, Rotterdam\u2013<\/span>Seattle, London, 1990<\/td>\n<\/tr>\n
Fiumi, 1949<\/strong><\/td>\nFiumi, E., Esposizione di opere d’arte locali dal XIII al XVII secolo<\/em>, exh. cat., Palazzo Guarnacci, Volterra, 1949<\/td>\n<\/tr>\n
Florence, Figura<\/em>, 1, 1991<\/strong><\/td>\nDisegni di Figura<\/em>, 1, Gabinetto disegni e stampe degli Uffizi, Annamaria Petrioli Tofani, ed., Florence, 1991<\/td>\n<\/tr>\n
Fomez, 1982<\/strong><\/td>\nFomez, Antonio, “Sul ritratto di giovane del Rosso Fiorentino,” Fine Arts<\/em>, II, nos. 10\u2013<\/span>11, 1982, 33\u2013<\/span>36<\/td>\n<\/tr>\n
Fontainebleau, 1973<\/strong><\/td>\nFontainebleau, Art in France<\/em>, exh. cat., 2 vols., Ottawa, 1973<\/td>\n<\/tr>\n
Fontainebleau, 1985<\/strong><\/td>\nFontainebleau et l’Estampe en France au XVIe<\/sup> si\u00e8cle. Iconographie et contradictions<\/em>, exh. cat., Ch\u00e2teau-Mus\u00e9e Ville de Nemours, 1985<\/td>\n<\/tr>\n
Forlani, 1963<\/strong><\/td>\nForlani, Anna, “Andrea Boscoli,” Proporzioni<\/em>, IV, 1963, 85\u2013<\/span>208<\/td>\n<\/tr>\n
Forlani, Disegni italiani<\/em>, 1964<\/strong><\/td>\nForlani, Anna, I disegni italiani Cinquecento. Scuole fiorentino, senese, romana, umbro marchigiana e dell’Italia meridionale<\/em>, Venice, n.d. [1964]<\/td>\n<\/tr>\n
Forlani Tempesti, 1991<\/strong><\/td>\nForlani Tempesti, Anna, The Robert Lehman Collection<\/em>, V, Italian Fifteenth- to Seventeenth-Century Drawings<\/em>, New York, The Metropolitan Museum of Art, and Princeton, 1991<\/td>\n<\/tr>\n
Forlani Tempesti, 1992<\/strong><\/td>\nForlani Tempesti, Anna, “Avvio a Giovanni Antonio Lappoli disegnatore,” Nuove ricerche in margine alla mostra: Da Leonardo a Rembrandt. Disegni della Biblioteca Reale de Torino. Atti del Convegno Internazionale di Studi<\/em>, 24\u2013<\/span>25 October 1990, ed. Gianni Carlo Sciolla, Turin, 1992, 94\u2013<\/span>101<\/td>\n<\/tr>\n
Fortnum, 1896<\/strong><\/td>\nFortnum, Charles D. E., Maiolica, A Historical Treatise on the Glazed and Enamelled Earthenwares of Italy, with Marks and Monograms, Also Some Notice of the Persian,Damascus, Rhdodian, and Hispano-Moresgue Wares<\/em>, Oxford, 1896; reprint, New York, 1979<\/td>\n<\/tr>\n
Fortnum, 1897<\/strong><\/td>\nFortnum, C. D. E., A Description Catalogue of the Maiolica…in the Ashmolean Museum. Oxford, Fortnum Collection<\/em>, Oxford, 1697<\/td>\n<\/tr>\n
Franklin, 1986<\/strong><\/td>\nFranklin, David, Rosso Fiorentino’s First andLast Florentine Altar-pieces<\/em>, M.A. report, University of London, Courtland Institute of Art, 12 May 12 1986<\/td>\n<\/tr>\n
Franklin, 1987<\/strong><\/td>\nFranklin, David, “Rosso, Leonardo Buonaf\u00e9 and the Francesca de Ripoi altar-piece,” BM<\/em>, CXXIX, 1987, 652\u2013<\/span>662<\/td>\n<\/tr>\n
Franklin, 1988<\/strong><\/td>\nFranklin, David, “Washington. Rosso at the National Gallery of Art,” BM<\/em>, CXXX, 1988, 323\u2013<\/span>326<\/td>\n<\/tr>\n
Franklin, 1989<\/strong><\/td>\nFranklin, David, “New Documents for Rosso Florentino in Sansepolcro,” BM<\/em>, CXXXI, 1989, 817\u2013<\/span>827<\/td>\n<\/tr>\n
Franklin, “Cungi,” 1989<\/strong><\/td>\nFranklin, David, \u201cAn \u2018Annunciation\u2019 by Givanni Battista Cungi,\u201d BM<\/em> CXXXI, 1989, 849\u2013<\/span>851.<\/td>\n<\/tr>\n
Franklin, “Portrait,” 1989<\/strong><\/td>\nFranklin, David, “A Portrait by Rosso Fiorentino in the National Gallery,” BM<\/em>, CXXXI, 1989, 839\u2013<\/span>842<\/td>\n<\/tr>\n
Franklin, 1991<\/strong><\/td>\nFranklin, David, “Raffaellino del Colle: Painting and Patronage in Sansepolcro during the first half of the Sixteenth Century,” Studies di Storia dell’Arte<\/em>, I, 1990 [1991], 145\u2013<\/span>170<\/td>\n<\/tr>\n
Franklin, 1992<\/strong><\/td>\nFranklin, David, “Rosso’s Betrothal of the Virgin<\/em>: Patronage and Interpretation,” JWCI<\/em>, 55, 1992, 184\u2013<\/span>199<\/td>\n<\/tr>\n
Franklin, 1993<\/strong><\/td>\nFranklin, David, “Ridolfo Ghirlandaio’s altar-pieces for Leonardo Buonaf\u00e9 and the Hospital of S. Maria Nuova in Florence,” BM<\/em>, CXXXV, 1993, 4\u2013<\/span>16<\/td>\n<\/tr>\n
Franklin, 1994<\/strong><\/td>\nRosso in Italy. The Italian Career of Rosso Fiorentino<\/em>, London-New Haven, 1994<\/td>\n<\/tr>\n
Franklin, 1994 (1996)<\/strong><\/td>\nFranklin, David, \u201cRosso Fiorentino e Volterra: un nuovo documento e una nuova interpretazione,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 121\u2013<\/span>127<\/td>\n<\/tr>\n
Franklin, 1995<\/strong><\/td>\nFranklin, David, “Empoli and Volterra,Pontormo and Rosso,” BM<\/em>, CXXXVII, 1995, 48\u2013<\/span>50<\/td>\n<\/tr>\n
Franklin, 1997<\/strong><\/td>\nFranklin, David, \u201cFlorence, Florentine Art 1494\u2013<\/span>1530,\u201d BM<\/em>, 139, 1997, 139\u2013<\/span>142<\/td>\n<\/tr>\n
Franklin, 2001<\/strong><\/td>\nFranklin, David, Painting in Renaissance Florence 1500\u2013<\/span>1550<\/em>, New Haven and London, 2001<\/td>\n<\/tr>\n
Franklin, 2005<\/strong><\/td>\nFranklin, David, General Editor, Leonardo da Vinci, Michelangelo, and the Renaissance in Florence<\/em>, Ottawa, National Gallery of Canada, in association with Yale University Press, 2005<\/td>\n<\/tr>\n
Fredericksen, 1984<\/strong><\/td>\nFredericksen, Burton B., “A New Painting By Rosso Fiorentino,” Scritti…in onore di…Zeri<\/em>, 1984, 323\u2013<\/span>331<\/td>\n<\/tr>\n
Fredericksen and Zeri, 1972<\/strong><\/td>\nFredericksen, Burton B., and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Collections<\/em>, Cambridge, Mass., 1972<\/td>\n<\/tr>\n
Freedberg, 1954<\/strong><\/td>\nFreedberg, Sydney J., Parmigianino, His Works in Painting<\/em>, Cambridge, Mass., 1950<\/td>\n<\/tr>\n
Freedberg, 1961, 1972<\/strong><\/td>\nFreedberg, Sydney J., Painting of the High Renaissance in Rome and Florence<\/em>, 2 vols., Cambridge, Mass., 1961; Icon Editions, New York\u2013<\/span>Toronto, 1972<\/td>\n<\/tr>\n
Freedberg, 1963<\/strong><\/td>\nFreedberg, Sydney J., Andrea del Sarto<\/em>, 2 vols., Cambridge, Mass., 1963<\/td>\n<\/tr>\n
Freedberg, 1966<\/strong><\/td>\nFreedberg, Sydney J., “Il Rosso,” EWA<\/em>, XII, 1966, cols. 582\u2013<\/span>583<\/td>\n<\/tr>\n
Freedberg, 1971, 1975<\/strong><\/td>\nFreedberg, Sydney J., Painting in Italy 1500 to 1600<\/em>, Harmondsworth, 1971, 1975<\/td>\n<\/tr>\n
Freedberg, Actes,1975<\/strong><\/td>\nFreedberg, Sydney J., “Rosso’s Style in France and its Italian Context,” Actes<\/em>, Paris, 1975, 13\u2013<\/span>16<\/td>\n<\/tr>\n
French Landscape Drawings<\/em>, 1977<\/strong><\/td>\nFrench Landscape Drawings and Sketches of the Eighteenth Century. Catalogue of a Loan Exhibition from the Louvre and other French Museums at the Department of Prints and Drawings in the British Museum<\/em>, London, 1977<\/td>\n<\/tr>\n
French Renaissance<\/em>, 1994<\/strong><\/td>\nThe French Renaissance in Prints from the Biblioth\u00e8gue Nationale de France<\/em>, exh. cat., 1994\u2013<\/span>1995, Grunwald Center for the Graphic Arts, University of California, Los Angeles 1994<\/td>\n<\/tr>\n
Friedlaender, 1957 (1925, 1929)<\/strong><\/td>\nFriedlaender, Walter, Mannerism and Anti-Mannerism in Italian Painting<\/em>, New York, 1957 (“The Anticlassical Style,” trans. from: “Die Entstehung der antiklassischen Stiles in der italienischen Malerie un 1520,” Repertorium fur Kunstwissenschaft<\/em>, 46, 1925, 49\u2013<\/span>86; “The Anti-mannerist Style,” trans. from: “Der Antimanieristiche Stil um 1590 and rein Verhaltnis zum vbersinnlichen,” Vort\u00e4ge der Bibliothek Warburg<\/em>, VIII, 1929, 214\u2013<\/span>243)<\/td>\n<\/tr>\n
Frey, 1899<\/strong><\/td>\nFrey, K., ed., Sammlung Ausgew\u00e4hlter Briefe an Michelagniolo Buonarroti<\/em>, Berlin, 1899<\/td>\n<\/tr>\n
Frizzoni, 1886<\/strong><\/td>\nFrizzoni, Gustavo, Collezione di guaranta disegni scelti dalla raccolta del Senatore Giovanni Morelli<\/em>, Milan, 1886<\/td>\n<\/tr>\n
Frohlich-Bum, 1921<\/strong><\/td>\nFr\u00f6hlich-Bum, Lili, Parmigianino und der Manierismus<\/em>, Vienna, 1921<\/td>\n<\/tr>\n
Frommel, 1963<\/strong><\/td>\nFrommel, Christoph Luitpold, “Miszellen zu Sangallo dem Jungeren, Rosso and Montelupo in S. Maria della Pace in Rome” Il Vasari<\/em>, XXXI, 4, 1963, 144\u2013<\/span>148<\/td>\n<\/tr>\n
Frommel, 1967<\/strong><\/td>\nFrommel, Christoph Luitpold, Baldassare Peruzzi als Maler and Zeichner<\/em>, Supplement to R\u00f6mischen Jahrbuch fur Kunstgeschichte<\/em>, 11, Vienna-Munich, 1967\u2013<\/span>1968<\/td>\n<\/tr>\n
Frommel, 1973<\/strong><\/td>\nFrommel, Christoph Luitpold, Der R\u00f6mische Palastbau der Hochrenaissance<\/em>, 3 vols., Tubingen, 1973<\/td>\n<\/tr>\n
Fuhring, 1989<\/strong><\/td>\nFuhring, Peter, “Ornament Prints in Amsterdam,” Print Quarterly<\/em>, 6, no. 3, 1989, 322\u2013<\/span>334<\/td>\n<\/tr>\n
Fumaroli, 1994 (1996)<\/strong><\/td>\nFumaroli, Marc, \u201cRosso tra Italia e Francia,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 102\u2013<\/span>112<\/td>\n<\/tr>\n
Gabelentz, 1922<\/strong><\/td>\nGabelentz, Hans von der, Fra Bartlommeo und die Florentine Renaissance<\/em>, 2 vols., Leipzig, 1922<\/td>\n<\/tr>\n
Gachard, 1846<\/strong><\/td>\nGachard, M., ed., Relation des troubles de Gand sous Charles-Quint, par un anonyme; suivie de trois cent trente documents in\u00e9dits sur cet \u00e9v\u00e9nement<\/em>, Brussels, 1846<\/td>\n<\/tr>\n
Gairdner and Brodie, 1989<\/strong><\/td>\nGairdner, James, and R.H. Brodie, Letters and Pagers, Foreian and Domestic, of the Reign of Henry VIII<\/em>, XVI, London, 1898, reprint, Vaduz, 1965<\/td>\n<\/tr>\n
“Galerie”, RdA<\/em>, 1972<\/strong><\/td>\n“La Galerie Fran\u00e7ois I au Ch\u00e2teau de Fontainebleau,” RdA<\/em>, 16\u2013<\/span>17, 1972 [1973]; also Flammrion, Paris, 1972 [1973]<\/td>\n<\/tr>\n
Galinsky, 1972<\/strong><\/td>\nGalinsky, G. Karl, The Herakles Theme: The Adaptations of the Hero in Literature from Homer to the Twentieth Century<\/em>, Roman and Littlefield, Totowa, New Jersey, 1972<\/td>\n<\/tr>\n
Gaillemin, 1994<\/strong><\/td>\nGaillemin, Jean-Louis, “L’art et la mani\u00e8re,” Connaissance des arts<\/em>, 509, 1994, 58\u2013<\/span>67<\/td>\n<\/tr>\n
Gamba, 1910<\/strong><\/td>\nGamba, Carlo, “Un dipinto del Rosso rimesso in luce agli Uffizi,” BdA<\/em>, IV, 1910, 144\u2013<\/span>146<\/td>\n<\/tr>\n
Gamba, 1956<\/strong><\/td>\nGamba, Carlo, Contributo alla conoscenta del Pontormo<\/em>, Florence, 1956<\/td>\n<\/tr>\n
Gamba, 1957<\/strong><\/td>\nGamba, Carlo, “Antonio di Donnino,” L’Arte<\/em>, 9th series, XXI, 1957, 7\u2013<\/span>14<\/td>\n<\/tr>\n
Garas, 1967<\/strong><\/td>\nGaras, Klara, “The Ludovisi Collection of Pictures in 1633\u2013<\/span>II,” BM<\/em>, CIX, 1967, 339\u2013<\/span>348<\/td>\n<\/tr>\n
Gaston, 1988<\/strong><\/td>\nGaston, Vivien, “The Prophet Armed Machiavelli, 5aronarola amd Rossso Fiorentino’s `Moses Defending the Daughters of Jethro,'” JWCI<\/em>, LI, 1988, 224\u2013<\/span>225<\/td>\n<\/tr>\n
Gaudioso, 1976<\/strong><\/td>\nGaudioso, Eraldo, “I lavori farnesiani a Castel 5ant’Angelo precisazioni ed ipotesi,” BdA<\/em>, LXI, 5th series, 1\u2013<\/span>2, 1976, 21\u2013<\/span>42<\/td>\n<\/tr>\n
GdBA<\/strong><\/em><\/td>\nGazette des Beaux-Arts<\/em><\/td>\n<\/tr>\n
Gebelin, 1927<\/strong><\/td>\nGebelin, Franpois, Les Ch\u00e2teaux de la Renaissance<\/em>, Paris, 1927<\/td>\n<\/tr>\n
Geronimus, 2006<\/strong><\/td>\nGeronimus, Dennis, Piero di Cosimo: Visions Beautiful and Strange<\/em>, New Haven\u2013<\/span>London, Yale University Press, 2006<\/td>\n<\/tr>\n
Gerzi, 1972<\/strong><\/td>\nGerzi, Ter\u00e9z, “Goltzius und Jan Muller: Beitrage zu ihrer Zeichenkunst,” Nederlands Kunsthistorisch Jaarboek<\/em>, XXIII, 1972, 49\u2013<\/span>59<\/td>\n<\/tr>\n
Geym\u00fcller, 1887<\/strong><\/td>\nGeym\u00fcller, Henry de [Heinrich von], Les Du Cerceau, leur vie et leur oeuvre<\/em>, Paris\u2013<\/span>London, 1887<\/td>\n<\/tr>\n
Geym\u00fcller, 1898<\/strong><\/td>\nGeym\u00fcller, Heinrich A., Die Baukunst der Renaissance in Frankreich<\/em>, 2 vols., Stuttgart, I, 1898 [II, 1901]<\/td>\n<\/tr>\n
Giacomotti, 1974<\/strong><\/td>\nGiacomotti, Jeanne, Catalogue de majoliques des Mus\u00e9es nationaux. Mus\u00e9e du Louvre et de Cluny, Mus\u00e9e National de C\u00e8ramique \u00e0 S\u00e8vres, Mus\u00e9e Adrien-Dobuch\u00e9 \u00e0 Limoges<\/em>, Paris, 1974<\/td>\n<\/tr>\n
Gibbons, 1968<\/strong><\/td>\nGibbons, Felton, Dosso and Battista Dossi, Court Painters at Ferrara<\/em>, Princeton, 1968<\/td>\n<\/tr>\n
Gibbons, 1977<\/strong><\/td>\nGibbons, F., Catalogue of Italian Drawings inthe Art Museum, Princeton University<\/em>, 2 vols., Princeton, 1977<\/td>\n<\/tr>\n
Giesey, 1960<\/strong><\/td>\nGiesey, Ralph E., The Royal Funeral Ceremony in Renaissance France, (Travaux d’humanisme et Renaissance, XXXVII), Geneva, 1960<\/td>\n<\/tr>\n
Giglioli, 1921<\/strong><\/td>\nGiglioli, Odoardo, H., Sansenolcro<\/em> (Citt\u00e0 e luochi d’Italia<\/em>, no. 3), Florence, 1921<\/td>\n<\/tr>\n
Gilbert, 1965<\/strong><\/td>\nGilbert, Felix, Machiavelli and Guicciardini, Politics and History in Sixteenth-Century Florence<\/em>, Princeton, 1965<\/td>\n<\/tr>\n
Gilbert, 1988<\/strong><\/td>\nGilbert, Creighton, “The Rosso exhibition, or, difficulty partly overcome,” The New Criterion<\/em>, VI, 6, February, 1988, 38\u2013<\/span>42<\/td>\n<\/tr>\n
Gilbert, 1992<\/strong><\/td>\nGilbert, Creighton, “‘Un viso guasiche di furia,”‘ Michelangelo Drawings, Studies in the History of Art<\/em>, 33, Center for the Advanced Study in the Visual Arts, Symposium Papers XVII, National Gallery of Art, Washington, 1992, 212\u2013<\/span>225<\/td>\n<\/tr>\n
Gillerman, 1975<\/strong><\/td>\nGillerman, Dorothy, “The Cl\u00f4ture of the Cathedral of Notre-Dame: Problems of Reconstruction,” Gesta<\/em>, XIV, I, 1975, 41\u2013<\/span>61<\/td>\n<\/tr>\n
Gillerman, 1977 (1973)<\/strong><\/td>\nGillerman, Dorothy, The Cl\u00f4ture of Notr-Dame and its Role in the Fourteenth Century Choir Program, New York\u2013<\/span>London, 1977 (PhD Thesis, Harvard University, 1973)<\/td>\n<\/tr>\n
Ginori Conti, 1540<\/strong><\/td>\nGinori Conti, Piero, La Basilica di San Lorenzo di Firenze e la famiglia Ginori<\/em>, Florence, 1940<\/td>\n<\/tr>\n
Giorgio Vasari, 1981<\/strong><\/td>\nLa Toscana nel’500. Principi, letterati e artisti nelle carte di Giorgio Vasari\u2013<\/span>Casa Vasari<\/em>, ed. Laura Corti, Margaret Daly Davis, Charles Davis, Julian Kliemann, Pittura vasariana dal 1532 al 1554\u2013<\/span>Sottochiesa di S. Francesco<\/em>, ed. Anna Maria Maetzke, exh. cat., Arezzo, 26 September\u2013<\/span>29 November 1981<\/td>\n<\/tr>\n
Giovannetti, 1991<\/strong><\/td>\nGiovannetti, Alesssandra, Francesco Morandini detto Il Poppi. I Disegni. I Dipinti di Poppi e Castiglion Fiorentino<\/em>, exh. cat., Poppi, 1991<\/td>\n<\/tr>\n
Giovannoni, 1959<\/strong><\/td>\nGiovannoni, Gustavo, Antonio da Sangallo it Giovane<\/em>, 2 vols., Rome, n.d. [1959]<\/td>\n<\/tr>\n
Giulio Romano<\/em>, 1989<\/strong><\/td>\nGiulio Romano<\/em>, exh. cat., Milan, 1989<\/td>\n<\/tr>\n
Giusti, n.d.<\/strong><\/td>\nGiusti, Giovanni, The Borahese Gallery and the Villa Umberto I in Rome<\/em>, Rome, n.d.<\/td>\n<\/tr>\n
Gnocchi and Falciani, 1994<\/strong><\/td>\nGnocchi, Lorenzo and Carlo Falciani, Il Pontormo e il Rosso. Guida alle opere<\/em>, Venice, 1994<\/td>\n<\/tr>\n
Godefrey, 1664<\/strong><\/td>\nGodefrey, Denis II, De l’istitution des professeurs rovaux dans l’universit\u00e9 de Paris par le rov Fran\u00e7ois Ier<\/sup> l’an 1530 et la remargue qui s’en voit Parmi les tableaux et peintures de Fontainebleau<\/em>, 1664, Paris, Biblioth\u00e8que de l’Institute, Coll. Godefrey, ms. 318, fol. 243\u2013<\/span>244<\/td>\n<\/tr>\n
G\u00f6bel, 1928<\/strong><\/td>\nG\u00f6bel, Heinrich, Wandteppiche<\/em>, Part II, vols. I and II (Plates): Die Wandteppiche und ihre Manufakturen in Frankreich Italien Spanien und Portugal<\/em>, Leipzig, 1928<\/td>\n<\/tr>\n
Goldner, 1988<\/strong><\/td>\nGoldner, George R., European Drawings. 1, Catalogue of the Collection<\/em>, with the assistance of Lee Hendrix and Gloria Williams, The J. Paul Getty Museum, Malibu, California, 1988<\/td>\n<\/tr>\n
Goldscheider, 1951<\/strong><\/td>\nGoldscheider, Ludwig, Michelangelo Drawings<\/em>, London, 1951<\/td>\n<\/tr>\n
Goldschmidt, 1911<\/strong><\/td>\nGoldschmidt, Fritz, Pontormo, Rosso und Bronzino. Ein Versuch zur Geschichte der Raumdarstellung<\/em>, Leipzig, 1911<\/td>\n<\/tr>\n
G\u00f6lnitz, 1631<\/strong><\/td>\nG\u00f6lnitz, Abraham, Ulysses Belgico-Gallicus<\/em>, Leyden, 1631<\/td>\n<\/tr>\n
G\u00f6ransson, 1969<\/strong><\/td>\nG\u00f6ransson, Anna Maria, “Studies in Mannerism,” Konsthistorisk Tidskrift<\/em>, 38, no. 3\u2013<\/span>4, 1969, 120\u2013<\/span>143<\/td>\n<\/tr>\n
Golson, 1969<\/strong><\/td>\nGolson, Lucile M., “Landscape Prints and Landscapists of the School of Fontainebleau c.1543\u2013<\/span>c.1570,” GdBA<\/em>, 6th series, 73, 1969, 95\u2013<\/span>110<\/td>\n<\/tr>\n
Golson, 1975<\/strong><\/td>\nGolson, Lucile M., “Rosso et Primaticcio au Pavillon de Pomone,” Actes<\/em>, 1975, 231\u2013<\/span>240<\/td>\n<\/tr>\n
Gore, 1963<\/strong><\/td>\nGore, St. John, Treasures of the Royal Academy<\/em>, London, 1963<\/td>\n<\/tr>\n
Gotten, 1975<\/strong><\/td>\nGotten, Rona, “Icon and Vision: Gioranni Bellini’s Half-Length Madonnas,” The Art Bulletin, vol. 57, no. 4, Dec. 1975, 487\u2013<\/span>518<\/td>\n<\/tr>\n
Goujet, 1758<\/strong><\/td>\nGoujet, Abb\u00e9 Cl.-P., M\u00e9moire historigue litt\u00e9raire sur le Coll\u00e8ge de France<\/em>, Paris, I, 1758<\/td>\n<\/tr>\n
Gould, 1962<\/strong><\/td>\nGould, Cecil, National Gallery Catalogues, The Sixteenth Century Italian Schools Excluding the Venetian<\/em>, London, 1962<\/td>\n<\/tr>\n
Gould, 1975<\/strong><\/td>\nGould, Cecil, National Gallery Catalogues. The Sixteenth-Century Italian Schools<\/em>, London, 1975<\/td>\n<\/tr>\n
Gouwens, 1998<\/strong><\/td>\nGouwens, Kenneth, Remembering the Renaissance: Humanist Narratives of the Sack of Rome, Brill’s Studies in Intellectual History<\/em>, Leiden, Boston, Cologne, 1998, Chapter Three: “Pietro Corsi and the Perpeturation of the Curalist Ideology,” 73.<\/td>\n<\/tr>\n
Grandi disegni<\/em>, 1981<\/strong><\/td>\nCatelli Isola, Maria, Simonetta Prosperi Valenti Rodino, Enrichetta Beltrame Quattrocchi, and Giulia Fusconi, I grandi disecni italiani dal Gabinetto Nazionale delle Stampe di Roma<\/em>, Milan, n.d. [1981]<\/td>\n<\/tr>\n
Grandmaison, 1876<\/strong><\/td>\nGrandmaison, Ch. de., “Gages de peintres et sculpteurs employ\u00e9s par Fran\u00e7ois Ier<\/sup> (1531\u2013<\/span>32), Nouvelles archives de l ‘art francais<\/em>, 1876, 90\u2013<\/span>92<\/td>\n<\/tr>\n
Grassi, 1956<\/strong><\/td>\nGrassi, Luigi, Il disegno italiano dal Trecento al Seicento<\/em>, Rome, 1956<\/td>\n<\/tr>\n
Graves, 1975<\/strong><\/td>\nGraves, Robert, The Greek Myths<\/em>, 2 vols., Harmondsworth, 1975<\/td>\n<\/tr>\n
Griseri, 1964<\/strong><\/td>\nGriseri, Andreina, “Berruguete e Machuca dopo it viaggio italiano,” Paragone<\/em>, 179, 1964, 3\u2013<\/span>19<\/td>\n<\/tr>\n
Grodecki, 1974<\/strong><\/td>\nGrodecki, Catherine, “La graveur Lyon Davent illustrateur de Nicolas de Nicolay,” Biblioth\u00e8que d’Humanisme et Renaissance<\/em>, XXXVI, 1974, 347\u2013<\/span>350<\/td>\n<\/tr>\n
Grodecki, 1975<\/strong><\/td>\nGrodecki, Catherine, “Documents in\u00e9dits sur le Rosso: sa participation au d\u00e9cor du choeur de Notre-Dame de Paris au milieu du XVIe si\u00e8cle,” Actes<\/em>, 1975, 99\u2013<\/span>115<\/td>\n<\/tr>\n
Grodecki, 1976; 1977<\/strong><\/td>\nGrodecki, Catherine, “Sur les ateliers de Fontainebleau sous Fran\u00e7ois Ier<\/sup>,” Bulletin de la Soci\u00e9t\u00e9 de l’Histoire de Paris et de l’Ile de France<\/em>, 103\u2013<\/span>104, 1976\u2013<\/span>1977, 211\u2013<\/span>215<\/td>\n<\/tr>\n
Grodecki, 1986<\/strong><\/td>\nGrodecki, Catherine, Histoire de l’art au XVIe<\/sup> si\u00e8cle (1540-1600)<\/em>, Vol. 2, Sculpture, peinture, boderie, \u00e9mail et fa\u00efence, orf\u00e8vrerie, armures<\/em>, Documents du Minutier central des notaires de Paris, Paris, Archives Nationales, 1986<\/td>\n<\/tr>\n
Grodecki, 1988 (1989)<\/strong><\/td>\nGrodecki, Catherine, “Le b\u00e2ton cantoral de Notre-Dame de Paris,” Bulletin de la Soci\u00e9it\u00e9 de l’Histoire de l’art fran\u00e7ais<\/em>, 1988 (1989), 17\u2013<\/span>24<\/td>\n<\/tr>\n
Gruber, 1995<\/strong><\/td>\nGruber, Gerlinde, “Les tentures \u00e0 suiets mythologiques de la grande galerie di Fontainebleau,” Revue de l’Art<\/em>, 108, 1995, 23\u2013<\/span>31, 76<\/td>\n\u00a0<\/td>\n<\/tr>\n
Gu\u00e9rin, 1883, 1886<\/strong><\/td>\nGu\u00e9rin, Paul, ed., Registres des d\u00e9lib\u00e9rations du bureau de la ville de Paris (Histoire g\u00e9n\u00e9ral de Paris. Collection de documents publi\u00e9e sous les auspices de l’\u00e9dit\u00e9 parisienne)<\/em>, Paris, II, 1883, III, 1886<\/td>\n<\/tr>\n
Guerts, 1963\u2013<\/span>1967<\/strong><\/td>\nGuerts, V\u00e9ra,”L’iconographie des fresques de la Galerie Fran\u00e7ois Ier<\/sup> et l’humanisme fran\u00e7ais du XVIe<\/sup> si\u00e8cle,” [in Russian] Ermitaoe national de l’ordre de L\u00e9nine. Th\u00e8ses pour l’ann\u00e9e 1963<\/em>, Leningrad, 1967, 100\u2013<\/span>122 (French resum\u00e9 by B. Lossky at the Mus\u00e9e de Fontainbleau)<\/td>\n<\/tr>\n
Guiffrey, Cronique<\/em>, 1860<\/strong><\/td>\nGuiffrey, Georges, ed., Cronique du Roy Fran\u00e7oys premier de ce nom<\/em>, Paris, 1860<\/td>\n<\/tr>\n
Guiffrey, 1915<\/strong><\/td>\nGuiffrey, Jules, ed., Artists parisiens du XVI\u00e9 et du XVII\u00e9 si\u00e8cle, donations, contrats de mariage, testaments, inventaires, etc., tir\u00e9s des insinuations du Ch\u00e2telet de Paris<\/em>, Paris, 1915<\/td>\n<\/tr>\n
Guilbert, 1731<\/strong><\/td>\nGuilbert, Pierre, Description historique des ch\u00e2teau bourg et foret de Fontainebleau<\/em>, 2 vols., Paris, 1731; reprint, Marseille, 1978<\/td>\n<\/tr>\n
Guilhermy, 1856<\/strong><\/td>\nGuilhermy, M.F. de, Description arch\u00e9ologique des monuments de Paris<\/em>, 2nd ed., Paris, 1856<\/td>\n<\/tr>\n
Guillaume, 1979<\/strong><\/td>\nGuillaume, Jean, “Fontainebleau 1530. lePavillon des Armes et sa porte egyptienne,” Bulletin monumental<\/em>, 137, 3 1979, 225\u2013<\/span>240<\/td>\n<\/tr>\n
Guillaume, 1985<\/strong><\/td>\nGuillaume, Jean, “L’escalier dans l’architecture fran\u00e7aise de la premi\u00e8re moiti\u00e9 du XVIe<\/sup> si\u00e8cle,” L’escalier dans l’architecture de la Renaissance<\/em>, Jean Guillaume and Andr\u00e9 Chastel, eds., Actes du colloque tenu \u00e0 Tours de 22 au 26 mai 1979<\/em>, Centre d’\u00e9tudes sup\u00e9rieurs de la Renaissance, De Architecture<\/em>, Paris, 1985, 27\u2013<\/span>47.<\/td>\n<\/tr>\n
Guillaume and Grodecki, 1978<\/strong><\/td>\nGuillaume, Jean and Catherine Grodecki, “Le Jardin des Pins \u00e0 Fontainebleau,” Bulletin de la Soci\u00e9t\u00e9 de l’Histoire de l’Art fran\u00e7ais<\/em>, 1978, 43\u2013<\/span>51<\/td>\n<\/tr>\n
Guilmard, 1884<\/strong><\/td>\nGuilmard, Desir\u00e9 G., Les ma\u00eetres ornemanistes, dessinateurs, peintures, architects, sculpteurs, et graveurs<\/em>, 2 vols. Paris, 1880″<\/td>\n<\/tr>\n
Guldan, 1966<\/strong><\/td>\nGuldan, Ernst, Eva and Maria<\/em>, Graz-Cologne, 1966<\/td>\n<\/tr>\n
Hackenbroch, 1966<\/strong><\/td>\nHackenbroch, Yvonne, “New Knowledge on Jewels and Designs after Etienne Delaune,” The Connoisseur<\/em>, 162, no. 652, 1966, 82\u2013<\/span>89<\/td>\n<\/tr>\n
Haitovsky, 1994<\/strong><\/td>\nHaitovsky, Dalia, “Rosso’s Rebecca and Eliezer at the Well<\/em> Reconsidered,” GdBA<\/em>, 6th period, CXXVIII, 1994, 111\u2013<\/span>122<\/td>\n<\/tr>\n
Hall, 1979<\/strong><\/td>\nHall, Marcia B., Renovation and Counter Reformation, Vasari and Duke Cosimo in Sta Maria Novella and Sta Croce 1565\u2013<\/span>1577<\/em>, Oxford, 1979<\/td>\n<\/tr>\n
Hall, 1992<\/strong><\/td>\nHall, Marcia B., Color and Meaning Practice and Theory in Renaissance Painting<\/em>, Cambridge, 1992<\/td>\n<\/tr>\n
Hamburgh, 1988<\/strong><\/td>\nHamburgh, Harvey E., “Rosso Fiorentino’s Descent from the Cross<\/em> in a Franciscan Context,” Sixteenth Century Journal<\/em>, XIX, 4, 1988, 577\u2013<\/span>604<\/td>\n<\/tr>\n
Harprath, 1994<\/strong><\/td>\nHarprath, Richard, “Eine Zeichnung des Rosso Fiorentino zum Bostoner `Toten Christus’,” Zeitschrift f\u00fcr Kunstgeschichte<\/em>, 57, 3, 1994, 357\u2013<\/span>363<\/td>\n<\/tr>\n
Hartt, 1952<\/strong><\/td>\nHartt, Frederick, Review of Barrocchi, 1950, AB<\/em>, XXXIV, 1952, 63\u2013<\/span>69<\/td>\n<\/tr>\n
Hartt, 1958<\/strong><\/td>\nHartt, Frederick, Giulio Romano<\/em>, 2 vols., New Haven, 1958<\/td>\n<\/tr>\n
Hartt, 1963<\/strong><\/td>\nHartt, Frederick, “Power and the Individual in Mannerist Art,” The Renaissance and Mannerism Studies in Western Art<\/em>, II, Princeton, 1963, 222\u2013<\/span>238<\/td>\n<\/tr>\n
Hartt, 1968<\/strong><\/td>\nHartt, Frederick, Michelangelo, The Complete Sculpture<\/em>, New York, 1968<\/td>\n<\/tr>\n
Hartt, 1969 (1987)<\/strong><\/td>\nHartt, Frederick, History of Italian Renaissance Art<\/em>, Englewood Cliffs, N.J., 1969; 3rd ed., 1987<\/td>\n<\/tr>\n
Hartt, 1970<\/strong><\/td>\nHartt, Frederick, Michelangelo’s Drawings<\/em>, New York, 1970<\/td>\n<\/tr>\n
Hauser, 1965<\/strong><\/td>\nHauser, Arnold, Mannerism, The Crisis of the Renaissance and the Origin of Modern Art<\/em>, 2 vols., London, 1965<\/td>\n<\/tr>\n
Hausmann, 1972<\/strong><\/td>\nHausmann, Tiark, Kataloge des Kunstgewerbemuseums Berlin. VI. Majolika Spanische and Italienische Keramik vom 14. bis zum 18. Jahrhundert<\/em>, Berlin, 1972<\/td>\n<\/tr>\n
Hautecoeur, 1926<\/strong><\/td>\nHautecoeur, Louis, Catalogue des peintures expos\u00e9es dans les galeries<\/em>, II, \u00c9cole italienne et \u00c9cole Espagnole<\/em>, Mus\u00e9e National du Louvre, Paris, 1926<\/td>\n<\/tr>\n
Haverkamp-Begemann and Logan, 1970<\/strong><\/td>\nHaverkamp-Begemann, E., and Anne Marie S. Logen, European Drawings and Watercolors in the Yale University Art Gallery 1500\u2013<\/span>1900<\/em>, 2 vols., New Haven and London, 1970<\/td>\n<\/tr>\n
Hayum, 1968 (1976)<\/strong><\/td>\nHayum, Andr\u00e9e, Giovanni Antonio Bazzi -“Il Sodoma”,<\/em> PhD Thesis, Harvard University, Cambridge, 1968; New York\u2013<\/span>London, 1976<\/td>\n<\/tr>\n
Hayward, 1968, I<\/strong><\/td>\nHayward, J.F., “The Mannerist Goldsmiths: 2, France and the School of Fontainebleau, Part I,” The Connoisseur<\/em>, 152, 1963, 240\u2013<\/span>245<\/td>\n\u00a0<\/td>\n<\/tr>\n
Hayward, 1963, II<\/strong><\/td>\nHayward, J.F., “The Mannerist Goldsmiths: 2, France and the School of Fontainebleau. Part II,” The Connoisseur<\/em>, 153, 1963, 11\u2013<\/span>15<\/td>\n<\/tr>\n
Hedicke, 1912<\/strong><\/td>\nHedicke, Robert, Jaques Dubroeucq de Mons<\/em>, Brussels, 1912<\/td>\n<\/tr>\n
Heikamp, 1960<\/strong><\/td>\nHeikmp, Detlef, “Die Bildwerke des Clemente Bandinelli,” Mi.tteiluncren des Kunsthistorischen Institutes in Florenz<\/em>, IX, 2, 1960, 130\u2013<\/span>136<\/td>\n<\/tr>\n
Heinecken, 1778\u2013<\/span>1790<\/strong><\/td>\nHeinecken, Karl Heinrick von, Dictionnaire des Artistes<\/em>, 4 vols., Leipzig, 1778\u2013<\/span>1790; reprint, New York, 1970<\/td>\n<\/tr>\n
Herbet, 1896\u2013<\/span>1902 (1969)<\/strong><\/td>\nHerbet, F\u00e9lix, “Les Graveurs de l’\u00c9cole de Fontainebleau,” Annales de la Soci\u00e9t\u00e9 historique et arch\u00e9ologique du G\u00e2tinais<\/em>, XIV, 1896, 56\u2013<\/span>102, 257\u2013<\/span>291, XVII, 1899, 1\u2013<\/span>53, XVIII, 1900, 253\u2013<\/span>355, XX, 1902, 55\u2013<\/span>86; reprint, Les Gravures de l’\u00c9cole de Fontainebleau<\/em>, Amsterdam, 1969<\/td>\n<\/tr>\n
Herbet, 1912<\/strong><\/td>\nHerbet, F\u00e9lix, L’Ancient Fontainebleau, Fontainebleau<\/em>, 1912<\/td>\n<\/tr>\n
Herbet, 1937<\/strong><\/td>\nHerbet, F\u00e9lix, Le Ch\u00e2teau de Fontainebleau, les apartements, les cours, le parc, les jardins<\/em>, Paris, 1937<\/td>\n<\/tr>\n
Hercenberg, 1975<\/strong><\/td>\nHercenberg, Bernard, Nicolas Vleughels, Peintre et Directeur de l’Academie de France \u00e0 Rome, 1668\u2013<\/span>1737<\/em>, Paris, 1975<\/td>\n<\/tr>\n
Hermanin, 1907<\/strong><\/td>\nHermanin, Frederico, “Nuovi acquisti del Gabinetto Nazionale delle Stampe in Roma,” BdA<\/em>, I, v, 1907, 7\u2013<\/span>18<\/td>\n<\/tr>\n
Herrmann-Fiore, 1983<\/strong><\/td>\nHermann-Fiore, Kristina, Disegni degli Alberti. Il volume 2503 del Gabinetto Nazionale delle Stampe<\/em>, exh. Cat., Rome, 1983.<\/td>\n<\/tr>\n
Heydenreich and Lotz, 1974<\/strong><\/td>\nHeydenreich, Ludwig H., and Wolfgang Lotz, Architecture in Italy 1400 to 1600<\/em>, Harmondsworth, 1974<\/td>\n<\/tr>\n
Hibbard, 1974<\/strong><\/td>\nHibbard, Howard, Michelangelo<\/em>, New York, Evanston, San Francisco, London, 1974<\/td>\n<\/tr>\n
Hind, 1938<\/strong>\u2013<\/span>1548<\/strong><\/td>\nHind, Arthur M., Early Italian Engraving<\/em>, New York and London, 7 vols., 1938\u2013<\/span>1948<\/td>\n<\/tr>\n
Hirst, 1964<\/strong><\/td>\nHirst, Michael, “Rosso: A Document and a Drawing,” BM<\/em>, CVI, 1964, 120\u2013<\/span>126<\/td>\n<\/tr>\n
Hirst, 1991<\/strong><\/td>\nHirst, Michael, Sebastiamo del Piombo<\/em>, Orford, 1981<\/td>\n<\/tr>\n
Hirst, 1988<\/strong><\/td>\nHirst, Michael, Michelangelo and his Drawings<\/em>, New Haven\u2013<\/span>London, 1988<\/td>\n<\/tr>\n
Hirst, Michelangelo<\/em>, 1988<\/strong><\/td>\nHirst, Michael, Michelangelo Draftsman<\/em>, erh. cat., National Gallery of Art, Washington, 9 October\u2013<\/span>11 December 1988, Milan, 1988<\/td>\n<\/tr>\n
Hoffmann, 1970<\/strong><\/td>\nHoffmann, Volker, Das Schlosz von \u00c9couen<\/em>, Berlin, 1970<\/td>\n<\/tr>\n
Hoffmann, 1978<\/strong><\/td>\nHoffmann, Volker, “DONEC TOTUM IMPLEAT ORBEM: Symbolisme imperial au temps de Henri II,” Bulletin de la Soci\u00e9t\u00e9 de l’histoire de l’art fran\u00e7ais<\/em>, 1978, 29\u2013<\/span>42<\/td>\n<\/tr>\n
Holderbaum, 1967<\/strong><\/td>\nHolderbaum, James, “The Birth Date and a Destroyed Early Work of Baccio Bandinelli,” Essays in the History of Art Presented to Rudolf Wittkower<\/em>. Fraser, H. Hibbard, and M. J. Lewine, eds., London, 1967, 93\u2013<\/span>97<\/td>\n<\/tr>\n
Hollstein, IV, 1957<\/strong><\/td>\nHollstein, F. W. H., German Engravings, Etchings and Woodcuts, ca. 1400\u2013<\/span>1700<\/em>, IV, Amsterdam, 1957<\/td>\n<\/tr>\n
Honour, European Vision<\/em>, 1975<\/strong><\/td>\nHonour, Hugh, The European Vision of America<\/em>, exh. cat., Cleveland Museum of Art, 1975<\/td>\n<\/tr>\n
Honour, Golden Land<\/em>, 1975<\/strong><\/td>\nHonour, Hugh, The New Golden Land, European Images of America from the Discoveries to the Present Time<\/em>, New York, 1975<\/td>\n<\/tr>\n
Huard and Grmek, 1965<\/strong><\/td>\nHuard, P., and M. D. Grmek, L’Oeuvre de Charles Estienne e l’\u00c9cole anatomique parisienne<\/em>, Paris, 1965<\/td>\n<\/tr>\n
Huntley, 1935<\/strong><\/td>\nHuntley, G. Haydn, Andrea Sansovino<\/em>, Cambridge, Mass., 1935<\/td>\n<\/tr>\n
Huon, F\u00eates<\/em>, I 1956<\/strong><\/td>\nHuon, Antoinette, “Le th\u00e8me du prince daps les entr\u00e9es parissiennes au XVIe<\/sup> si\u00e8cle,” F\u00eates<\/em>, I, 1956, 21\u2013<\/span>30<\/td>\n<\/tr>\n
Hutchison, 1968<\/strong><\/td>\nHutchison, S. C., History of the Royal Academy<\/em>, London, 1968<\/td>\n<\/tr>\n
Inventaire<\/em>, I, II<\/strong><\/td>\nInventaire du Fonds Fran\u00e7ais, graveurs du seizi\u00e8me si\u00e8cle<\/em>, vols. I and II, Biblioth\u00e8que Nationale, D\u00e8partment des estampes, Paris, 1932, 1938<\/td>\n<\/tr>\n
Jabach Inventory, 1671<\/strong><\/td>\nInventaire manuscrit de collection Jabach, \u00c9cole florentine. 1671<\/em>, Copy, Louvre, Cabinet des Dessins, 5 vols.<\/td>\n<\/tr>\n
Jacobs, 1984<\/strong><\/td>\nJacobs, Fredrika H., “Vasari’s Vision of the History of Painting: Frescoes in thr Casa Vasari, Florence,” AB<\/em>, LXVII, 3, 1984, 399\u2013<\/span>416<\/td>\n<\/tr>\n
Jacobsen, 1898<\/strong><\/td>\nJacobsen, Emil, “Die Handzeichnungen der ‘Uffizen’ in ihren Beziehungen zu Gem\u00e4lden, Sculpturen und Geb\u00e4uden in Florenz,” Repertorium f\u00fcr Kunstwissenschaft<\/em>, XXI, 1898, 263\u2013<\/span>283<\/td>\n<\/tr>\n
Jacobson, 1982<\/strong><\/td>\nJacobson, Michael A., “The Meaning of Mantegna’s Battle of Sea Monsters<\/em>,” AB, LXIV, 1982, 626\u2013<\/span>627<\/td>\n<\/tr>\n
Jacquart, 1981<\/strong><\/td>\nJacquart, Jean, Fran\u00e7oise Ier<\/sup><\/em>, Paris, 1981<\/td>\n<\/tr>\n
Jacquot, 1960<\/strong><\/td>\nJacquot, Jean, “Panorama des f\u00eates et c\u00e9r\u00e9monies du r\u00e8gne,” F\u00eates<\/em>, II, 1960, 413\u2013<\/span>491<\/td>\n<\/tr>\n
Jaff\u00e9, 1987<\/strong><\/td>\nJaff\u00e9, Michael, Old Master Drawings from Chatsworth. A Loan Exhibition from the Devonshire Collection<\/em>, exh. cat., 1987\u2013<\/span>1988, Alexandria, Virginia, 1987<\/td>\n<\/tr>\n
Jaff\u00e9, 1994, T and U<\/strong><\/td>\nJaff\u00e9, Michael, The Devonshire Collection of Italian Drawings, Bolognese and Emilian Schools<\/em>, Landon, 1994<\/td>\n<\/tr>\n
Jaff\u00e9, 1994 B and E<\/strong><\/td>\nJaff\u00e9, Michael, The Devonshire Collection of Italian Drawings, Bolognese and Emilian Schools<\/em>, London, 1994<\/td>\n<\/tr>\n
Jaff\u00e9, 1995<\/strong><\/td>\nJaff\u00e9, Michael, A Great Heritage: Renaissance Drawings from Chatsworth<\/em>, exh. cat., Washington, 1995<\/td>\n<\/tr>\n
Jamin, 1834, 1838, 1841<\/strong><\/td>\nJamin, E., Fontainebleau, ou notice historique et descriptive de cette r\u00e9sidence rovale<\/em>, Fontainebleau, 1834; 2nd ed., 1838; New edition, 1841<\/td>\n<\/tr>\n
Janson, 1952<\/strong><\/td>\nJanson, H.W., Apes and Ape Lore in the Middle Ages and the Renaissance<\/em>, London, 1952<\/td>\n<\/tr>\n
Janson, 1957<\/strong><\/td>\nJanson, H.W., The Sculpture of Donatello<\/em>, 2 vols., Princeton, 1957<\/td>\n<\/tr>\n
Jessen, 1920<\/strong><\/td>\nJessen, Peter J., Der Ornamentstich<\/em>, Berlin, 1920<\/td>\n<\/tr>\n
Jestaz, 1969<\/strong><\/td>\nJestaz, Bertrand, Review of Zerner, 1969, Bulletin Monumental<\/em>, 127, 1969, 354\u2013<\/span>356<\/td>\n<\/tr>\n
Jestaz, 1973<\/strong><\/td>\nJestaz, Bertrand, “La tenture de la Gallerie Fontainebleau et sa restauration \u00e0 Vienne \u00e0 la fin du XVIIe<\/sup> si\u00e8cle,” RdA<\/em>, XXII, 1973, 50\u2013<\/span>56<\/td>\n<\/tr>\n
Joannides, 1972<\/strong><\/td>\nJoannides, Paul, “Michelangelo’s Medici Chapel: Some New Suggestions,” BM<\/em>, CXIV, 1972, 541\u2013<\/span>551<\/td>\n<\/tr>\n
Joannides, 1983<\/strong><\/td>\nJoannides, Paul, The Drawings of Raphael<\/em>, Berkley and Los Angeles, 1983<\/td>\n<\/tr>\n
Joannides, 1994<\/strong><\/td>\n“Drawings by Francesco Salviati and Daniele da Volterra: Additions and Substractions,” Master Drawings<\/em>, 32, 3, 1994, 230\u2013<\/span>251<\/td>\n<\/tr>\n
Joannides, 1994 (1996)<\/strong><\/td>\nJoannides, Paul, \u201c\u2018\u2026non volevo pigliar quella maniera\u2019: Rosso and Michelangelo,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 136\u2013<\/span>139<\/td>\n<\/tr>\n
Joannides, 1996<\/strong><\/td>\nJoannides, Paul, Michelangelo and His Influence. Drawings from Windsor Castle<\/em>, Washington, 1996<\/td>\n<\/tr>\n
Joannides, in\u00a0Monbeig Goguel, 1998<\/span><\/strong><\/td>\nJoannides, Paul, “Francesco Salviati et Michel-Ange”<\/span><\/td>\n<\/tr>\n
Joliet, 1594<\/strong><\/td>\nJollet, \u00c9tienne, “Rosso ou la Renaissance hallucin\u00e9e,” Beaux Arts Magazine<\/em>, 125, 1994, 75\u2013<\/span>81<\/td>\n<\/tr>\n
Joukovsky, 1987<\/strong><\/td>\nJoukovsky, Fran\u00e7oise, “Humain et sacr\u00e9 dans la Galerie Fran\u00e7oise Ier<\/sup>,” Nouvelle Revue du XVIe<\/sup> si\u00e8cle’<\/em> 1987, no. 5, 5\u2013<\/span>23<\/td>\n<\/tr>\n
Joukovsky, 1987 bis<\/strong><\/td>\nJoukovsky, Fran\u00e7oise, “La symbolique de l’immortalit\u00e9: la Galerie Fran\u00e7ois Ier<\/sup> et la sculpture funeraire antique,” Studi francesi<\/em>, XXX, 1, 1987, 5\u2013<\/span>19<\/td>\n<\/tr>\n
Joukovsky, 1988<\/strong><\/td>\nJoukovsky, Fran\u00e7oise, “L’Empire et les Barbares dans la Galerie Fran\u00e7ois Ier<\/sup>,” Biblioth\u00e8que d’Humanisme et Renaissance<\/em>, 50, no. 1, 1988, 7\u2013<\/span>28<\/td>\n<\/tr>\n
Joukovsky, 1988 bis<\/strong><\/td>\nJoukovsky, Fran\u00e7oise, “Guerre et paix dans une trav\u00e9e de la Galerie Fran\u00e7ois Ier<\/sup>,” L\u2019Intelligence du pass\u00e9: les faits, l’\u00e9criture et le sens. M\u00e9langes offerts \u00e0 Jean Lafond par ses amis<\/em>, Tours, 1988, 33\u2013<\/span>43<\/td>\n<\/tr>\n
Joukovsky, 1990<\/strong><\/td>\nJoukovsky, Fran\u00e7oise, “Une intervention providentielle: La V\u00e9nus de la Galerie Fran\u00e7ois Ier<\/sup>,” in Il tema della fortuna nella letteratura francese e italiana del Rinascimento. Studi in memoria di Enzo Giudici<\/em>, Florence, 1990, 239\u2013<\/span>247<\/td>\n<\/tr>\n
Joukovsky, 1992<\/strong><\/td>\nJoukovsky, Pierre and Fran\u00e7oise Joukovsky, A Travers de la Galerie Francois Ier<\/sup><\/em>, Paris-Geneva, 1992<\/td>\n<\/tr>\n
Jung, 1966<\/strong><\/td>\nJung, Marc-Ren\u00e9, Hercule dans la litt\u00e8rature fran\u00e7ais du XVIe<\/sup> si\u00e8cle (Travaux d’humanisme et Renaissance, LXXIX)<\/em>, Geneva, 1966<\/td>\n<\/tr>\n
JWCI<\/strong><\/em><\/td>\nJournal of the Warburg and Coutauld Institutes<\/em><\/td>\n<\/tr>\n
Kallab, 1908<\/strong><\/td>\nKallab, Wolfgang, Vasaristudien, mit einen Lebenbilde der verfassers aus lessen Nachlasse<\/em>, ed. Julius von Schlosser, Quellenschriften f\u00fcr Kunstgeschichte<\/em>, New series, 13\u2013<\/span>15, Vienna-Leipzig, 1908<\/td>\n<\/tr>\n
Karpinski, IB<\/em>, 1971<\/strong><\/td>\nKarpinski, Caroline, ed., Italian Chiaroscuro Woodcuts<\/em> (Bartsch Volume XII) University Park and London, 1971<\/td>\n\u00a0<\/td>\n<\/tr>\n
Karpinski, 1976<\/strong><\/td>\nKarpinski, Caroline, “Le m\u00e2itre ND de Bologne,” Nouvelles de l’estampe<\/em>, 26, March\u2013<\/span>April, 1976, 23\u2013<\/span>27<\/td>\n<\/tr>\n
Karpinski, IB<\/em>, 48, 1983<\/strong><\/td>\nKarpinski, Caroline, ed., The Illustrated Bartsch<\/em>, 48 (Formerly Vol. 12), Italian Chiaroscuro Woodcuts<\/em>, New York, 1983<\/td>\n<\/tr>\n
Karpinski, 1988<\/strong><\/td>\nKarpinski, Caroline, “Rosso Fiorentino” (review of Carroll, 1987, and exhibition), Print Quarterly<\/em>, V, 2, 1988, 171\u2013<\/span>173<\/td>\n<\/tr>\n
Kaskinen, 1989<\/strong><\/td>\nKaskinen, Marie Paulette, “The Influence of Theatre in Rosso’s Deposition<\/em>,” typescript, 1989<\/td>\n<\/tr>\n
Kauffmann, 1523<\/strong><\/td>\nKauffmann, Hans, “Der Manierismus in Holland and die Schule von Fontainebleau,” Jahrbuch der Preuszischen Kunstsammlungen<\/em>, XXXXIV, Berlin, 1923, 184\u2013<\/span>204<\/td>\n<\/tr>\n
Kauffmann, 1965<\/strong><\/td>\nKauffmann, Georg, “Poussin’s ‘Primavera,”‘ Friedlaender zum 90. Geburtstag<\/em>, ed. G. Kauffmann and W. Sauerlander, Berlin, 1965<\/td>\n<\/tr>\n
Kauffmann, 1973<\/strong><\/td>\nKauffmann, Georg, “Die Schule von Fontainebleau, zu dem Colloquium in Paris,” Kunstchronik<\/em>, XXVI, 1973, 96\u2013<\/span>105<\/td>\n<\/tr>\n
Kaufmann, 1979<\/strong><\/td>\nKaufmann, Lynn Frier, The Noble Savage and Satyr Families in Renaissance Art<\/em>, UMI Research Press, Ann Arbor-Landon, 1982; PhD dissertation, University of Pennsylvania, 1979<\/td>\n<\/tr>\n
Keller, 1976<\/strong><\/td>\nKeller, Ralf E., Das Oratorium von San Giovanni Decollato in Rom. Eine Studie seiner Fresken<\/em>, Rome, 1976<\/td>\n<\/tr>\n
Kellett, 1955<\/strong><\/td>\nKellett, C.E. “Perino del Vaga et les illustations pour l’anatomie d’Estienne,” Aesculape<\/em>, 37, 4, 1955, 74\u2013<\/span>89<\/td>\n<\/tr>\n
Kellett, 1957<\/strong><\/td>\nKellett, C.E., “A Note on Rosso and the Illustrations to Charles Etienne’s De dissectione<\/em>,” Journal of the History of Medicine and Allied Sciences<\/em>, XII, 3, 1957, 325\u2013<\/span>336<\/td>\n<\/tr>\n
Kellett, 1958<\/strong><\/td>\nKellett, C.E., Two Anatomies, An occasional lecture on the De Dissectione of Charles Etienne given to the University of Durham Dental Students on the 8th May, 1958<\/em>, London, 1958<\/td>\n<\/tr>\n
Kettering, 1966<\/strong><\/td>\nKettering, Alison Mc Neil, “Non-Finito” in the Early Work of Rosso<\/em>, Master of Arts Thesis, University of California, Berkeley, June, 1966<\/td>\n<\/tr>\n
Keunter, 1959<\/strong><\/td>\nKeutner, Herbert, “Zu einigen Bildnissen des Fr\u00fchen Florentiner Manierismus,” Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, VIII, 1959, 139\u2013<\/span>154<\/td>\n<\/tr>\n
Kiad\u00f3, 1984<\/strong><\/td>\nKiad\u00f3, Corvina, Music in Painting. Music as Symbol in Renaissance and Baroque Painting<\/em>, trans. Mary and Andr\u00e1s Boras-Kasai, of Zene a fest\u00e9zetben<\/em>, Budapest, 1984), Budapest, 1984<\/td>\n<\/tr>\n
Knab, 1975<\/strong><\/td>\nKnab, Eckhart, Walter Koschatzky, and Konrad Oberhuber, Italienische Zeichnungen der Renaissance zum 500. Geburtsjahr Michelangelos<\/em>, exh. cat., Vienna, Albertina, 1975<\/td>\n<\/tr>\n
Knapp, 1903<\/strong><\/td>\nKnapp, Fritz, Fra Bartolommeo della Porta and die Schule von San Marco<\/em>, Halle, 1903<\/td>\n<\/tr>\n
Knecht, 1977<\/strong><\/td>\nKnecht, R. J., “Francis I. Prince and patron of the northern Renaissance,” in The Courts of Europe, Politics, Patronage and Royalty 1400\u2013<\/span>1800<\/em>, ed., A.G. Dickens, London, 1977, 98\u2013<\/span>119<\/td>\n<\/tr>\n
Knecht, 1982<\/strong><\/td>\nKnecht, R. J., Francis I<\/em>, Cambridge, 1982<\/td>\n<\/tr>\n
Knecht, 1994<\/strong><\/td>\nKnecht, R. J., Renaissance Warrior andPatron: The Reign of Francis I<\/em>, Cambridge, 1994<\/td>\n<\/tr>\n
Koch, IR, 16, 1980<\/strong><\/td>\nKoch, Robert A., ed., The Illustrated Bartsch<\/em>, 16, Early German Masters<\/em>, New York, 1980<\/td>\n<\/tr>\n
Kolch, 1983<\/strong><\/td>\nKolch, David, “Materials and Technique in an Unfinished Altarpiece by Rosso Fiorentino,” The American Institute for Conservation of Historic and Artistic Works, 11th, 25\u2013<\/span>29 May, 1983, Baltimore, Maryland, Preprints<\/em>, 74\u2013<\/span>81<\/td>\n<\/tr>\n
Kornell, 1989<\/strong><\/td>\nKornell, Monique, “Rosso Fiorentino and the Anatomical Text,” BM<\/em>, CXXXI, 1989, 842\u2013<\/span>847<\/td>\n<\/tr>\n
Kress, 1959<\/strong><\/td>\nPaintings and Sculpture from the Samuel H. Kress Collection<\/em>, Washington, D.C., 1959<\/td>\n<\/tr>\n
Kris and Kurz, 1979<\/strong><\/td>\nKris, Ernst and Otto Kurz, Legend , Myth, and Magic in the Image of the Artist, A Historical Experiment<\/em>, New Haven\u2013<\/span>London,1979 (based on Die Legende vom K\u00fcnstler: Ein historischer Versuch<\/em>, Vienna, 1934)<\/td>\n<\/tr>\n
Kr\u00f6nig, 1974<\/strong><\/td>\nKr\u00f6nig, Wolfgang, “Lambert Lombard – Beitr\u00e4ge zu seinen Werk and zu seinem Kunstauffasung,” Wallraf-Richartz-Jahrbuch, West Deutsches Jahrbuch fur Kunstgeschichte<\/em>, XXXVI, 1974, 105\u2013<\/span>158<\/td>\n<\/tr>\n
Kultzen, 1973<\/strong><\/td>\nKultzen, Rolf, Review of Marabottini, 1969, AB<\/em>, LV, 1973, 637\u2013<\/span>639<\/td>\n<\/tr>\n
Kurz, 1937<\/strong><\/td>\nKurz, Otto, “Giorgio Vassari’s ‘Libro de’ disegni”‘ Old Master Drawings<\/em>, XIII, 45, 1937, 1\u2013<\/span>15, XIII, 47, 32\u2013<\/span>44<\/td>\n<\/tr>\n
Kusenberg, 1929<\/strong><\/td>\nKusenberg, Kurt, “Rosso Fiorentino (1494\u2013<\/span>1542) An Incantation Scene…” Old Master Drawings<\/em>, III, 12, 1929, 62\u2013<\/span>63<\/td>\n<\/tr>\n
Kusenberg, OMD<\/em>, 1929\u2013<\/span>1930<\/strong><\/td>\nKunsenberg, Kurt “Agnolo Bronzino [1503\u2013<\/span>1572]\u2014Study for a figure of St. Lawrence\u2014Florence\u2014Red Chalk\u201421 x 36 cm.,” Old Master Drawings<\/em>, IV, 1929\u2013<\/span>1930, 37\u201338<\/td>\n<\/tr>\n
Kusenberg, 1931<\/strong><\/td>\nKusenberg, Kurt, Le Rosso<\/em>, Paris, 1931 Kusenberg, 1931<\/td>\n<\/tr>\n
Kusenberg, Strasbourg, 1931<\/strong><\/td>\nKusenberg, Kurt, Rosso Fiorentino<\/em> (Inaugural\u2013Dissertation zur Erlangung der Doktorw\u00fcrde der philosophischen Fakult\u00e4t der Albert-Ludwigs-Universit\u00e4t zu Freiburg i. Br.), Strasbourg, 1931<\/td>\n<\/tr>\n
Kusenberg, 1931\u20131932<\/strong><\/td>\nKusenberg, Kurt, “Zeichnungen von Rosso and Leonard Thiry,” Zeitschrift f\u00fcr Bildende Kunst<\/em>, 65, 4, 1931\u20131932, 85\u201390<\/td>\n<\/tr>\n
Kusenberg, 1933<\/strong><\/td>\nKusenberg, Kurt, “Autour du Rosso,” GdBA<\/em>, 6th period, X, 2, 1933, 158\u2013172<\/td>\n<\/tr>\n
Kusenberg, 1935<\/strong><\/td>\nKusenberg, Kurt, “Rosso,” Thieme-Becker, XXIX, 1935, 61\u201363<\/td>\n<\/tr>\n
Kusenberg, 1939<\/strong><\/td>\nKusenberg, Kurt, “Leonard Thierry,” Thieme-Becker, XXXIII, 1939, 41\u201342<\/td>\n<\/tr>\n
Labalme, 1982<\/strong><\/td>\nLabalme, P. H., “Personality and Politics in Venice: Pietro Aretino,” Titian, His World and Legacy<\/em>, ed., D. Rosand, New York, 1982, 119\u2013132<\/td>\n<\/tr>\n
Laborde, Renaissance<\/em>, I, 1850, II, 1855<\/strong><\/td>\nLaborde, L\u00e9on de, La Renaissance des arts a la tour de France, \u00c9tudes sur les seizi\u00e8me si\u00e8cle<\/em>, 2 vols., Paris, 1850 and 1855<\/td>\n<\/tr>\n
Laborde, \u00c9maux<\/em>, 1852<\/strong><\/td>\nLaborde, M. de, Notice des \u00e9maux expos\u00e9 dans les salaries du Mus\u00e9e du Louvre<\/em>, I, Paris, 1852<\/td>\n<\/tr>\n
Laborde, I , 1877, II, 1880<\/strong><\/td>\nLaborde, L\u00e9on de, Les comptes des batiments<\/em> 1877, du roi (1528\u2013<\/span>1571), 2 vols., Paris, 1877 and 1880<\/td>\n<\/tr>\n
Lambert, 1981<\/strong><\/td>\nLambert, Susan, Drawing. Technique and Purpose<\/em>, exh. cat., Victoria and Albert Museum, 28 January\u201326 April 1981, London, 1981<\/td>\n<\/tr>\n
Lancellotti MS.<\/strong><\/td>\nLancellotti, Ottavio (1599\u20131671), Scorta Sagra<\/em>, II, MS., Biblioteca Augusta, Perugia<\/td>\n<\/tr>\n
Landau and Parshall, 1994<\/strong><\/td>\nLandau, David, and Peter Parshall, The Renaissance Print 1470\u20131550<\/em>, New Haven\u2013London, 1994<\/td>\n<\/tr>\n
Landon, 1832<\/strong><\/td>\nLandon, Charles Paul, Annales du mus\u00e9e et de l’\u00e9cole moderne des Beaux-Arts, ou recueil complet de graveurs \u00e9cole italienne<\/em>, 2nd edition, Paris, VII, 1832<\/td>\n<\/tr>\n
Landucci, 1883<\/strong><\/td>\nLanduci, Luca, Diario Fiorentino dal 1450 al 1516 continuato da un anonimo fino al 1542<\/em>, ed. Iodoco del Badia, Florence, 1883<\/td>\n<\/tr>\n
Landucci, 1927<\/strong><\/td>\nLanducci, Luca, A Florentine Diary from 1450 to 1516 by Luca Landucci continued by an Anonymous writer till 1542 with notes by Iodoco del Badia<\/em>, trans. Alice de Rosen Jerris, London and New York, 1927, reprint, New York, 1969<\/td>\n\u00a0<\/td>\n<\/tr>\n
Lanzi, 1795\u20131796 (1852)<\/strong><\/td>\nLanzi, Luigi, Storia Pittorica della Italia<\/em>, I, Bassano, 1795\u20131796; The History of Paintinc in Italy<\/em>, trans. Thomas Roscoe, London, I, 1852<\/td>\n<\/tr>\n
La Porta, 1992<\/strong><\/td>\nLa Porta, Patrizia, “Ritratto di Domenico Puligo,” Prospettiva<\/em>, 68, 1992, 30\u201344<\/td>\n<\/tr>\n
Laprade, 1960<\/strong><\/td>\nLaprade, Albert, Fran\u00e7ois d’0rbay, architecte de Louis XIV<\/em>, Paris, 1960<\/td>\n<\/tr>\n
Laskin, 1974<\/strong><\/td>\nLaskin, Myron, Jr., “Tre disegni del Primaticcio e alcune osservazioni su Fontainebleau,” Arte illustrata<\/em>, 59, 1974, 256\u2013<\/span>263<\/td>\n<\/tr>\n
Lasteyrie, 1879, I, II<\/strong><\/td>\nLasteyrie, Ferdinand, “Un grand seigneur du XVIe<\/sup> si\u00e7cle, le Conn\u00e8table de Montmorency,” GdBA<\/em>, 2nd period, XIX, 1879, 305\u2013320, XX, 97\u2013<\/span>114<\/td>\n<\/tr>\n
Lastri, 1791<\/strong><\/td>\nLastri, Marco, L’Etruria Pittrice overo storia della pittura toscana dedotta dai suoi monumenti the si esibiscono in stampa dal secolo X. fino al presente, Nicolo Pagni and Giuseppe Bardi<\/em>, Florence, I, 1791<\/td>\n\u00a0<\/td>\n<\/tr>\n
Lavallde, 1930<\/strong><\/td>\nLavall\u00e9e, Pierre, Le dessin fran\u00e7ais du XIIIe<\/sup> au XVIe<\/sup> si\u00e8cle<\/em>, Paris, 1930<\/td>\n<\/tr>\n
Lavallde, 1948<\/strong><\/td>\nLavall\u00e9e, Pierre, Le dessin fran\u00e7ais<\/em>, Paris, 1948<\/td>\n<\/tr>\n
Lavedan, 1913<\/strong><\/td>\nLavedan, Pierre, L\u00e9onard Limosin et les \u00e9mailleurs fran\u00e7ais<\/em>, Paris, 1913<\/td>\n<\/tr>\n
Lavin, 1961<\/strong><\/td>\nLavin, Marilyn Aronberg, “Giovannino Battista: A Supplement,” AB<\/em>, XLIII, 1961, 319\u2013<\/span>326<\/td>\n<\/tr>\n
Lavin, 1994<\/strong><\/td>\nLavin, Marilyn Aronberg, The Place of Narrative. Mural Decoration in Italian Churches, 431-1600<\/em>, Chicago and London, 1990<\/td>\n<\/tr>\n
Lawner, 1984<\/strong><\/td>\nLawner, Lynne, ed., I Modi nell’opera di Giulio Romano, Marcantonio Raimondi, e Jean-Fr\u00e9d\u00e9ric-Maximilien de Waldeck<\/em>, Milan, 1984<\/td>\n<\/tr>\n
Lebel, 1937<\/strong><\/td>\nLebel, Gustave, “Un tableau d’Antoine Caron: l’Empereur Auguste et la Sibylle de Tibur,” Bulletin de la soci\u00e9t\u00e9 l’histoire de l’art fran\u00e7ais<\/em>, 1937, 20\u2013<\/span>37<\/td>\n<\/tr>\n
Lebel, “Antoine Caron,\u201d 1937<\/strong><\/td>\nLebel, Gustave, \u201cAntoine Caron,\u201d L\u2019amour de l’art<\/em>, XVIII, 10, 1937, 317\u2013<\/span>325<\/td>\n<\/tr>\n
Lebel, 1940<\/strong><\/td>\nLebel, Gustave, “Notes sur Antoine Caron et son oeuvre,” Bulletin de la soci\u00e9t\u00e9 de l’art fran\u00e7ais<\/em>, 1940, 7\u2013<\/span>34<\/td>\n<\/tr>\n
Lehensztejn, 1990<\/strong><\/td>\nLebensztejn, Jean-Claude, “Mourning’s Brilliance. Pontormo’s Deposition,” FMR<\/em>, 42, IX, 1990, 1\u2013<\/span>32<\/td>\n<\/tr>\n
Lebensztein, 1992<\/strong><\/td>\nLebensztein, Jean-Claude, “Le tombeau,” in his Jacopo Pontormo<\/em>, Paris, 1992, 212\u2013<\/span>340 (essay dated 1979)<\/td>\n<\/tr>\n
Le Blanc, 1854\u2013<\/span>1890<\/strong><\/td>\nLe Blanc, Charles, Manuel de L’Amateur d’Estamnes<\/em>, 4 vols., Paris, 1854\u2013<\/span>1890; reprints, Amsterdam, 1920, 1970\u2013<\/span>1971<\/td>\n<\/tr>\n
Le Compte, 1702<\/strong><\/td>\nLe Compte, Florent, Cabinet des singularitez d’architecture, peinture et graveure<\/em>, 2nd ed., 3 vols, Brussels, 1702<\/td>\n<\/tr>\n
Lecoq, 1975<\/strong><\/td>\nLecoq, Anne-Marie, “La Salamandre royale dans les entr\u00e9es de Fran\u00e7ois I,” F\u00eates<\/em>, II, 1975, 93\u2013<\/span>104<\/td>\n<\/tr>\n
Lecoq, 1987<\/strong><\/td>\nLecoq, Anne-Marie, Fran\u00e7ois Ier<\/sup> imaginaire. Symbolique et politigue \u00e0 l’aube de la Renaissance fran\u00e7ais<\/em>, Paris, 1987<\/td>\n<\/tr>\n
Leoncini, 1869<\/strong><\/td>\nLeoncini, Gaetano, Illustrazione sulla Cattedrale di Volterra<\/em>, Siena, 1869<\/td>\n<\/tr>\n
Leone de Castris, 1988<\/strong><\/td>\nLeone de Castris, Pierluigi, Polidoro da Caravaggio fra Napoli e Messina<\/em>, exh cat., Naples, 1988\u2013<\/span>1989, Milan\u2013<\/span>Rome, 1988<\/td>\n<\/tr>\n
Leoni Zanobini, 1986<\/strong><\/td>\nLeoni Zanobini, Teresa, “Cangiante del Rosso,” Critica d’Arte<\/em>, LI, 4th series, 10, 92\u2013<\/span>96, 1986<\/td>\n<\/tr>\n
Leoporini, 1925<\/strong><\/td>\nLeoporini, Heinrich, Die Stilentwicklung der Handzeichnung XVI bis XVIII Jahrhundert<\/em>, Vienna\u2013<\/span>Leipzig, 1925<\/td>\n<\/tr>\n
Leoporini, 1928<\/strong><\/td>\nLeoporini, Heinrich, Die Kunstlerzeichnung, ein Handbuch f\u00fcr Liebhaber and Sammler<\/em>, Berlin, 1928<\/td>\n<\/tr>\n
Leproux, 1988<\/strong><\/td>\nLeproux, Guy-Michel, Recherches sur les peintres-verriers parisiens de la Renaissance (1540\u2013<\/span>1620)<\/em>, \u00c9cole pratique des hautes \u00e9tudes, 4th section, Sciences historiques et philogiques, V, Hautes \u00e9tudes m\u00e9di\u00e9vales et modernes, Geneva, 1988<\/td>\n<\/tr>\n
Leproux, 2005<\/strong><\/td>\nLeproux, Guy-Michel, “Vasari et la Mort de Rosso: le Suicide d’un Chanoine parisien au XVIe<\/sup> sie\u0300cle,” Documents d’histoire parisienne<\/em>, no. 4, 2005, 29\u2013<\/span>31<\/td>\n<\/tr>\n
Lessmann, 1979<\/strong><\/td>\nLessmann, Johanna, Italienische Majolika. Katalog der Sammlung. Herzog Anton Ulrich-Museum Braunschweig<\/em>, Braunschweig, 1979<\/td>\n<\/tr>\n
L\u00e9v\u00eaque, 1984<\/strong><\/td>\nL\u00e9v\u00eaque, Jean-Jacques, L’\u00c9cole de Fontainebleau<\/em>, Neuch\u00e2tel, 1984<\/td>\n<\/tr>\n
Levi D’Ancona, 1957<\/strong><\/td>\nLevi D’Ancona, Mirella, The Iconography of the Immaculate Conception in the Middle Ages and Early Renaissance<\/em>, College Art Association, Monographs on Archaeology and Fine Arts, 1957<\/td>\n<\/tr>\n
Levron, 1941<\/strong><\/td>\nLevron, Jacques, Ren\u00e9 Boyvin graveur angevin du XVIe<\/sup> si\u00e8cle<\/em>, Angers, 1941<\/td>\n<\/tr>\n
Lichtenstein<\/em>, 1985<\/strong><\/td>\nLichtenstein. The Princely Collections<\/em>, exh. cat., Metropolitan Museum of Art, New York, 1985<\/td>\n<\/tr>\n
Lieure, 1928<\/strong><\/td>\nLieure, Jules, L’\u00c9cole fran\u00e7ais de gravure des origines \u00e0 la fin du XVIe<\/sup> si\u00e8cle<\/em>, Paris, n.d. [1928]<\/td>\n<\/tr>\n
Lille, 1856<\/strong><\/td>\nVille de Lille. Mus\u00e9e Wicar. Catalogues des dessins et objects d’art…<\/em> Lille, 1856<\/td>\n<\/tr>\n
Linzeler, 1932<\/strong><\/td>\nLinzeler, Andr\u00e9, Inventaire du fonds fran\u00e7ais. Biblioth\u00e8gue Nationale. Department des estampes. Gravures du XVIe<\/sup> si\u00e8cle<\/em>, 1, 1932<\/td>\n<\/tr>\n
Liverani, 1979<\/strong><\/td>\nLiverani, Francesco, Le maioliche della Galleria Estense di Moderna<\/em>, Faenza, 1979<\/td>\n<\/tr>\n
Livy, 1971<\/strong><\/td>\nLivy, The Early History of Rome. Books I\u2013<\/span>IV of Rome from its Foundation<\/em>, trans. Aubrey de S\u00e9lingcourt, with an introduction by R. M. Ogilvie, Harmondsworth, 1971<\/td>\n<\/tr>\n
Loeffler, 1979<\/strong><\/td>\nLoeffler, Elizabeth Ann, The Arts in the Court of Francis I, 1515\u2013<\/span>1547: A Comparative Study of Selected Examples from Poetry, Music, and Visual Arts<\/em>, PhD Dissertation, Ohio University, Athens, 1979; UMI Research Press, Ann Arbor, 1982<\/td>\n<\/tr>\n
L\u2019officina della maniera, 1996
<\/strong><\/td>\n		L\u2019officina della maniera<\/em>, Variet\u00e0 e fierezza nell\u2019arte fiorentina del Cinquecento fra le due repubbliche 1494\u2013<\/span>1530, Marsilio Editori, 1996<\/td>\n<\/tr>\n
London, 1966<\/strong><\/td>\nOld Master Drawings, A Loan Exhibition from the National Gallery of Scotland<\/em>, exh. cat., Colnaghi’s, London, 1966<\/td>\n<\/tr>\n
Longhi, 1927<\/strong><\/td>\nLonghi, Roberto, “Precisioni nelle Gallerie italiane,” Vita artistica<\/em>, II, 1927, 88; Saggi e ricerche 1925\u2013<\/span>28 (Opere complete di Roberto Longhi, II)<\/em>, Florence, 1967, I, 315\u2013<\/span>317, II, Pls. 274, XXXI<\/td>\n<\/tr>\n
Longhi, 1951, 1976<\/strong><\/td>\nLonghi, Roberto, Review of Sarocchi, 1950, Paragone<\/em>, II, 13, 1951, 58\u2013<\/span>62; reprinted: Roberto Longhi, Cinquecento classico e Cinquecento manieristico, 1951\u2013<\/span>1970<\/em>, (Opere complete di Roberto Lonahi<\/em>, VIII, 2), Florence, 1976, 92\u2013<\/span>102<\/td>\n<\/tr>\n
Longhi, 1953<\/strong><\/td>\nLonghi, Roberto, “Comprimarj spagnoli della maniera italiana,” Paragone<\/em>, IV, 43, 1953, 3\u2013<\/span>15<\/td>\n<\/tr>\n
Longhi, 1969<\/strong><\/td>\nLonghi, Roberto, “Ancora sul Machuca,” Paragone<\/em>, 231, 1969, 34\u2013<\/span>39<\/td>\n<\/tr>\n
Lossky, 1968<\/strong><\/td>\nLossky, Borris, “Le proc\u00e8s-verbal de la situation des peintures de la galerie de Diane, au 25 mars 1810,” Bulletin de la Soci\u00e9t\u00e9 Nationale des Antiques de France<\/em>, 1968, 132\u2013<\/span>139<\/td>\n<\/tr>\n
Lossky, 1969<\/strong><\/td>\nLossky, Boris, “Quelques sources d’inspiration florentine des stucs de Fontainebleau,” Revue du Louvre<\/em>, XIX, 2, 1969, 79\u2013<\/span>86<\/td>\n<\/tr>\n
Lossky, “Contributions,” 1969<\/strong><\/td>\nLossky, Boris, “Contributions \u00e0 la connaissance de l’oeuvre d’Ambroise Dubois,” Bulletin de la Soci\u00e9t\u00e9 Nationale des Antiquaires de France<\/em>, 1969, 125\u2013<\/span>135<\/td>\n<\/tr>\n
Lossky, 1970<\/strong><\/td>\nLossky, Boris, “Conjectures sur l’aspect des stucs de la Galerie Fran\u00e7ois Ier<\/sup> \u00e0 Fontainebleau avant sa restauration au si\u00e8cle dernier,” Revue du Louvre<\/em>, XX, 1970, 203\u2013<\/span>208<\/td>\n<\/tr>\n
Lossky, “Cinq dessins,” 1970<\/strong><\/td>\nLossky, Boris, “Cinq dessins de Viollet-le-Duc avant trait au ch\u00e2teau de Fontainebleau,” Bulletin de la Soci\u00e9t\u00e9 Nationale des Antiques de France<\/em>, 1970, (1972) 185\u2013<\/span>196<\/td>\n<\/tr>\n
Lossky, 1971<\/strong><\/td>\nLossky, Boris, Le Mus\u00e9e National du Ch\u00e2teau de Fontainebleau<\/em>, Paris, 1971<\/td>\n<\/tr>\n
Lossky, “Dessins,” 1971<\/strong><\/td>\nLossky, Boris, “Dessins concernant Fontainebleau dans la collection Lefuel,” Bulletin de la Soci\u00e9t\u00e9 de l’Histoire de l’Art Fran\u00e7ais<\/em>, 1971, 31\u2013<\/span>44<\/td>\n<\/tr>\n
Lossky, 1974<\/strong><\/td>\nLossky, Boris, “La restauration de la Gallerie de Fontainebleau au XIXe<\/sup> si\u00e8cle,” Zeitschrift f\u00fcr Kunstgeschichte<\/em>, XXVII, 1974, 40\u2013<\/span>51<\/td>\n<\/tr>\n
Lossky, 1981<\/strong><\/td>\nLossky, Borris, Bulletin de la Soci\u00e9t\u00e9 de l’histoire de l’art fran\u00e7ais<\/em>, 1981, 21\u2013<\/span>25<\/td>\n<\/tr>\n
L\u00f6vgren, 1951<\/strong><\/td>\nL\u00f6vgren, Sven, “Il Rosso Fiorentino \u00e0 Fontainebleau,” Figura<\/em>, I, 1951, 57\u2013<\/span>76<\/td>\n<\/tr>\n
Lugt<\/strong><\/td>\nLugt, Fritz, Les marques de collections de dessins & d’estampes<\/em>, Amsterdam, 1921; reprint, The Hague, 1956); Supplement, The Hague, 1956<\/td>\n<\/tr>\n
McAllister Johnson, 1965<\/strong><\/td>\nMcAllister Johnson, William, “Pictures from the School of Fontainebleau in Seventeenth Century Guise,” Art Quarterly<\/em>, 28, 1965, 293\u2013<\/span>304<\/td>\n<\/tr>\n
McAllister Johnson, 1966<\/strong><\/td>\nMcAllister Johnson, William, “Primaticcio Revisited: Aspects of Draftsmanship in the School of Fontainebleau,” Art Quarterly<\/em>, 29, 1966, 245\u2013<\/span>268<\/td>\n<\/tr>\n
McAllister Johnson, 1969<\/strong><\/td>\nMcAllister Johnson, William, “Les d\u00e9buts de Primatice \u00e0 Fontainebleau,” RdA<\/em>, VI, 1969, 9\u2013<\/span>18<\/td>\n<\/tr>\n
McAllister Johnson, 1972<\/strong><\/td>\nMcAllister Johnson, William, “Le programme monarchique,” in “Gallerie,” RdA<\/em>, 1972, 153\u2013<\/span>164<\/td>\n<\/tr>\n
McAllister Johnson, \u201cDiplomatic Correspondence,\u201d 1972<\/strong><\/td>\nMcAllister Johnson, William, “On some Neglected Usages of Renaissance Diplomatic Correspondance,” GdBA<\/em>, 6th series, 79, 1972, 51\u2013<\/span>54<\/td>\n<\/tr>\n
McAllister Johnson, 1974<\/strong><\/td>\nMcAllister Johnson, William, “Pour une iconographie de Fontainebleau,” Nouvelles de l’estampe<\/em>, XVII, 1974, 27\u2013<\/span>32<\/td>\n<\/tr>\n
McAllister Johnson, 1975<\/strong><\/td>\nMcAllister Johnson, William, “The Monumental Style of Fontainebleau and its Consequences: Antoine Caron and the ‘Submission of Milan,”‘ Bulletin of the National Gallery of Canada<\/em>, XXVI, 1975, 11\u2013<\/span>23<\/td>\n<\/tr>\n
McAllister Johnson, 1984<\/strong><\/td>\nMcAllister Johnson, William, “Once More The Gallerie Fran\u00e7ois Ier at Fontainebleau,” GdBA<\/em>, 6th period, CIII, 1984, 127\u2013<\/span>144<\/td>\n<\/tr>\n
McAllister Johnson, and Graham, 1968<\/strong><\/td>\nMcAllister Johnson, William, and V. E. Graham, “Ronsard et ‘La Renomm\u00e9e’ du Louvre,” Biblioth\u00e8que d’Humanisme et Renaissance<\/em>, XXX, 1968, 7\u2013<\/span>17<\/td>\n<\/tr>\n
Macandrew, 1980<\/strong><\/td>\nMacandrew, Hugh, Catalogue of the Collection of Drawings, Ashmolean Museum, Oxford, III, Italian Schools: Supplement<\/em>, Oxford, 1980<\/td>\n<\/tr>\n
McCrory, 1988<\/strong><\/td>\nMcCrory, Martha A., “Renaissance shell cameos from the Carrand Collection of the Museo Nazionale del Bargello,” BM<\/em>, CXXX, 1988, 412\u2013<\/span>426<\/td>\n<\/tr>\n
McGovern, 1985<\/strong><\/td>\nMcGovern, Margaret M., Ideal Forms in the Age of Ronsard<\/em>, Berkeley-Los Angeles, London, 1985<\/td>\n<\/tr>\n
McKillop, 1974<\/strong><\/td>\nMcKillop, Susan Regan, Franciabigio<\/em>, University of California Press, Berkeley, Los Angeles, London, 1974<\/td>\n<\/tr>\n
McNeil, 1975<\/strong><\/td>\nMcNeil, David O., Guillaume Bud\u00e9 and Humanism in the Reign of Francis I<\/em>, Geneva, 1975<\/td>\n<\/tr>\n
Macd, ed. Raynaud, 1879<\/strong><\/td>\nMac\u00e9, Ren\u00e9, Voyage de Charles-Quint par le France po\u00e8me historique<\/em>, ed., Gaston Raynaud, Paris, 1879.<\/td>\n<\/tr>\n
Maddalena<\/em>, 1986<\/strong><\/td>\nLa Maddalena tra Sacro e Profano. Da Giotto a De Chirico<\/em>, exh. cat., ed. Marilena Mosco, Palazzo Pitti, 24 May\u2013<\/span>7 September 1986, Florence, 1986<\/td>\n<\/tr>\n
Maffei, 1925<\/strong><\/td>\nMaffei, Raffaello Scipione, “Una tavola ignorata del Rosso Fiorentino;” “La tavola ignorata del Rosso Fiorentino a Villamagna,” Rassegna Mensile…per la citt\u00e0 di Volterra a suo territorio<\/em>, II, 1925, 105\u2013<\/span>107, 114\u2013<\/span>115<\/td>\n<\/tr>\n
Magherini Graziani, 1987<\/strong><\/td>\nMagherini Graziani, Giovanni, L’arte a Citte di Castello<\/em>, Citt\u00e0 di Castello, 1987<\/td>\n<\/tr>\n
Magnaini, Empoli e Volterra<\/em>, 1996 (1994)<\/strong><\/span><\/td>\nJODIE: see book and card\u00a0<\/td>\n<\/tr>\n
Maiolica e Incisione<\/em>, 1992<\/strong><\/td>\nMaiolica e Incisione: Tre secoli di rapporti inconografici<\/em>, ed, Grazia Biscontini Ugolini and Jacqueline Petruzzellis Scherer, exh. cat., Milan, Castello Sfarzesco, 29 April\u2013<\/span>15 September 1992, Vincenza, 1992<\/td>\n<\/tr>\n
Maison, 1960<\/strong><\/td>\nMaison, K. E., Themes and Variations<\/em>, London, 1960<\/td>\n<\/tr>\n
M\u00e2le, 1913<\/strong><\/td>\nM\u00e2le, \u00c9mile, “Quelques imitations de la gravure italienne par les peintures verriers fran\u00e7ais du XVIe<\/sup> si\u00e8cle,” M\u00e9langes offerts \u00e0 M. Henry Lemonnier, Archives de l’Art Fran\u00e7ais<\/em>, New Period, VII, 1913, 142\u2013<\/span>150<\/td>\n<\/tr>\n
Mallet, 1987<\/strong><\/td>\nMallet, J. V. G., “‘In Botega di Maestro Guido Durantino in Urbino,”‘ BM<\/em>, CXXIX, 1987, 284\u2013<\/span>298<\/td>\n<\/tr>\n
Malvasia\u2013<\/span>Brascaglia, 1971<\/strong><\/td>\nMalvasia, Carlo Cesare, Felsina Pittrice Vite dei Pittori Bolognesi<\/em>, ed. Marcella Brascaglia, Bologna, 1971<\/td>\n<\/tr>\n
Mancini, 1832<\/strong><\/td>\nMancini, Giacomo, Istruzione storia pittorica per visitare le chiese e palazzi di Citt\u00e0 di Castello<\/em>, Perugia, 1832, I; reprint, Bologna, 1976<\/td>\n<\/tr>\n
Mancini, 1909<\/strong><\/td>\nMancini, Girolamo, Guglielmo de Marcillat<\/em>, Florence, 1909<\/td>\n<\/tr>\n
Mannucci, 1878<\/strong><\/td>\nMannucci, Eugenio, Guida storico-artistica di Citt\u00e0 di Castello<\/em>, Citt\u00e0 di Castello, 1878<\/td>\n<\/tr>\n
Marabottini, 1969<\/strong><\/td>\nMarabottini, Alessandro, Polidoro da Caravaggio<\/em>, 2 vols., Rome, 1969<\/td>\n<\/tr>\n
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Marchini, 1961<\/strong><\/td>\nMarchini, Giuseppe, “L’archittetura nell’ Aretino: il Primo Rinoascimento,” Atti del XII Congresso di Storia dell”Architettura<\/em>, (Centro di studi per la storia dell’architettura, Rome), Arezzo, 1961, 105\u2013<\/span>121<\/td>\n<\/tr>\n
Marcucci, 1953<\/strong><\/td>\nMarcucci, Luisa, “Appunti per Mirabello Cavalori disenatore,” Rivista d’Arte<\/em>, XXVIII, 1953, 77\u2013<\/span>98<\/td>\n<\/tr>\n
Marcucci, 1954<\/strong><\/td>\nMarcucci, Luisa, “Disegni del Bandinelli per la ‘Strage degli Innocenti'”, Rivista d’art<\/em>, XXIX, 1954<\/td>\n<\/tr>\n
Marcucci, 1955<\/strong><\/td>\nMarcucci, Luisa, “An Early Drawing by Pontormo,” BM<\/em>, 97, 1955, 250\u2013<\/span>252<\/td>\n<\/tr>\n
Marcucci, 1958<\/strong><\/td>\nMarcucci, Luisa, “Contribuito al Bacchiacca,” BdA<\/em>, XLIII, 1958, 26\u2013<\/span>39<\/td>\n<\/tr>\n
Mariette, Ab\u00e9c\u00e9dario<\/em>, IV, 1857\u2013<\/span>1858; V, 1858\u2013<\/span>1859<\/strong><\/td>\nMariette, Pierre-Jean, Ab\u00e9c\u00e9dario de P. J. Mariette et autre notes in\u00e9dites de cet amateur sur les arts et les artists<\/em>, IV\u2013<\/span>V, ed. Ph. de Chennevieres and A. de Montaiglon, Archives de l’art fran\u00e7ais<\/em>, Paris, VIII, 1857\u2013<\/span>1858, X, 1858\u2013<\/span>1859; reprint, Paris, 1966<\/td>\n<\/tr>\n
Mariotti, 1788<\/strong><\/td>\nMariotti, Annibale, Lettere Pittoriche Perucine<\/em> o sia ragguaglio di alcune Memorie Istoriche risguardanti le Arti del Disegno in Perugia al Signor Baldassarre Orsini, Perugia, 1788<\/td>\n<\/tr>\n
Massari, 1983<\/strong><\/td>\nMassari, Stefania, Giulio Bonasone<\/em>, exh. cat., I, Rome, 1983<\/td>\n<\/tr>\n
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Masson, 1927<\/strong><\/td>\nNotice des Dessins. Enluminures, Manuscrits d’Art fran\u00e7ais du XIIe au XVIIe Si\u00e8cle, Tir\u00e9s de la Donation Jean Masson, 1re<\/sup> Exposition a l’\u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts 11, guai Malaguais, Mai 1927<\/em><\/td>\n<\/tr>\n
Mayor, 1984<\/strong><\/td>\nMayor, A. Hyatt, Artitss and Anatomists<\/em>, New York, 1984<\/td>\n<\/tr>\n
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Meisterwerke<\/em>, Albertina, 1954<\/strong><\/td>\nMeisterwerke aus Frankreich Museen, Zeichnungen Franz\u00f6sischer K\u00fcnstler vom Ausgang des Mittelalters bis C\u00ebzanne<\/em>, exh. cat., Albertina, Vienna, 1950<\/td>\n<\/tr>\n
Men\u00e9ndez Acebal, 1886<\/strong><\/td>\nMen\u00e9ndez Acebal, Jes\u00fas, Cat\u00e1logo de los Bocetos gue existen en El Museo del Instituto de Jovellanos de Gij\u00f3n<\/em>, Gij\u00f3n, 1886<\/td>\n<\/tr>\n
Mercantini, 1980<\/strong><\/td>\nMercantini, Maria, Il Palazzo di Fraternita in Piazza Grande ad Arezzo<\/em>, Arezzo, 1980<\/td>\n<\/tr>\n
Metman, 1941<\/strong><\/td>\nMetman, Yves, “Un graveur inconnu de l’\u00c9cole de Fontainebleau: Pierre Milan,” Biblioth\u00e8que d’Humanisme et Renaissance<\/em>, I, 1941, 202\u2013<\/span>214<\/td>\n<\/tr>\n
Meyer, 1872\u2013<\/span>1885<\/strong><\/td>\nMeyer, J. M., Allgemeines K\u00fcnstler-Lexikon<\/em>, 3 vols., Leipzig, 1872\u2013<\/span>1885<\/td>\n<\/tr>\n
Meyer, 1995<\/strong><\/td>\nMeyer, Barbara Hochstretler, “Marguerite de Navarre and the Androgynous Portait of Frangois Ier<\/sup>,” Renaissance Quarterly<\/em>, XLVIII, 2, 1595, 287\u2013<\/span>325<\/td>\n<\/tr>\n
Meyer-Baer, 1970<\/strong><\/td>\nMeyer-Baer, Kathi, Music of the Spheres and the Dance of Death, Studies in Musical Iconology<\/em>, Princeton, 1970<\/td>\n<\/tr>\n
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Mezzatesta, 1975\u2013<\/span>1976<\/strong><\/td>\nMezzatesta, Michael, “Dreaming Hercules: A Note on Hercules Iconography and North Italian Classicism c.1500,” Marsyas<\/em>, XVIII, 1975\u2013<\/span>1976, 17\u2013<\/span>19<\/td>\n<\/tr>\n
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Middeldorf, 1935<\/strong><\/td>\nMiddledorf, Ulrich, “New Attributions to G. F. Rustci,” BM<\/em>, LXVI, 1935, 71\u2013<\/span>81<\/td>\n<\/tr>\n
Miedema and Meijer, 1979<\/strong><\/td>\nMiedema, Hessel, and Bert Meijer, “The Introduction of Coloured Ground in Painting and its Influence on Stylistic Development, with Particular Respect to Sixteenth-Century Netherlandish Art,” Storia dell’arte<\/em>, XXXV, 1979, 79\u2013<\/span>98<\/td>\n<\/tr>\n
Migliore, 1684<\/strong><\/td>\nMigliore, F. L. del, Firenze citt\u00e0 nobilissima illustrata<\/em>, Florence, 1684<\/td>\n<\/tr>\n
Mignon, 1988<\/strong><\/td>\nMignon, Claude, “Fontainebleau revisit\u00e8: la galarie d’Ulysse,” RdA<\/em>, 82, 1988, 9\u2013<\/span>18<\/td>\n<\/tr>\n
Miles, 1970<\/strong><\/td>\nMiles, Hamish, review of Zerner, 1969, BM<\/em>, CXII, 1970, 709\u2013<\/span>710<\/td>\n<\/tr>\n
Miles, 1971<\/strong><\/td>\nMiles, Hamish, “The Italians at Fontainebleau,” Journal of the Royal Society of Arts<\/em>, CXIX, 1971, 851\u2013<\/span>61<\/td>\n<\/tr>\n
Miles, 1973<\/strong><\/td>\nMiles, Hamish, “The ‘Treasure-House of Marvels’ at Paris,” BM<\/em>, CXV, 1973, 31\u2013<\/span>35<\/td>\n<\/tr>\n
Millar, 1972<\/strong><\/td>\nMillar, Oliver, editor, The Inventories and Valuations of thr Kinu’s Goods 1649\u2013<\/span>1651<\/em>, The Forty-third Volume of the Walpole Society, 1970\u2013<\/span>1972, Glasgow, 1972<\/td>\n<\/tr>\n
Miller, 1977 (1966)<\/strong><\/td>\nMiller, Naomi, French Renaissance Fountains<\/em>, New York, London, 1977; PhD Thesis, New York University, 1966<\/td>\n<\/tr>\n
Miller, 1992<\/strong><\/td>\nMiller, Michael, review of Carroll, 1987, Master Drawings<\/em>, 30, 1, 1992, 109\u2013<\/span>113<\/td>\n<\/tr>\n
Millin, 1807<\/strong><\/td>\nMillin, Aubin-Louis, Voyaae dans les departements du midi de la France<\/em>, Paris, 1807, I<\/td>\n<\/tr>\n
Millner Kahr, 1978<\/strong><\/td>\nMillner Kahr, Madlyn, “Danae”: Virtuous, Voluptuous, Venal Woman,” AB<\/em>, LVIII, 1978, 43\u2013<\/span>55<\/td>\n<\/tr>\n
Mills, 1978<\/strong><\/td>\nMills, John, “‘Small Pattern Holbein’ Carpets in Western Paintings,” Hali<\/em>, I, 4, 1978, 326\u2013<\/span>334<\/td>\n<\/tr>\n
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Mirimonde, 1973<\/strong><\/td>\nMirimonde, A. P. de, “A propos du ‘Duel musical des Muses et des Pi\u00e9rides, attribu\u00e8 au Rosso: une m\u00e9thode pour d\u00e9celer certains pastiches anciens,” GdBA<\/em>, 6th period, LXXXI, 1973, 141\u2013<\/span>150<\/td>\n<\/tr>\n
Mirollo, 1984<\/strong><\/td>\nMirollo, James V., Mannerism and Renaissance Poetry: Concept, Mode. Inner Design<\/em>, New Haven\u2013<\/span>London, 1984<\/td>\n<\/tr>\n
Mitchell, 1971<\/strong><\/td>\nMitchell, Margaret, “Works of Art from Rome for Henry VIII. A Study of Anglo-Papal Relations as Reflected in Papal Gifts to the English King,” JWCI<\/em>, 34, 1971, 178\u2013<\/span>203<\/td>\n\u00a0<\/td>\n<\/tr>\n
Mitchell, 1986<\/strong><\/td>\nMitchell, Bonner, The Majesty of the State Triumphal Progresses of Foreign Sovereigns in Renaissance Italy (1494-1600)<\/em>, Bilblioteca dell’Archivum Romanicum, 1st series, 203, Florence, 1986<\/td>\n<\/tr>\n
Molajoli, 1958<\/strong><\/td>\nMolajoli, Bruno, Notizie su Capodimonte. Catalogo del Museo e Gallerie Nazionali<\/em>, Naples, 1958<\/td>\n<\/tr>\n
Molajoli, 1959<\/strong><\/td>\nMolajoli, Bruno, Ritratti a Capodimonte<\/em>, Turin, 1959<\/td>\n<\/tr>\n
Molajoli, 1961<\/strong><\/td>\nMolajoli, Bruno, Il Museo di Capodimonmte<\/em>, Cava dei Tirreni-Naples, 1961<\/td>\n<\/tr>\n
Mommsen, 1959<\/strong><\/td>\nMommsen, Theodor E., “Petrarch and the Story of the Choice of Hercules,” Medieval and Renaissance Studies<\/em>, ed. E. F. Rice, Jr., Ithaca, 1959, 175\u2013<\/span>196<\/td>\n<\/tr>\n
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Monbeig-Goguel, 1971<\/strong><\/td>\nMonbeig-Goguel, Catherine, Il manierismo fiorentino<\/em>, (I disegni dei Maestri<\/em>), Milan, 1971<\/td>\n<\/tr>\n
Monbeig-Goguel, 1972<\/strong><\/td>\nMonbeig-Goguel, Catherine, Inventaire g\u00e9n\u00e9ral des dessins italiens, I, Ma\u00eetres toscans n\u00e9s apr\u00e8s 1500, marts avant 1600, Vasari et son temps<\/em>, Paris, 1972<\/td>\n<\/tr>\n
Monbeig Goguel, 1994 (1996)<\/strong><\/td>\nMonbeig-Goguel, Catherine, \u201cBattista Franco et l\u2019heritage de Rosso,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 175\u2013<\/span>178<\/td>\n<\/tr>\n
Monbeig Goguel, 1994\u00a0<\/span><\/strong><\/td>\nMonbeig-Goguel, Catherine, Francesco Salviati (1510\u20131563) ou la Bella Maniera<\/em>, exh. cat., Milan, Paris, 1998<\/span><\/td>\n<\/tr>\n
Mongan and Sachs, 1940<\/strong><\/td>\nMongan, Agnes, and Paul Sachs, Drawings in the Fogg Museum of Art<\/em>, 3 vols., Cambridge, Mass., 1940<\/td>\n<\/tr>\n
Morel d’ Arleux, 1797\u2013<\/span>1827<\/strong><\/td>\nMorel d’Arleux, Inventaire manuscript des dessins du Louvre \u00e9tabli par Morel d’Arleux, conservateur du Cabinet des dessins du Louvre, de 1797 \u00e0 1827<\/em>, 9 vols.<\/td>\n<\/tr>\n
Morelli, 1892<\/strong><\/td>\nMorelli, Giovanni (Lermolieff), with E. Habich, “Handzeichnungen Italienische Meister in photographischen Aufnahmen von Braun & Co. in Dornach,” Kunstchronik<\/em>, New Series, III, Leipzig, 1892 (1891\u2013<\/span>1892)<\/td>\n<\/tr>\n
Moreni I, 1816<\/strong><\/td>\nMoreni, Domenico, Continuazione delle memoire istoriche dell’Ambrosiana imperiale basilica di S. Lorenzo di Firenze<\/em>, Florence, I, 1816, II, 1817<\/td>\n<\/tr>\n
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Morgan, 1956<\/strong><\/td>\nPlans des maison rovales<\/em>, Vol. 4, Departement de Fontainebleau: Recueil des Plans du Chateau de Fontainebleau & des Hotels aui en dependent<\/em>, MS, The Pierpont Morgan Library, New York, 1956.31<\/td>\n<\/tr>\n
Morgan Collection, 1912<\/strong><\/td>\nMorgan Collection, J. Pierpont Morgan Collection of Drawings by the Old Masters formed by C. Fairfax Murray<\/em>, IV, London, 1912<\/td>\n<\/tr>\n
Moriondo, 1950<\/strong><\/td>\nMoriondo, Margherita, Mostra d’arte sacra della diocesi e della provincia dal sec. XI al XVIII. Onoranze a Guido d’Arezzo<\/em>, exh. cat., Arezzo, Palazzo Pretorio, May\u2013<\/span>September 1550, Florence, 1950<\/td>\n<\/tr>\n
Mortari, 1992<\/strong><\/td>\nMortari, Luisa, Francesco Salviati<\/em>, Rome, 1992<\/td>\n<\/tr>\n
Moss, 1984<\/strong><\/td>\nMoss, Ann, Poetry and Fables, Studies in Mythological Narrative in Sixteenth-Century France, Cambridge, 1984<\/td>\n<\/tr>\n
Mostra del Cinquecento<\/em>, 1940<\/strong><\/td>\nMostra del Cinquecento toscano<\/em>, exh. cat. Palazzo Strozzi, April-October 1940, Florence, 1940<\/td>\n<\/tr>\n
Mostra del Pontormo<\/em>, 1956<\/strong><\/td>\nMostra del Pontormo e del Primo Manierismo Fiorentino<\/em>, 2nd ed., Florence, 1956<\/td>\n<\/tr>\n
Mostra di disegni\u2026 dell\u2019Accademia<\/em>, 1963<\/strong><\/td>\nMostra di disegni dei fondatori dell ‘ Accademia delle Arti del Disegno<\/em>, Florence, 1963<\/td>\n<\/tr>\n
Mostra di disegni<\/em>, 1954<\/strong><\/td>\nMostra di diseoni dei orimi manieristi italiani<\/em>, exh. cat., Gabinetto disegni e stampe degli Uffizi, Florence, 1954<\/td>\n<\/tr>\n
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M\u00fcntz, 1889<\/strong><\/td>\nM\u00fcntz, Eugene, Guide de l’\u00c9cole Nationale des Beaux-Arts<\/em>, Paris, 1889<\/td>\n<\/tr>\n
M\u00fcntz, 1902<\/strong><\/td>\nM\u00fcntz, Eug\u00e8ne, “L’\u00c9cole de Fontainebleau et le Primatice a propos d’un livre r\u00e9cent,” (Review of Dimier, 1900), GdBA<\/em>, 3rd period, 28, 1903, 151\u2013<\/span>167, 346\u2013<\/span>352, 412\u2013<\/span>448<\/td>\n<\/tr>\n
Mugnaini, 1994<\/strong><\/td>\nMugnaini, Alberto, “La Furia della Virt\u00f9. Temi biblici e mitologici nell’opera del Rosso Fiorentino,” in Il Rosso e Volterra<\/em>, Venice, 1994, 101\u2013<\/span>131<\/td>\n<\/tr>\n
Mugnaini, 1994 (1996)<\/strong><\/td>\nMugnaini, Alberto, \u201cFeritas, humanitas, divinitas<\/em> nell\u2019opera del Rosso. Il problema degli influssi religiosi, letterari e scientifici,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 128\u2013<\/span>135<\/td>\n<\/tr>\n
Mundy, 1588<\/strong><\/td>\nMundy, E. James, “Two Italian Renaissance Drawings Exhibitions,” Drawing<\/em>, X, 4, 1988, 77\u2013<\/span>80<\/td>\n<\/tr>\n
Murates, 1973<\/strong><\/td>\nMurates, Harry, “Personifications of Laughter and Drunken Sleep in Titian’s ‘Andrian’,” BM<\/em>, CXV, 1973, 518\u2013<\/span>525<\/td>\n<\/tr>\n
Nagler, X, 1841 XII, 1842<\/strong><\/td>\nNagler, G. K., Neues allgemeines K\u00fcnstler-Lexicon<\/em>, Munich, , 1841, XII, 1842<\/td>\n<\/tr>\n
Nagler, Mon., 1858\u2013<\/span>1879<\/strong><\/td>\nNagler, G. K., Die Monogrammisten<\/em>, 5 vols., Munich, 1858\u2013<\/span>1879, reprints, Nieuwkoop, 1966, 1977<\/td>\n\u00a0<\/td>\n<\/tr>\n
Natali, 1985<\/strong><\/td>\nNatali, Antonio, “Marginalia per due opere del Rosso agli Uffizi,” Antichit\u00e0 viva<\/em>, XXIV, 1\u2013<\/span>3, 1985, 41\u2013<\/span>43, English r\u00e9sum\u00e9, 210<\/td>\n<\/tr>\n
Natali, 1989<\/strong><\/td>\nNatali, Antonio, “II nuovo Adamo. E l’antico,” Paragone<\/em>, XL, 18 (477), 1989, 23\u2013<\/span>31<\/td>\n<\/tr>\n
Natali, 1991<\/strong><\/td>\nNatali, Antonio, “La Vergine e il sepolcro. Il tabernacolo del Rosso col Cristo morto,” in Natali, Antonio, La Bibbia in bottega. Le Scritture, l’antico, l’occasione<\/em>, Florence, 1991, 123\u2013<\/span>150<\/td>\n<\/tr>\n
Natali, 1992<\/strong><\/td>\nNatali, Antonio, “Il tabernacolo col Cristo morto del Rosso,” Kunst des Cinquecento in der Toskana<\/em>, Munich, 1992, 207\u2013<\/span>212<\/td>\n<\/tr>\n
Natali, 1994 (1996)<\/strong><\/td>\nNatali, Antonio, \u201cSei schede d\u2019indagine per il Rosso: le opere degli Uffizi e l\u2019affresco col Cristo Morto,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 169\u2013<\/span>171, Figs. 80\u2013<\/span>92<\/td>\n<\/tr>\n
Natali, 1995<\/strong><\/td>\nNatali, Antonio, Rosso e Pontormo, Fierezzae Solitudine<\/em>, Soresina, 1995<\/td>\n<\/tr>\n
Natali, 2006<\/strong><\/span><\/td>\nNatali, Antonio, Rosso Fiorentino, leggiarda maniera e terribilita di cose stravaganti<\/em>, Silvana Editoreale, Cinisello Balsamo, Milan, 2006<\/span><\/td>\n<\/tr>\n
Natali, Piscina<\/em>, 1995<\/strong><\/td>\nNatali, Antonio, La piscina di Betsaida. Movimenti nell\u2019arte fiorentina del Cinquecento<\/em>, Maschietto & Musolino, Florence & Siena, 1995 (Varianti I)<\/td>\n<\/tr>\n
Natali and Cecchi, 1989<\/strong><\/td>\nNatali, Antonio, and Alessandro Cecchi, Andrea del Sarto<\/em>, Florence, 1989<\/td>\n<\/tr>\n
National Gallery Catalogue<\/em>, London, 1920<\/strong><\/td>\nNational Gallery Catalogue of the Pictures at Trafalgar Square<\/em>, London, 1920<\/td>\n<\/tr>\n
Neilson, 1974<\/strong><\/td>\nNeilson, Nancy Ward, “L’tcole de Fontainebleau,” reveiw of Paris exhibition, 1972\u2013<\/span>1573 and of EdF<\/em>, 1972, Master Drawings<\/em>, XII, 2, 1974, 169\u2013<\/span>170<\/td>\n<\/tr>\n
Nicolson, 1965<\/strong><\/td>\nNicolson, Benedict, “The Concept of Mannaerism,” BM<\/em>, CVII, 1965, 171\u2013<\/span>172<\/td>\n<\/tr>\n
Nolhac, 1884<\/strong><\/td>\nNolhac, Pierre de, “Une Galerie de Peintureau XVIe<\/sup> Si\u00e8cle. Les Collections de Fulvio Orsini,” GdBA<\/em>, 2nd period, 29, 1884, 427\u2013<\/span>436<\/td>\n<\/tr>\n
Nolhac, M\u00e9langes<\/em>, 1884<\/strong><\/td>\nNolhac, Pierre de, “Les collections d’antiquitds de Fulvio Orsini,” M\u00e9langes d’archeologie et d’histoire (\u00c9cole fran\u00e7ais de Rome)<\/em>, Paris\u2013<\/span>Rome, IV, 1884, 139\u2013<\/span>231<\/td>\n<\/tr>\n
Norman, 1965<\/strong><\/td>\nNorman, A. V. S., “Sources for the Design on a Majorlica Dish,” Apollo<\/em>, 81, June, 1965, 460\u2013<\/span>465<\/td>\n<\/tr>\n
Norman, 1976<\/strong><\/td>\nNorman, A. V. B., Catalogue of Ceramics<\/em>, 1, Pottery, Maiolica, Faience, Stoneware, Wallace Collection<\/em>, London, 1976<\/td>\n<\/tr>\n
Notice<\/em>, Fontainebleau, 1921<\/strong><\/td>\nNotice des dessign du XVIe<\/sup> si\u00e8cle et des relieures royales expos\u00e9s dans les Salles du Jeu de Paume<\/em>, exh. cat., Fontainebleau, 1921<\/td>\n<\/tr>\n
Nova, 1988<\/strong><\/td>\nNova, Alessandro, The Artistic Patronage of Pope Julius II (1550\u2013<\/span>1555). Profane Imagery and Buildings for the De Monte Family in Rome<\/em>, New York\u2013<\/span>London, 1988; PhD Thesis, University of London, Courtauld Institute of Art, 1982<\/td>\n\u00a0<\/td>\n<\/tr>\n
Nova, 1955<\/strong><\/td>\nNova, Alessandro, review of Franklin, 1994, BM<\/em>, CXXXVII, 1995, 553\u2013<\/span>554<\/td>\n<\/tr>\n
Nyholm, 1977<\/strong><\/td>\nNyholm, Esther, Arte e teoria del Manierismo. I. Ars Naturans<\/em>, trans. Fabrizio Raschell\u00e0, Odense University Press, 1977<\/td>\n<\/tr>\n
Oberhuber, 1966<\/strong><\/td>\nOberhuber, Konrad, Die Kunst der Graphik III. Renaissance in Italian 16. Jahrhundert<\/em>, exh. cat., Albertina, Vienna, 1966<\/td>\n<\/tr>\n
Oberhuber, 1967\u2013<\/span>1868<\/strong><\/td>\nOberhuber, Konrad, Die Kunst der Graphik IV. Zwischen Renaissance und Baroque<\/em>, exh. cat., Albertina, Vienna, 1967\u2013<\/span>1968<\/td>\n<\/tr>\n
Oberhuber, 1971<\/strong><\/td>\nKoschatzky, Walter, Konrad Oberhuber and Eckhart Knab, Italian Drawings in the Albertina<\/em>, Greenwich, Conn., 1971 (I grandi disegni italiani dell`Albertina di Vienna<\/em>, Milan, 1971)<\/td>\n<\/tr>\n
Oberhuber, IB<\/em>, 26, 1978<\/strong><\/td>\nOberhuber, Konrad, The Illustrated Bartsch<\/em>, 26, formerly Volume 14 (Part 1). The Works of Marcantonio Raimondi and his School<\/em>, New York, 1978<\/td>\n<\/tr>\n
Oberhuber, IB<\/em>, 27, 1979<\/strong><\/td>\nOberhuber, Konrad, The Illustrated Bartsch<\/em>, 27, formerly Volume 14, (Part 2). The Works of Marcantonio Raimondi and of his School<\/em>, New York, 1978<\/td>\n<\/tr>\n
Oberhuber, 1986<\/strong><\/td>\nOberhuber, Konrad, From Michelangelo to Rosso<\/em>, New York, 1986<\/td>\n<\/tr>\n
Oberhuber and Walker, 1978<\/strong><\/td>\nOberhuber, Konrad, and Dean Walker, Sixteenth Century Italian Drawings from the Collection of Janos Scholz<\/em>, Washington and New York, 1973<\/td>\n<\/tr>\n
Oertel, 1956<\/strong><\/td>\nOertel, Rubert, “Pontormo and der Florentiner Fr\u00fchmanierismus,” review of Pontormo e il primo manierismo fiorentino, Kunstchronik<\/em>, IX, 8, 1956, 213\u2013<\/span>218<\/td>\n<\/tr>\n
Olszewski, 1981<\/strong><\/td>\nOlszewski, Edward J., with the assistance of Janie Glaubinger, The Draughtsman’s Eye. Late Italian Renaissance Schools and Styles<\/em>, Cleveland\u2013<\/span>Bloomington, 1981<\/td>\n<\/tr>\n
Olszewski, 1984<\/strong><\/td>\nOlszewski, Edward J., “The Subject of Rosso’s Painting of Moses in the Uffizi,” Source<\/em>, IV, 1, 1984, 1\u2013<\/span>6<\/td>\n<\/tr>\n
Olszewski, 2008<\/strong><\/td>\nOlszewski, Edward J.,”The Amazon in Rosso Fiorentino’s Uffizi Moses,” Notes in the History of Art<\/em>, 28, 1, Fall 2008, 25\u2013<\/span>29<\/td>\n<\/tr>\n
Onorato, 1973<\/strong><\/td>\nOnarato, Ronald J., The “Livre de la Conaueste de is Toison d’Or”: A Princely Allegory<\/em>, M.A. Thesis, Brown University, 1973<\/td>\n<\/tr>\n
Orazi, 1982<\/strong><\/td>\nOrazi, Anna Maria, Jacopo da Vignola 1528\u2013<\/span>1550<\/em>, Rome, 1982<\/td>\n<\/tr>\n
Ornament<\/em>, 1980<\/strong><\/td>\nOrnament and Architecture: Renaissance Drawings, Prints and Books<\/em>, exh. cat., Brown University, Bell Gallery, List Art Center, Providence, Rhode Island, 8 March\u2013<\/span>6 April 1980<\/td>\n<\/tr>\n
Ostrow, 1965<\/strong><\/td>\nOstrow, Stephen E., “Diana or Bacchus in the Palazzo Riario,” Essays in Honor of Walter Friedlaender<\/em>, ed. Marsyas<\/em>, Locust Valley, 1965, 127\u2013<\/span>134<\/td>\n<\/tr>\n
Ovid-Frazer, 1931<\/strong><\/td>\nOvid, Fasti<\/em>, trans. James George Frazer, Loeb Classical Library, London\u2013<\/span>New York, 1931<\/td>\n<\/tr>\n
Ovid-Gregory, 1958<\/strong><\/td>\nOvid, The Metamorphoses<\/em>, trans. Horace Gregory, New York, 1958<\/td>\n<\/tr>\n
Ovid-Miller, 1926<\/strong><\/td>\nOvid, Metamorphoses<\/em>, trans. Frank Justus Miller, 2 vols., Loeb Classical Library, London\u2013<\/span>New York, 1926<\/td>\n<\/tr>\n
Paatz, 1940\u2013<\/span>1954<\/strong><\/td>\nPaatz, Walter and Elizabeth, Die Kirchen von Florenz<\/em>, 6 vols., Frankfurt am Main, 1940\u2013<\/span>1954; reprint, 1952\u2013<\/span>1955<\/td>\n<\/tr>\n
Pace, 1973<\/strong><\/td>\nPace, V., “Carlo Portelli,” BdA<\/em>, 5th series, LVIII, 1973, 27\u2013<\/span>33<\/td>\n<\/tr>\n
Pagnotta, 1987<\/strong><\/td>\nPagnotta, Laura, Giuliano Bugiardini<\/em>, Turin, 1987<\/td>\n<\/tr>\n
Pallucchini, 1944<\/strong><\/td>\nPallucchini, Rodolfo, Sebastian Viniziano (Fra Sebastiano del Piombo)<\/em>, Milan, 1944<\/td>\n<\/tr>\n
Palustre, I, 1879<\/strong><\/td>\nPalustre, L\u00e9on, La Renaissance en France<\/em>, 3 vols., Paris, 1879\u2013<\/span>1889<\/td>\n<\/tr>\n
Panofsky, 1927<\/strong><\/td>\nPanofsky, Erwin, “Bemerkungen zu der Neuherausgabe der Haarlemer Michelangelo-Zeichnungen durch Fr. Knapp,” Repertorium f\u00fcr Kunstwissenschaft<\/em>, XLVII, 1927, 25\u2013<\/span>58<\/td>\n<\/tr>\n
Panofsky, 1930<\/strong><\/td>\nPanofsky, Erwin, Hercules am Scheidewege<\/em>, Berlin, 1930<\/td>\n<\/tr>\n
Panofsky, 1958<\/strong><\/td>\nPanofsky, Dora and Erwin, “The Iconography of the Gallerie Fran\u00e7ois Ier<\/sup> at Fontainebleau,” GdBA<\/em>, 6th period, LII, 1958, 113\u2013<\/span>190, and Supplement<\/td>\n<\/tr>\n
Panofsky, 1952<\/strong><\/td>\nPanofsky, Erwin, Studies in Iconology<\/em>, New York and Evanston, 1962<\/td>\n<\/tr>\n
Panofsky, 1964<\/strong><\/td>\nPanofsky, Erwin, “Mors vitae testimonium, The Positive Aspect of Death in Renaissance and Baroque Iconography,” Studien zur Toskanischen Kunst, Festschrift f\u00fcr Ludwig Heinrich Heydenreich zum 23. Mars 1963<\/em>, Munich, 1964, 221\u2013<\/span>236<\/td>\n<\/tr>\n
Panofsky, 1956, 1965<\/strong><\/td>\nPanofsky, Dora and Erwin, Pandora’s Box<\/em>, London, 1956; New York, 1965<\/td>\n<\/tr>\n
Paolucci, 1963<\/strong><\/td>\nPaolucci, Antonia, Quattrocento e Cinquecento<\/em>, (Maestri del colore<\/em>, 67), Milan, 1963<\/td>\n<\/tr>\n
Paolucci, 1989<\/strong><\/td>\nPaolucci, Antonio, ed., La pinacotca di Volterra<\/em>, Florence, 1989<\/td>\n<\/tr>\n
Papini, 1949<\/strong><\/td>\nPapini, Giovanni, Vita di Michelangelo nella vita del suo tempo<\/em>, Milan, 1949<\/td>\n<\/tr>\n
Pardoe, 1901<\/strong><\/td>\nPardoe, Julia, The Court and Reign of Francis the First, King of France<\/em>, 3 vols., New York, 1901<\/td>\n<\/tr>\n
Paris, Louvre, exh. cat., 1818, 1820<\/strong><\/td>\nNotices des Dessins. Peintures, \u00c9maux, et Terres cuites \u00e9maill\u00e9es expos\u00e9s au Mus\u00e9e Royal de la Galerie d’Apcllon<\/em>, Paris, Louvre, 1818, 1820<\/td>\n<\/tr>\n
Paris, Louvre, exh. cat., 1841, 1845<\/strong><\/td>\nNotice des Dessins plac\u00e9s dans les Galeries du Mus\u00e9e Royal du Louvre<\/em>, Paris, Louvre, 1841, 1845<\/td>\n<\/tr>\n
Paris, Louvre, Catalogue sommaire<\/em>,1903<\/strong><\/td>\nCatalogue sommaire des peintures (tableau et Peintures d6coratives) e,.posdes Bans les galeries<\/em>, Paris, Muscle National du Louvre, Paris, 1903<\/td>\n<\/tr>\n
Pariset, 1965<\/strong><\/td>\nPariset, Fran\u00e7ois-Georges, L’Art classique<\/em>, Paris, 1965<\/td>\n<\/tr>\n
Parker, 1956<\/strong><\/td>\nParker, K. T., Catalogue of the Collection of Drawings in the Ashmolean Museum, II, Italian School<\/em>, Oxford, 1956<\/td>\n<\/tr>\n
Parma Armani, 1956<\/strong><\/td>\nParma Armani, Elena, Perin del Vaga, l’anello mancante: Studi sul manierismo<\/em>, Genoa, 1956<\/td>\n<\/tr>\n
Parronchi, 1980<\/strong><\/td>\nParronchi, Alessandro, “Scultura e Pittura, in Arte e religione nella Firenze de’Medici<\/em>, ed. Padre Massimiliano Giuseppe Rosito, Florence, 1980, 47\u2013<\/span>73<\/td>\n<\/tr>\n
Parronchi, 1981<\/strong><\/td>\nParronchi, Alessandro, Opere giovanili di Michelangelo. III. Miscellanea michelangiolesca<\/em>, Florence, 1981<\/td>\n<\/tr>\n
Passavant, 1833<\/strong><\/td>\nPassavant, J. D., Kunstreise durch England und Belgien<\/em>, Frankfurt-am-Main, 1833<\/td>\n<\/tr>\n
Passavant, 1838<\/strong><\/td>\nPassavant, J. D., Tour of a German Artist in England<\/em>, 2 vols., London, 1838<\/td>\n<\/tr>\n
Passavant, 1860\u2013<\/span>1864<\/strong><\/td>\nPassavant, J. D., Le Peinture-Praveur<\/em>, 6 vols. Leipzig, 1860\u2013<\/span>1864<\/td>\n<\/tr>\n
Passavant, 1973<\/strong><\/td>\nPassavant, G\u00fcnter, “L’\u00c9cole de Fontainebleau, zur Ausstellung im Grand Palais in Paris 17.10.1972 bis 15.1.1973,\u00b0 Kunstchronik<\/em>, XXVI, 4, 1973, 105\u2013<\/span>129<\/td>\n<\/tr>\n
Pastor, 1898\u2013<\/span>1953<\/strong><\/td>\nPastor, Ludwig, History of the Popes<\/em>, London, 40 vols., 1898\u2013<\/span>1953<\/td>\n<\/tr>\n
Patch, 1922<\/strong><\/span><\/td>\n\u00a0<\/td>\n<\/tr>\n
Pellegrin, 1530<\/strong><\/td>\nPellegrin, Francique, La fleur de la science de Pourtraicture et patrons de broderie. Facon arabigue et ytalique<\/em>, Paris, 1530, facsimile edition with introduction by Gaston Migeon, Paris, 1908<\/td>\n<\/tr>\n
Peluso, 1975<\/strong><\/td>\nPeluso, John F., “Rosso Fiorentino’s Moses defending the Daughters of Jethro and its Pendant,” Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, XX, 1, 1976, 87\u2013<\/span>106<\/td>\n<\/tr>\n
Penny, 1994<\/strong><\/td>\nPenny, Nicholas, “Making Sparks. The awkward originality of Rosso Fiorentino,” (review of Franklin, 1994), Times Literary Supplement<\/em>, 11 November 1994, 11\u2013<\/span>12<\/td>\n<\/tr>\n
Perez Sanchez, 1969<\/strong><\/td>\nPerez Sanchez, Alfonso E., Catalogo de la coleccion de Dibujos del Instituto Jovenellanos de Gijon<\/em>, Madrid, 1969<\/td>\n<\/tr>\n
Pergola, 1951<\/strong><\/td>\nPergola, Paola dells, The Borghese Gallery in Rome<\/em>, Rome, 1951<\/td>\n<\/tr>\n
Pergola, 1959<\/strong><\/td>\nPergola, Paola della, Galleria Borahese I Dipinti<\/em>, II, Rome, 1959<\/td>\n<\/tr>\n
P\u00e9rignon, 1826<\/strong><\/td>\nP\u00e9rignon, A. N., Description des objects d’arts aui composent le cabinet de feu M. Le Baron V. Denon, tableaux, dessins et miniatures<\/em>, Paris, 1826, I<\/td>\n<\/tr>\n
Petrarch-Armi, 1946<\/strong><\/td>\nPetrarch, Sonnets and Songs<\/em>, trans. AnnaMaria Armi, New York, 1946<\/td>\n<\/tr>\n
Petrioli Tofani, 1972<\/strong><\/td>\nPetrioli Tofani, Annamaria, I grandi disegni degli Uffizi<\/em>, Milan, 1972<\/td>\n<\/tr>\n
Petrioli Tofani, 1989<\/strong><\/td>\nPetrioli Tofani, Annamaria, “Di alcuni disegni manieristii,” Artista. Critica dell’Art in Toscana<\/em>, 1985, 128\u2013<\/span>139<\/td>\n<\/tr>\n
Petrioli Tofani and Smith, 1988<\/strong><\/td>\nPetrioli Tofani, Annamari, and Graham Smith, Sixteenth Century Tuscan Drawings from the Uffizi<\/em>, exh. cat. Detroit Institute of Arts, New York and Oxford, 1988<\/td>\n<\/tr>\n
Petrucci, 1964<\/strong><\/td>\nPetrucci, Alfredo, Panorama della incisione italiana, Il Cinquecento<\/em>, Rome 1964<\/td>\n<\/tr>\n
Pevsner, 1528<\/strong><\/td>\nPevsner, Nikolavs, “Die italienischen Malerei vom Ende der Renaissance bis zum Ausaehenden Rokoko,” Barock Malerie in den romanischen L\u00e4ndern<\/em>, I, in Handbuch der Kunstwissenschaft<\/em>, Wildpark\u2013<\/span>Potsdam, 1928, 1\u2013<\/span>214<\/td>\n<\/tr>\n
Pfnor, 1889<\/strong><\/td>\nPfnor, Rodolphe, Guide artistique et historicrue du Palais de Fontainebleau<\/em>, Paris, 1889<\/td>\n<\/tr>\n
Pfnor and Champollion, 1853, I, II<\/strong><\/td>\nPfnor, Rodolphe, and Jacques Joseph Champollion-Figeac, Monographie du Palais de Fontainebleau<\/em>, 2 vols., Paris, 1863 (Vol. 3, Pfnor, 1885)<\/td>\n<\/tr>\n
Phillips, 1911\u2013<\/span>1912<\/strong><\/td>\nPhillips, Claude, “Il Rosso (Fiorentino) by Himself(?),” BM<\/em>, XX, 1911\u2013<\/span>1912, 140\u2013<\/span>146<\/td>\n<\/tr>\n
Philostratus, 1931<\/strong><\/td>\nPhilostratus the Younger, Imagines<\/em>, trans. Arthur Fairbanks, Loeb Classical Library, New York, 1931<\/td>\n<\/tr>\n
Picard, 1953<\/strong><\/td>\nPicard, Charles, “Th\u00e8mes rares d’inspiration antique dans la decoration palatiale \u00e0 Fontainebleau et \u00e0 Versailles,” 6th series, GdBA<\/em>, 61, 1963, 65\u2013<\/span>80<\/td>\n<\/tr>\n
Pieraccini, 1912<\/strong><\/td>\nPieraccini, Eugenio, Catalogo della R. Galleria deuli Uffizi in Firenze<\/em>, Florence, 1912<\/td>\n<\/tr>\n
Pietrucci, 1858<\/strong><\/td>\nPietrucci, Napoleone, Biografia degli artisti padovani<\/em>, Padua, 1858<\/td>\n<\/tr>\n
Pilliod, 2001<\/strong><\/td>\nPilliod, Elizabeth, Pontormo, Bronzino, Allori, A Geneology of Florentine Art<\/em>, New Haven, 2001<\/td>\n<\/tr>\n
Pillsbury, 1973<\/strong><\/td>\nPillsbury, Edmund, review of RISD, 1973, The Print Collector’s Newsletter, IV<\/em>, 2, 1973, 34\u2013<\/span>35<\/td>\n<\/tr>\n
Pillsbury, 1973 bis<\/strong><\/td>\nPillsbury, Edmund P., “Sixteenth Century Italian Drawings from the Collection of Janos Scholz,” Master Drawings<\/em>, XI, 4, 1973, 399\u2013<\/span>402<\/td>\n<\/tr>\n
Pinelli, 1993<\/strong><\/td>\nPinelli, Antonio, La bella maniera. Artisti del Cinquecento tra regola e licenza<\/em>, Turin, 1993<\/td>\n<\/tr>\n
Pittaluga, 1928<\/strong><\/td>\nPittaluga, Mary, L’Incisione italiana nel cinquecento<\/em>, Milan, 1928<\/td>\n<\/tr>\n
Pittura, Cinguecento<\/em>, 1988<\/strong><\/td>\nLa pittura in Italia. Il Cinguecento<\/em>, 2 vols., Venice, 1987, revised 1988<\/td>\n<\/tr>\n
Planiscig, 1932<\/strong><\/td>\nPlaniscig, Leo, “Maffeo Olivieri,” Dedalo<\/em>, XII, 1, 1932, 34\u2013<\/span>55<\/td>\n<\/tr>\n
Pliny, 1968<\/strong><\/td>\nThe Elder Pliny’s Chapters on the History of Art<\/em>, trans. K. Jex-Blake, with commentary by E. Sellers, and a preface by R. V. Schoder, S. J., Chicago, 1968<\/td>\n<\/tr>\n
Pluchard, 1889<\/strong><\/td>\nPluchard, M. Henry, Ville de Lille, Mus\u00e9e Wicar. Notice des dessins<\/em> . . . , Lille, 1889<\/td>\n<\/tr>\n
Plutarch, n.d.<\/strong><\/td>\nPlutarch, The Lives of the Noble Grecians and Romans<\/em>, trans. John Dryden, revised Arthur Hugh Clough, Modern Library, New York, n.d.<\/td>\n<\/tr>\n
Poggi, 1909<\/strong><\/td>\nPoggi, Giovanni, “Rosso Fiorentino. Mos\u00e8 e le figlie di Iethro,” Rivista d’Arte<\/em>, VI, 1909, 264\u2013<\/span>265<\/td>\n<\/tr>\n
Poirier, 1964<\/strong><\/td>\nPoirier, Pierre, Esth\u00e8tigue de la gravure italienne, M\u00e9moires<\/em>, 2nd series, XI, 2, Acad\u00e9mie Royale de Belgique, 1964<\/td>\n<\/tr>\n
Pontormo a Empoli<\/em>, 1994<\/strong><\/td>\nIl Pontomo a Empoli<\/em>, exh. cat., Empoli, Venice, 1994<\/td>\n<\/tr>\n
Pontormo e Rosso<\/em>, 2014<\/strong><\/td>\nPontormo e Rosso Fiorentino, Divergenti vie della Maniera, Edited by Carlo Falciani and Antonio Natali, Mondragora, Florence, 2014. Exhibition, Florence, Palazzo Strozzi 8 Match\u2013<\/span>20 July 2014<\/td>\n<\/tr>\n
Pope-Hennessy, 1964<\/strong><\/td>\nPope-Hennessy, John, Catalogue of Italian Sculpture in the Victoria and Albert Museum<\/em>, 3 vols., London, 1964<\/td>\n<\/tr>\n
Pope-Hennessy, 1966<\/strong><\/td>\nPope-Hennessy, John, The Portrait in the Renaissance<\/em>, New York, 1966<\/td>\n<\/tr>\n
Pope-Hennessy, 1970<\/strong><\/td>\nPope-Hennessy, John, Italian High Renaissance and Baroque Sculpture<\/em>, London and New York, 1970<\/td>\n<\/tr>\n
Pope-Hennessy, 1985<\/strong><\/td>\nPope-Hennessy, John, Cellini<\/em>, New York, 1985<\/td>\n<\/tr>\n
Pope-Hennessy, 1986<\/strong><\/td>\nPope-Hennessy, John, “Donatello and theQuattrocento,” FMR<\/em>, English edition, V, 21, 1986, 64\u2013<\/span>85<\/td>\n<\/tr>\n
Pope-Hennessy, n.d.<\/strong><\/td>\nPope-Hennessy, John, Raphael<\/em>, London, n.d.<\/td>\n<\/tr>\n
Popham, 1935<\/strong><\/td>\nPopham, A. E., Catalogue of Drawings in the Collection Formed by Sir Thomas Phillipps Bart, F.R.S., Now in the Possession of his Grandson T. Fitzroy Phillipps Fenwick of Thirlestaine Hause Cheltenham<\/em>, London, 1935<\/td>\n<\/tr>\n
Popham, 1939<\/strong><\/td>\nPopham, A. E., A Handbook to the Drawings and Water-colours in the Department of Prints and Drawings British Museum<\/em>, London, 1939<\/td>\n<\/tr>\n
Popham, 1967<\/strong><\/td>\nPopham, A. E., Italian Drawings in the Department of Prints and Drawings in the British Museum. Artits working in Parma in the Sixteenth Century<\/em>, London, 1967<\/td>\n<\/tr>\n
Popham and Wilde, 1949<\/strong><\/td>\nPopham, A. E., and Wilde, Johannes, The Italian Drawings of the XV and XVI Centuries in the Collection of His Majesty the King at Windsor Castle<\/em>, London, 1949<\/td>\n<\/tr>\n
Popp, 1927<\/strong><\/td>\nPopp, Amy E., “Rosso Fiorentino (1494\u2013<\/span>1542) The Carrying of the Gross\u2014British Museum, Old Master Drawings<\/em>, I, 1927, 50<\/td>\n<\/tr>\n
Portheim, 1989<\/strong><\/td>\nPortheim, Friedrich, “Betr\u00e4ge zu den Werken Michelangelo’s,” Repertorium f\u00fcr Kunstwissenschaft<\/em>, XII, 1889, 140\u2013<\/span>158<\/td>\n<\/tr>\n
Posner, 1973<\/strong><\/td>\nPosner, Kathleen Weil-Garris, “Comments on the Medici Chapel and Pontormo’s Lunette at Poggio a Caiano,” BM<\/em>, CXV, 1973, 641\u2013<\/span>649<\/td>\n<\/tr>\n
Potere-Spazio<\/em>, 1980<\/strong><\/td>\nIl potere e lo spazio. La scena del principe, Firenze e la Toscana dei Medici nell’Eurona del Cinqeucento<\/em>, exh. cat., Florence, 1980<\/td>\n<\/tr>\n
Pouncey, 1964<\/strong><\/td>\nPhilip Pouncey, Review of Berenson, 1961, Master Drawings<\/em>, II, 3, 1964, 278\u2013<\/span>293<\/td>\n<\/tr>\n
Pouncy and Gere, 1962<\/strong><\/td>\nPouncey, Philip, and J. A. Gere, Italian Drawings in the Department of Prints and Drawings in the British Museum. Raphael and his Circle<\/em>, 2 vols., London, 1962<\/td>\n<\/tr>\n
Pozzi and Ciapponi, 1963<\/strong><\/td>\nPozzi, Giovanni and Lucia A. Ciapponi, “La cultura figurativa di Francesco Colonna e l’arte veneta,” Umanesimo europa e umanesimo veneziano<\/em>, ed. Vittore Branca, Civilt\u00e0 europa e civilt\u00e0 veneziana, aspetti e problemi<\/em>, 2 Venice, 1963, 317\u2013<\/span>336<\/td>\n<\/tr>\n
Pozzo-M\u00fcntz, 1886<\/strong><\/td>\nPozzo-M\u00fcntz, Eugene, “Le Ch\u00e2teau de Fontainbleau au XVIIe<\/sup> si\u00e8cle d’apr\u00e8s des documents in\u00e8dits. I. Le Ch\u00e2teau de Fontainebleau en 1625, d’apr\u00e8s Le Diarium<\/em> du Commandeur Cassiano del Pozzo,” M\u00e9moires de la soci\u00e9t\u00e9 de l’histoire de Paris et de l’Ile de France<\/em>, XII, 1885, Paris, 1886, 255\u2013<\/span>358<\/td>\n<\/tr>\n
Prache, 1563<\/strong><\/td>\nPrache, Anne, “A Drawing of the Martyrdom of Sts. Cosmas and Damian by Primaticcio,” Bulletin<\/em>, Smith College Museum of Art, 41, 1969, 1\u2013<\/span>9<\/td>\n<\/tr>\n
Pratesi, 1989<\/strong><\/td>\nPratesi, Ludorico, Via Giulia (Itinerari d’arte a di cultura-luoghi)<\/em>, Rome, 1989<\/td>\n<\/tr>\n
Prato, 1994 (1996)<\/strong><\/td>\nPrato, Francesca, \u201cContributi alla conoscenza di Nicol\u00f2 Cercignani,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 179\u2013<\/span>184<\/td>\n<\/tr>\n
Pressouyre, 1969<\/strong><\/td>\nPressouyre, Sylvie, “Les fontes dePrimaticcio \u00e0 Fontainebleau,” Bulletin monumental<\/em>, 127, 1969, 223\u2013<\/span>239<\/td>\n<\/tr>\n
Pressouyre, 1970<\/strong><\/td>\nPressouyre, Sylvie, “Quelques r\u00e9flexions \u00e0 propos des fresques nouvellement restaur\u00e9es de la galerie Fran\u00e7ois-Ier<\/sup> au ch\u00e2teau de Fontainebleau,” Bulletin de la Soci\u00e9t\u00e9 Nationale des Antiquaries de France<\/em>, 18 March 1970, 123\u2013<\/span>127<\/td>\n<\/tr>\n
Pressouyre, 1972<\/strong><\/td>\nPressouyre, Sylvie, “Le t\u00e9moignage de tapisseries,” in “Galerie,” RdA<\/em>, 1972, 106\u2013<\/span>111<\/td>\n<\/tr>\n
Pressouyre, “Cadre architectural<\/em>,” 1972<\/strong><\/td>\nPressouyre, Sylvie, “Le cadre architectural,” “Galerie,” RdA<\/em>, 1972, 13\u2013<\/span>19<\/td>\n<\/tr>\n
Pressouyre, “Restaurations,” 1972<\/strong><\/td>\nPressouyre, Sylvia, “Les restaurations” “Galerie,” RdA<\/em>, 1972, 25\u2013<\/span>44<\/td>\n<\/tr>\n
Pressouyre, 1974<\/strong><\/td>\nPressouyre, Sylvie, “Remarques sur le devenir d’un ch\u00e2teau royal: Fontainebleau au XVIe<\/sup> si\u00e8cle,” L’Information d’histoire de fart<\/em>, XIX, 1, 1974, 25\u2013<\/span>37<\/td>\n<\/tr>\n
Pressouyre, Actes<\/em>, 1575<\/strong><\/td>\nPressouvre, Sylvia, “L’Embl\u00e8me du Naufracre A la Galerie Francois Ier,” Actes<\/em>, 1975, 127\u2013<\/span>139<\/td>\n<\/tr>\n
Primato del disegno<\/em>, 1930<\/strong><\/td>\nIl primato del disegno, Firenze e la toscana dei Medici nell’Europa del Cinquecento<\/em>, exh. cat., Florence, 1980<\/td>\n<\/tr>\n
Prinz, 1965<\/strong><\/td>\nPrinz, Wolfram, “Vasaris Sammlung von Kanstlerbilnissen,” Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, Supplement to vol. XII, 1966, 6\u2013<\/span>158<\/td>\n<\/tr>\n
Prinz, 1970<\/strong><\/td>\nPrinz, Wolfram, Die Entstehuncr der Galerie in Frankreich und Italien<\/em>, Berlin, 1970<\/td>\n<\/tr>\n
Prinz and Kecks, 1985<\/strong><\/td>\nPrinz, Wolfram, amd Ronald G. Kecks, Das franz\u00f6sische Schlosz der Renaissance<\/em>, Berlin, 1985<\/td>\n<\/tr>\n
Puppi, 1976<\/strong><\/td>\nPuppi, Lionello, “Erotismo e osceno nella produzione del Manierismo,” Psicon<\/em>, III, 8\u2013<\/span>9, 1976, 142\u2013<\/span>146<\/td>\n<\/tr>\n
Quintavalle, 1948<\/strong><\/td>\nQuintavalle, Armando Ottaviano, Il Parmigianino<\/em>, Milan, 1948<\/td>\n<\/tr>\n
Rackham and Mallet, 1940\/1977<\/strong><\/td>\nRackham, Bernard, Catalogue of Italian Maiolica<\/em>, Victoria and Albert Museum, with emendations and additional bibliography by J. V. G. Mallet, 2 vols., London, 1977 (second impression with amendments), first published 1940<\/td>\n<\/tr>\n
Ragghianti, 1954<\/strong><\/td>\nR. (Ragghianti, Carlo L.) Review of Popham Wilde, 1949, Critica d’Arte<\/em>, I, 1954, 594\u2013<\/span>596<\/td>\n<\/tr>\n
Ragghianti, 1972 (1964\u2013<\/span>1965)<\/strong><\/td>\nRagghianti, Carlo L., “Pertinenze Francesi nel Cinquecento,” Critica D’Arte<\/em>, XXVII, no. 122, 1972, 3\u2013<\/span>96 (essay dated 1964\u2013<\/span>1965)<\/td>\n<\/tr>\n
Ragghianti, Licia, 1971<\/strong><\/td>\nRagghianti, Licia, “Il ‘libro de’disegni’ ed i ritratti per le ‘Vite’ del Vasari,” Critica d’Arte<\/em>, New Series, XVIII, no. 117, 1971, 37\u2013<\/span>64<\/td>\n<\/tr>\n
Ragghianti Collobi, 1974<\/strong><\/td>\nRagghianti Collobi, Licia, Il libro de’ disegni del Vasari<\/em>, 2 vols., Florence, 1974<\/td>\n<\/tr>\n
Raggio, 1974<\/strong><\/td>\nRaggio, Olga, “Probl\u00e8mes bellifontains,” RdA<\/em>, 23, 1974, 73\u2013<\/span>78<\/td>\n<\/tr>\n
Ragusa and Green, 1961<\/strong><\/td>\nRagusa, Isa, and Roaslie B. Green, Meditations on the Life of Christ: An Illustrated Manuscript of the Fourteenth Century<\/em>, Princeton, 1961.<\/td>\n<\/tr>\n
Raphael et l’art fran\u00e7ais<\/em>, 1983<\/strong><\/td>\nRaphael et l’art fran\u00e7ais<\/em>, exh. cat., Galeries nationales du Grand Palais, 15 November 1983\u2013<\/span>13 February 1984, Paris, 1983<\/td>\n<\/tr>\n
Rasmussen, 1989<\/strong><\/td>\nRasmussen, J\u00f6rg, The Robert Lehman Collection, X, Italian Majolica<\/em>, The Metropolitan Museum of Art, New York and Princeton, 1989<\/td>\n<\/tr>\n
Ravelli, 1978<\/strong><\/td>\nRavelli, Lanfranco, Polidoro Caldara di Caravaggio<\/em>, Cinisello Balsamo (Milan), 1978<\/td>\n<\/tr>\n
Razz\u00f2li, 1898<\/strong><\/td>\nRazz\u00f2li, Roberto, La Chiesa d’Ognissanti in Firenze, Studi Storico-critici<\/em>, Florence, 1898<\/td>\n<\/tr>\n
RdA<\/strong><\/em><\/td>\nRevue de l’art<\/em><\/td>\n<\/tr>\n
Rearick, 1859<\/strong><\/td>\nRearick, W.R., “Battista Franco and the Grimani Chapel,” Saggi e Memorie di Storia dell’Arte<\/em>, II, Venice, 1959, 105\u2013<\/span>139<\/td>\n<\/tr>\n
R\u00e9au, 1955\u2013<\/span>1959<\/strong><\/td>\nR\u00e9au, Louis, Iconographie de l’art chr\u00e9tian<\/em>, 3 vols. in 6, Paris, 1955\u2013<\/span>1959<\/td>\n<\/tr>\n
Reed and Wallace, 1989<\/strong><\/td>\nReed, Sue Walsh, and Richard Wallace, Italian Etchers of the Renaissance and Baroque<\/em>, exh. cat., Museum of Fine Arts, Boston, 1989<\/td>\n<\/tr>\n
Reiset, 1859<\/strong><\/td>\nReiset, Fr\u00e9deric, “Niccolo dell’Abbate et les peintures de l’\u00c9cole de Fontainebleau,”GdBA<\/em>, 1st series, III, 1859, 193\u2013<\/span>209, 266\u2013<\/span>277<\/td>\n<\/tr>\n
Reiset, 1866<\/strong><\/td>\nReiset, Fr\u00e9d\u00e9ric, Notice des dessins …expos’es …au Mus\u00e9e Imp\u00e9rial du Louvre<\/em>, I, Paris, 1866<\/td>\n<\/tr>\n
Remard, 1820<\/strong><\/td>\nRemard, Charles, Le guide de voyageur \u00e0 Fontainebleau<\/em>, Paris, 1820<\/td>\n<\/tr>\n
La Renaissance, Quebec<\/em>, 1984<\/strong><\/td>\nLa Renaissance et le nouveau monde 1503\u2013<\/span>1608<\/em>, exh. cat., Mus\u00e9e de Quebec, Quebec, 1984<\/td>\n<\/tr>\n
Renaissance italienne<\/em>, 1958<\/strong><\/td>\nLa Renaissance italienne et ses prolongements europ\u00e9ens<\/em>, exh. cat., \u00c9cole des Beaux-Arts, Paris, 1958.<\/td>\n<\/tr>\n
Rennes, 1863<\/strong><\/td>\nCatalogue de Mus\u00e9e de Peinture, Sculpteur et Dessins de la Ville de Rennes<\/em>, Rennes, 1863<\/td>\n<\/tr>\n
Rennes, 1990<\/strong><\/td>\nDisegno. Les dessins italiens du Mus\u00e9e de Rennes<\/em>, ed. Patrick Ramade, Rennes, 1990<\/td>\n<\/tr>\n
Renouvier, 1853\u2013<\/span>1856<\/strong><\/td>\nRenouvier, Jules, Des types et des mani\u00e8res des m\u00e2itres graveurs pour servir \u00e0 l’histoire de la gravure an Italie, en Allemagne, dans les Pays-Bas et en France<\/em>, Montpellier, 4 vols. in 1, 1853\u2013<\/span>1856<\/td>\n<\/tr>\n
R\u00e8paci Courtois, 1976<\/strong><\/td>\nR\u00e8paci Courtois, Gabriella, “A propos du David en bronze de Michel-Ange,” Revue du Louvre<\/em>, XXVI, 4, 1976, 250\u2013<\/span>254<\/td>\n<\/tr>\n
Ricci, 1924<\/strong><\/td>\nRicci, Corrado, “La Deposizione dalla Croce<\/em> del Rosso Fiorentino,” Rassegna Volterrana<\/em>, I, 2, 1924, 66<\/td>\n<\/tr>\n
Ricci, 1913<\/strong><\/td>\nRicci, Seymour de, Description raisonn\u00e9e des peinturea du Louvre<\/em>, I, \u00c9cole \u00c9trang\u00e8res Italie et Espagne<\/em>, Paris, 1913<\/td>\n<\/tr>\n
Richa, 1754\u2013<\/span>1762<\/strong><\/td>\nRicha, Giuseppe, Notizie istoriche delle chiese fiorentine . . . <\/em>, 10 vols., Florence, 1754\u2013<\/span>1762<\/td>\n<\/tr>\n
Richardson, 1980<\/strong><\/td>\nRichardson, Francis L., Andrea Schiavone<\/em>, Oxford, 1960<\/td>\n<\/tr>\n
Ridolfi, 1896, 1902<\/strong><\/td>\nRidolfi, Enrico, Le RR. Gallerie e il Museo Nazionali di Firenze<\/em>, Le Gallerie Nazionali Italiane; Notizie e Documenti<\/em>, Rome, II, 1896, V, 1902<\/td>\n<\/tr>\n
Ridolfi, 1898, 1899<\/strong><\/td>\nRidolfi, Enrico, La Galleria dell’Arcisnedale di Santa Maria Nuova in Firenze<\/em>,” Le Gallerie Nazionali Italiane; Notizie e Documenti<\/em>, IV, Rome, 1898; 1899<\/td>\n<\/tr>\n
Riedl, 1959<\/strong><\/td>\nRiedl, Peter Anselm, “Raffaels ‘Madonna del Baldacchino, ‘” Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, VIII, 1959, 223\u2013<\/span>246<\/td>\n<\/tr>\n
Rinaldis, 1937<\/strong><\/td>\nRinaldis, Aldo de, La R. Galleria Borghese in Roma<\/em>, Rome, 1937<\/td>\n<\/tr>\n
Ripa, 1603<\/strong><\/td>\nRipa, Cesare, Iconolocria<\/em>, Rome, 1603<\/td>\n<\/tr>\n
RISD, 1973<\/strong><\/td>\nDrawings And Prints of the First Maniera 1515\u2013<\/span>1535<\/em>, exh. cat. Museum of Art, Rhode Island School of Design, Providence, 1973<\/td>\n<\/tr>\n
Robert-Dumesnil 1835\u2013<\/span>1871<\/strong><\/td>\nRobert-Dumesnil, A. P. F., Le peintre-graveur fran\u00e7ais<\/em>, 11 vols., Paris, 1835\u2013<\/span>1871; vol. XI by Georges Duplessis<\/td>\n<\/tr>\n
Robert-Dumesnil\/Duplessis, XI, 1871<\/strong><\/td>\nDuplessis, Georges, Le peintre-graveur fran\u00e7ais<\/em>, Supplement to Robert-Dumesnil, 1835\u2013<\/span>1871, XI, Paris, 1871<\/td>\n<\/tr>\n
Roberts, 1971<\/strong><\/td>\nRoberts, Keith, Art nto Art, Works of Art as a Source of Inspiration<\/em>, presented by the Burlington Magazine at Sotheby & Co., London, 2\u2013<\/span>22 September 1971<\/td>\n<\/tr>\n
Robinson, 1869; 1876<\/strong><\/td>\nRobinson, J. C., Descriptive Catalogue of the Drawings by the Old Masters, Forming the Collection of John Malcolm of Poltalloch. Esq<\/em>., London, 1869; 2nd ed. 1876<\/td>\n<\/tr>\n
Robison, 1977<\/strong><\/td>\nRobison, Andrew, Paper in Prints<\/em>, exh. cat., Washington, D.C., 1977<\/td>\n<\/tr>\n
Rome \u00e0 Paris<\/em>, 1968<\/strong><\/td>\nRome \u00e0 Paris<\/em>, exh. cat., Paris, Petit Palais, 1968<\/td>\n<\/tr>\n
Rondorf, 1968<\/strong><\/td>\nRondorf, D. Der Ballsaal im Schloss Fontainebleaur zur Stilgeschichte Primaticcios in Frankreich<\/em>, Bonn, 1968<\/td>\n<\/tr>\n
Ronen, 1977<\/strong><\/td>\nRonen, Avraham, “Il Vasari e gli incisori del suo tempo,” Commentari<\/em>, 28, 1977, 92\u2013<\/span>104<\/td>\n<\/tr>\n
Ronsard<\/em>, 1985<\/strong><\/td>\nRonsard, la trompette et la lyre<\/em>, exh. cat.,Galerie Mansart, Biblioth\u00e8que nationale, Paris, 12 June\u2013<\/span>15 September 1985<\/td>\n<\/tr>\n
Rosand, 1988<\/strong><\/td>\nRosand, David, “Classicism and Its Discontents. The Meanings of Mannerism,” TheNew Republic<\/em>, 25 January 1988, 30\u2013<\/span>33<\/td>\n<\/tr>\n
Rosini, 1961<\/strong><\/td>\nRosini, Corrado, Citt\u00e0 di Castello<\/em>, Citt\u00e0 di Castello, 1961<\/td>\n<\/tr>\n
Rosini, 1986<\/strong><\/td>\nRosini, Corrado, Dietro la Moda delle Grottesche. Prospero Fontana e Paolo Vitelli<\/em>, Citt\u00e0 di Castello, 1986<\/td>\n<\/tr>\n
Roskill, 1968<\/strong><\/td>\nRoskill, Mark W., Dolce’s “Aretino” and Venetian Art Theory of the Cinquecento<\/em>, New York, 1968<\/td>\n<\/tr>\n
Ross, 1938<\/strong><\/td>\nRoss, Marvin Chauncey, “L\u00e9onard Limousin, Enameller and Engraver,” Print Collectors’ Quarterly<\/em>, XXV, 1938, 361\u2013<\/span>364<\/td>\n<\/tr>\n
Rosso e Volterra<\/em>, 1994<\/strong><\/td>\nIl Rosso e Volterra<\/em>, exh. cat., Volterra, Venice, 1994<\/td>\n<\/tr>\n
Roth, 1929<\/strong><\/td>\nRoth, Cecil, L‘ultima repubblica Fiorentina<\/em>, trans. A. Neppi\u2013<\/span>Modona, Firenze, 1929<\/td>\n<\/tr>\n
Roy, 1914 (1929)<\/strong><\/td>\nRoy, Maurice, “l’oeuvre de Philbert de Lorme a Fontainebleau (3 avril 1548\u2013<\/span>11 juillet 1559),” Memoires de la soci\u00e9t\u00e9 nationale des antiguaires de France<\/em>, 1914, 1\u2013<\/span>89; Roy, 1929, 238\u2013<\/span>278<\/td>\n<\/tr>\n
Roy, 1914 (1929) bis<\/strong><\/td>\nRoy, Maurice, “La Galerie de Fran\u00e7ois Ier<\/sup> a Fontainebleau,” M\u00e9moires de la soci\u00e9t\u00e9 nationale des antiquaires de France<\/em>, 1914, 205\u2013<\/span>224; Roy, 1929, 226\u2013<\/span>237<\/td>\n<\/tr>\n
Roy, 1920 (1929)<\/strong><\/td>\nRoy, Maurice, “La Mort du Rosso (14 novembre 1540),” Bulletin de la soci\u00e9t\u00e9 de l’histoire de l’art fran\u00e7ais<\/em>, 1920, 82\u2013<\/span>93; Roy, 1929, 148\u2013<\/span>155<\/td>\n<\/tr>\n
Roy, 1921 (1929)<\/strong><\/td>\nRoy, Maurice, “Le monument fun\u00e9raire d’Albert Pie de Savoie, Compte de Carpi (1531\u2013<\/span>1535), Bulletin de la soci\u00e9t\u00e9 de l’histoire de l’art fran\u00e7ais<\/em>, 1921, 33\u2013<\/span>47; Ray, 1929, 138\u2013<\/span>147<\/td>\n<\/tr>\n
Roy, 1923 (1929)<\/strong><\/td>\nRoy, Maurice, “La ‘Leda’ du Rosso confondue avec de Michel-ange,” GdBA<\/em>, 5th period, VII, 1923, 65\u2013<\/span>82; Roy, 1929, 121\u2013<\/span>137<\/td>\n<\/tr>\n
Roy, 1929<\/strong><\/td>\nRoy, Maurice, Artistes et monuments de la Renaissance en France<\/em>, I, Paris, 1929<\/td>\n<\/tr>\n
Roy, 1977<\/strong><\/td>\nRay, Alain, “Un peinture flamand a Paris au debut du XVIIe<\/sup> si\u00e8cle: Theodore van Thulden,” Bulletin de la Soci\u00e9t\u00e9 d’ Histoire de l’Art Fran\u00e7ais<\/em>, 1977 (1979), 67\u2013<\/span>76<\/td>\n<\/tr>\n
Rubin, 1987<\/strong><\/td>\nRubin, Patricia, “The Private Chapel of Cardinal Alessandro Farnese in the Cancelleria, Rome,” JWCI<\/em>, 50, 1987, 82\u2013<\/span>112<\/td>\n<\/tr>\n
Rubin, 1991<\/strong><\/td>\nRubin, Patricia, “The Art of Colour in Florentine Painting of the Early Sixteenth Century: Rosso Fiorentino and Jacopo Pontormo,” Art History<\/em>, XIV, 2, 1991, 175\u2013<\/span>191<\/td>\n<\/tr>\n
Rudolph, 1982<\/strong><\/td>\nRudolph, Stella, “Arezzo, Giorgio Vasari,” (review of Maetzke and Davis, Carte<\/em>, 1981), BM<\/em>, CXXIV, 1982, 121\u2013<\/span>122<\/td>\n<\/tr>\n
Rusconi, 1937<\/strong><\/td>\nRusconi, Arturo Jahn, La R. Galleria Pitti in Firenze<\/em>, Rode, 1937<\/td>\n<\/tr>\n
Russell, 1985<\/strong><\/td>\nRussell, Daniel S., The Emblem and Device in France<\/em>, Lexington, 1985<\/td>\n<\/tr>\n
Sabatini, 1941<\/strong><\/td>\nSabatini, Attilo, “Il Rosso Fiorentino,” La Rinascita<\/em>, IV, 19, 1941, 422\u2013<\/span>426<\/td>\n<\/tr>\n
Sainsbury, 1859<\/strong><\/td>\nSainsbury, W. Noel, Original Unpuplished Papers Illustrative of the Life of Sir Peter Paul Rubens<\/em>, as an Artist ans as a Diplomatist, London, 1859<\/td>\n<\/tr>\n
Saint-Morys, 1987<\/strong><\/td>\nArqui\u00e9-Bruley, Francis, Jacqueline Labb\u00e8 and Lise Bicart-S\u00e9e, Le collection Saint-Morys au Cabinet des Dessins du Mus\u00e9e du Louvre<\/em>, 2 vols., Paris, 1987<\/td>\n<\/tr>\n
Salerno, Spezzaforte, Tafuri, 1973<\/strong><\/td>\nSalerno, Luigi, Luigi Spezzaforte and Manfredo Tafuri, Via Giulia, Una utopia urbanistica del 500<\/em>, Rome, 1973<\/td>\n<\/tr>\n
Salmi, 1940<\/strong><\/td>\nSalmi, Mario, “La mostra del cinquecento toscano a Palazzo Strozzi,” Nuova Antologia<\/em>, LXXV, no. 1639, 1940, 75\u2013<\/span>83<\/td>\n<\/tr>\n
Salmi, 1951<\/strong><\/td>\nSalmi, Mario, “Postille alla Mostra di Arezzo,” Commentari<\/em>, II, 2, 1951, 93\u2013<\/span>97 (Part I); II, 3\u2013<\/span>4, 1951, 165\u2013<\/span>195 (Part II)<\/td>\n<\/tr>\n
Salmi, 1956<\/strong><\/td>\nSalmi, Mario, L’arte italiana<\/em>, Florence, 1956<\/td>\n<\/tr>\n
Salmi, 1971<\/strong><\/td>\nSalmi, Mario, Civit\u00e0 artistica della terra aretina<\/em>, Novara, 1971<\/td>\n<\/tr>\n
Sanminiatelli, 1956<\/strong><\/td>\nSanminiatelli D., “Pontormo’s Exhibition in Florence,” BM<\/em>, 98, 1956, 240\u2013<\/span>241<\/td>\n<\/tr>\n
Santarelli, 1870<\/strong><\/td>\nCatalogo della raccolta di disegni autotrrafi antichi e moderni donati dal prof. Emilio Santarelli alla Reale Galleria di Firrenze<\/em>, Firenze, 1870<\/td>\n<\/tr>\n
Santarelli, 1967<\/strong><\/td>\nDisegni italiani della collezione Santarelli Sec. XV\u2013<\/span>XVIII<\/em>, exh. cat., Florence, 1967<\/td>\n<\/tr>\n
Santuario della Santissima Annunziata<\/em>, 1876<\/strong><\/td>\nIl Santuario della Santissma Annunziata di Firenze, Guida storico-illustrativa, compilata da un religioso dei Servi di Maria<\/em>, Florence, 1876<\/td>\n<\/tr>\n
Sarto, 1986<\/strong><\/td>\nAndrea del Sarto 1486-1530. Dipintie disegni a Firenze<\/em>, exh. cat., Florence, Palazzo Pitti, 8 November 1986\u2013<\/span>1 March 1987<\/td>\n<\/tr>\n
Sarto e Pontormo, 1910<\/strong><\/td>\nMostra dei diseani di Andrea del Sarto a del Pontormo<\/em>, Gabinetto disegni e stampe degli Uffizi, Florence, 1910<\/td>\n<\/tr>\n
Saulnier, F\u00eates<\/em>, II, 1960<\/strong><\/td>\nSaulnier, V. L., “Charles Quint traversant la France: ce qu’en dirent les po\u00e8tes fran\u00e7ais,” F\u00eates<\/em>, II, 1960, 206\u2013<\/span>233<\/td>\n<\/tr>\n
Scailli\u00e9rez, 1992<\/strong><\/td>\nScailli\u00e9rez, C\u00e9cile, Fran\u00e7ois Ier<\/sup> et ses artistes dans les collections du Louvre<\/em>, exh. cat., Paris, 1992<\/td>\n<\/tr>\n
Schab, 1986<\/strong><\/td>\nSchab, Frederick, From Michelangelo to Rosso, Engravings and Chiaroscuro Woodcuts of the Sixteenth Century Illustrating Mannerism in Italy and the School of Fontainebleau<\/em>, exh. cat., William Schab Gallery, Inc., introduction by Konrad Oberhuber, New York, 15 January\u2013<\/span>15 March 1986<\/td>\n<\/tr>\n
Schaefer, 1986<\/strong><\/td>\nSchaefer, Scott, “Unfamiliar Mannerist and Baroque Paintings”, Apollo<\/em>, New series, CXXIV, no. 297, 1986, 410\u2013<\/span>413<\/td>\n<\/tr>\n
Sch\u00e9fer, 1894\u2013<\/span>1929<\/strong><\/td>\nSch\u00e9fer, Gaston, Catalogues des estampes dessins et cartes composant le cabinet des estamnes de la Biblioth\u00e8gue de l’Arsenal<\/em>, Paris, 1894\u2013<\/span>1929<\/td>\n<\/tr>\n
Sch\u00e9le, 1965<\/strong><\/td>\nSch\u00e9le, Sune, Cornelis Bos. A Study of the Origins of the Netherland Grotesque<\/em>, Stockholm, 1965<\/td>\n<\/tr>\n
Schiller, 1971, 1972<\/strong><\/td>\nSchiller, Gertrude, Iconography of Christian Art<\/em>, 2 vols., London, 1971 and 1972<\/td>\n<\/tr>\n
Schlosser Magnino, 1956<\/strong><\/td>\nSchlosser Magnino, Julius, La letteratura artistica<\/em>, 2nd ed., enlarged by Otto Kurz, trans. Filippo Rossi, Florence\u2013<\/span>Vienna, 1956<\/td>\n<\/tr>\n
Schneebalg-Perelman, 1982<\/strong><\/td>\nSchneebalg-Perelman, Sophie, Les Chasses deMaximillien. Les \u00e9nigmes d’un chef-d’oeuvre de la tapisserie<\/em>, Brussels, 1982<\/td>\n<\/tr>\n
Scholz, 1961<\/strong><\/td>\nScholz, Janos, Drawings from Tuscany and Umbria 1350\u2013<\/span>1700<\/em>, exh. cat., Oakland and Berkeley, 1961<\/td>\n<\/tr>\n
School of Fontainebleau<\/em>, Fort Worth, 1965<\/strong><\/td>\nThe School of Fontainebleau<\/em>, exh. cat., Fort Worth Art Center and University Art Museum, The University of Texas, 1965<\/td>\n<\/tr>\n
Schuchardt, 1848<\/strong><\/td>\nSchuchardt, Christian, Katalog: Goethes Kunstsammlunoen<\/em>, I, Jena, 1848<\/td>\n<\/tr>\n
Scritti…in onore di…Zeri<\/em>, 1984<\/strong><\/td>\nScritti di storia dell’arte in onore di Federico Zeri<\/em>, ed. Mauro Natale, Milan, 1984<\/td>\n<\/tr>\n
Seizi\u00e8me Siecle\u2026Dessins du Louvre<\/em>, 1965<\/strong><\/td>\nLe Seizi\u00e8me Si\u00e8cle Europ\u00e9en Dessins du Louvre<\/em>, exh. cat., Mus\u00e9e du Louvre, Paris, 1965<\/td>\n<\/tr>\n
Seizieme si\u00e8cle…dessins<\/em>, 1965\u2013<\/span>1966<\/strong><\/td>\nLe Seizi\u00e8me si\u00e8cle euron\u00e8en. Peintures et dessins Bans les collection publique fran\u00e7aise<\/em>, exh, cat., October 1965\u2013<\/span>January 1966, Petit Palais, Paris, 1965\u2013<\/span>1966<\/td>\n<\/tr>\n
Seizi\u00e8me Si\u00e8cle\u2026Rothschild<\/em>, 1965\u2013<\/span>1966<\/strong><\/td>\nLe Seizi\u00e8me Si\u00e8cle Europ\u00e9en. Gravures et Dessins du Cabinet Edmond de Rothschild<\/em>, exh. cat., Mus\u00e9e du Louvre, Paris, 1965\u2013<\/span>1966<\/td>\n<\/tr>\n
Serie degli uomini<\/em>, Florence, 1772<\/strong><\/td>\nSerie degli uomini i pi\u00f9 illustratri nella pittura, scultura, e architettura con i loro elogi, e ritratti incisi in rame della prima restaurazione delle nominate belle arti find ai tempi presenti<\/em>, V, Firenze, 1772<\/td>\n<\/tr>\n
Serr\u00e3o, 1994 (1996)<\/strong><\/td>\nSerr\u00e3o, Victor, \u201cIl pittore portoghese Antonio Campelo e la maniera italiana 1550\u2013<\/span>1580,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 185\u2013<\/span>189<\/td>\n<\/tr>\n
Servolini, 1930<\/strong><\/td>\nServolini, Luigi., La Xilografia a Chiaroscuro_italiana nei Secoli XVI. XVII, e XVIII<\/em>, Lecco, 1930<\/td>\n<\/tr>\n
Servolini, 1932<\/strong><\/td>\nServolini, Luigi, “Un incisore del Cinquecento: Cherubino Alberti,” Dedalo<\/em>, XII, 1932, 753\u2013<\/span>772<\/td>\n<\/tr>\n
Seward, 1973<\/strong><\/td>\nSeward, Desmond, Prince of the Renaissance, The Life of Fran\u00e7ois I<\/em>, London, 1973<\/td>\n<\/tr>\n
Sezanne, 1958<\/strong><\/td>\nSezanne, G. B., Arezzo illustrata memorie istoriche letterarie e artistische<\/em>, Firenze, 1958<\/td>\n<\/tr>\n
Sheard, 1978<\/strong><\/td>\nSheard, Wendy Stedman, Antiquity in the Renaissance<\/em>, exh. cat., Smith College Museum of Art, Northhampton, Mass., 1978<\/td>\n<\/tr>\n
Shearman, 1957<\/strong><\/td>\nShearman, John, Developments in the Use of Color in Tuscan Painting of the Early Sixteenth Century<\/em>, PhD Thesis, University of London, 2 vols., 1957<\/td>\n\u00a0<\/td>\n<\/tr>\n
Shearman, 1959<\/strong><\/td>\nShearman, John, “Giulio Romano” (review of Hartt, 1958), BM<\/em>, CI, 1959, 456\u2013<\/span>460<\/td>\n<\/tr>\n
Shearman, 1960<\/strong><\/td>\nShearman, John, “Rosso, Pontormo, Bandinelli,and Others at S.S. Annunziata,” BM<\/em>, CII, 1960, 152\u2013<\/span>156<\/td>\n<\/tr>\n
Shearman, 1963<\/strong><\/td>\nShearman, John, “Maniera<\/em> as an Aesthetic Ideal,” The Renaissance and Mannerism, Studies in Western Art<\/em>, Princeton, 1963, 200\u2013<\/span>221<\/td>\n<\/tr>\n
Shearman, 1965<\/strong><\/td>\nShearman, John, Andrea del Sarto<\/em>, 2 vols., Oxford, 1965<\/td>\n\u00a0<\/td>\n<\/tr>\n
Shearman, 1966<\/strong><\/td>\nShearman, John, “The ‘Dead Christ’ by Rosso Fiorentino,” Boston Museum Bulletin<\/em>, LXIV, no. 338, 1966, 148\u2013<\/span>172<\/td>\n<\/tr>\n
Shearman, 1967<\/strong><\/td>\nShearman, John, Mannerism<\/em>, Harmondsworth, Baltimore, Ringwood, 1967<\/td>\n<\/tr>\n
Shearman, BM<\/em>, 1966<\/strong><\/td>\nShearman, John, “Le Seizi\u00e8me si\u00e8cle europ\u00e9en,” BM<\/em>, CVIII, 1966, 59\u2013<\/span>67<\/td>\n<\/tr>\n
Shearman, “Palazzo del Te,” 1967<\/strong><\/td>\nShearman, John, “Osservazioni sulla chronologia e l’evoluzione del Palazzo del Te,” Bollettino del Centro internazionale di studi d’architectura Andrea Palladio<\/em>, (C.I.S.A.), IX, 1967, 434\u2013<\/span>438<\/td>\n<\/tr>\n
Shearman, 1975<\/strong><\/td>\nShearman, John, “The Florentine Entrata<\/em> of Leo X, 1515,” JWCI<\/em>, 38, 1975, 136\u2013<\/span>154<\/td>\n<\/tr>\n
Shearman, 1977<\/strong><\/td>\nShearman, John, “An Episode in the History of Conservation: The Fragments of Pernino’s Altarpiece from S. Maria supra Minerva,” Scritti di Storia dell”Ante in onore di Ugo Procacci<\/em>, II, Milan, 1977, 356\u2013<\/span>364<\/td>\n<\/tr>\n
Shearman, 1980<\/strong><\/td>\nShearman, John, “The Gallerie Fran\u00e7ois Premier. A Case in Point,” Miscellanea Musicologica. Adelaide studies in Musicology<\/em>, XI, 1980, 1\u2013<\/span>16<\/td>\n<\/tr>\n
Shearman, 1987<\/strong><\/td>\nShearman, John, “The exhibitions for Andrea del Sarto’s fifth centenary,” BM<\/em>, CXXIX, 1987, 498\u2013<\/span>502<\/td>\n<\/tr>\n
Shoemaker and Broun, 1981<\/strong><\/td>\nShoemaker, Innis H., and Elizabeth Broun, The Enaravings of Marcantonio Raimondi<\/em>, exh. cat., Lawrence, Kansas, 1981<\/td>\n<\/tr>\n
Sicca, 1994 (1996)<\/strong><\/td>\nSicca, Cinzia, \u201cRosso e l\u2019Inghilterra,\u201d in Empoli e Volterra<\/em>, 1994 (1996), 147\u2013<\/span>156<\/td>\n<\/tr>\n
Siever, 2000<\/strong><\/td>\nSiever, Anne H., \u201cThe Martyrdom of Saints Marcus and Marcellinus,\u201d Master Drawings from the Smith College Museum of Art<\/em>, New York, 2000, 37\u2013<\/span>39, No. 5, and Color Pl.<\/td>\n<\/tr>\n
Sinding-Larsen, 1974<\/strong><\/td>\nSinding-Larsen, Staale, “Christ in the Council Hall. Studies in the Religious Iconography of the Venetian Republic,” Institutum Romanum Norvegiae, Acta ad Archaeologiam et Artium Historiam pertinentia<\/em>, V, 1974<\/td>\n<\/tr>\n
Sinding-Larsen, 1984<\/strong><\/td>\nSinding-Larsen, Staale, Iconography and Ritual, A Study of Analytical Perspectives<\/em>, Oslo, 1984<\/td>\n<\/tr>\n
Sinibaldi, 1960<\/strong><\/td>\nSinibaldi, Giulia, Mostra di disegni dei Grand maestri<\/em>, exh. cat., 1\u2013<\/span>15 June 1560, Gabinetto dei disegni e delle Stampe, Uffizi, Florence, 1960<\/td>\n<\/tr>\n
Sinibaldi, 1960\u2013<\/span>1961<\/strong><\/td>\nSinibaldi, Giulia, Italian Drawings Masterpieces of Five Centuries<\/em>, exh. cat., Smithsonian Institution, 1960\u2013<\/span>1961<\/td>\n<\/tr>\n
Smith, 1976<\/strong><\/td>\nSmith, Graham, “Rosso Fiorentino’s Sposalizio in San Lorenzo,” Pantheon<\/em>, XXXIV, I, 1976, 24\u2013<\/span>30<\/td>\n<\/tr>\n
Smith, Zeitschrift<\/em>, 1976<\/strong><\/td>\nSmith, Graham, “On the Original Location of Rosso Fiorentino’s Descent from the Cross,” Zeitschrift f\u00fcr Kunstgeschichte<\/em>, 39, 1976, 67\u2013<\/span>70<\/td>\n<\/tr>\n
Smith, 1977<\/strong><\/td>\nSmith, Graham, “‘Moses and the Daughters of Jethro’ by Rosso Fiorentino,” Pantheon<\/em>, XXV, 1977, 198\u2013<\/span>204<\/td>\n<\/tr>\n
Smith, 1978<\/strong><\/td>\nSmith, Graham, “Bronzino’s Use of Prints: Some Suggestions,” The Print Collector’s Newsletter<\/em>, IX, 4, 1978, 110\u2013<\/span>113<\/td>\n<\/tr>\n
Smith, 1980<\/strong><\/td>\nSmith, Robert, “Mannerism and modernism,” Miscellanea Musicologica. Adelaide Studies in Musicology<\/em>, XI, 1980, 17\u2013<\/span>27<\/td>\n<\/tr>\n
Smyth, 1949<\/strong><\/td>\nSmyth, Craig Hugh, “The Earliest Works of Bronzino,” AB<\/em>, XI, 1949, 186\u2013<\/span>210<\/td>\n\u00a0<\/td>\n<\/tr>\n
Smyth, 1962; 1992<\/strong><\/td>\nSmyth, Craig Hugh, Mannerism and “Maniera,” <\/em>Locust Valley, N.Y., 1962; second edition, with an Introduction by Elizabeth Cropper, Vienna, 1992<\/td>\n<\/tr>\n
Smyth, 1963<\/strong><\/td>\nSmyth, Craig Hugh, “Mannerism and Maniera<\/em>,” The Renaissance and Mannerism. Studies in Western Art<\/em>, Acts of Twentieth International Congress of the History of Art, II, Princeton, 1963, 174\u2013<\/span>199<\/td>\n<\/tr>\n
Smyth, 1971<\/strong><\/td>\nSmyth, Craig Hugh, Bronzino as Draughtsman, An Introduction<\/em>, Locust Valley, 1971<\/td>\n<\/tr>\n
Spike, John, IB<\/em>, 30, 1985<\/strong><\/td>\nSpike, John, ed., The Illustrated Bartsch, 30, Formerly Volume 15 (Part 3), Italian Masters of the Sixteenth Century, Enea Vico<\/em>, New York, 1985<\/td>\n<\/tr>\n
Sricchia Santora, 1966<\/strong><\/td>\nSricchia Santoro, Fiorella, Alonso Berruguete<\/em> (I Maestri delta Sculture<\/em>), Milan, 1966<\/td>\n<\/tr>\n
Stefaniak, 1992<\/strong><\/td>\nStefaniak, Regina, “Replicating Mysteries of the Passion: Rosso’s Dead Christ with Angels<\/em>,” Renaissance Quarterly, XLV, 4, 1992, 677\u2013<\/span>738<\/td>\n<\/tr>\n
Steinberg, 1970<\/strong><\/td>\nSteinberg, Leo, “The Metaphors of Love and Birth in Michelangelo’s Piet\u00e0s<\/em>,” Studies in Erotic Art<\/em>, ed. T. Bowie and C. V. Christenson, New York\u2013<\/span>London, 1970, 231\u2013<\/span>335<\/td>\n<\/tr>\n
Steinberg, 1983<\/strong><\/td>\nSteinberg, Leo, “The Sexuality of Christ in Renaissance Art and in Modern Oblivion,” October<\/em>, 25, 1983<\/td>\n<\/tr>\n
Stendhal, 1817<\/strong><\/td>\nStendhal (Marie Henri Beyle), Histoire de la Peinture en Italie<\/em>, 2 vols., Paris, 1817<\/td>\n<\/tr>\n
Stephens, 1983<\/strong><\/td>\nStephens, John N., The Fall of the Florentine Republic, 1512\u2013<\/span>1530<\/em>, (Orford Warburg Studies) Oxford\u2013<\/span>New York, 1983<\/td>\n<\/tr>\n
Sterling, 1935<\/strong><\/td>\nSterling, Charles, L’art italien de Cimabue a Tiepolo<\/em>, exh. cat., Petit Palais, Paris, 1935<\/td>\n<\/tr>\n
Sterling, 1955<\/strong><\/td>\nSterling, Charles, The Metropolitan Museum ofArt, A Catalogue of French Paintings XV\u2013<\/span>XVIII Centuries<\/em>, Cambridge, Mass., 1955<\/td>\n<\/tr>\n
Stix and Fr\u00f6lich-Bum, 1932<\/strong><\/td>\nStix, Alfred, and L. Fr\u00f6hlich-Bum, Beschreibender Katalog der Handzeichnungen in der Graphischen Sammlung Albertina<\/em>, III, Die Zeichnunoen der Toskanischen Umbrischen and Ramischen Schulen<\/em>, Vienna, 1932<\/td>\n<\/tr>\n
Stix and Spitzm\u00fcller, 1941<\/strong><\/td>\nStix, Alfred, and Anna Spitzm\u00fcller, Beschreibender Katalog der Handzeichnungen in der Graphischen Sammlung Albertina<\/em>, VI, Die Schulen von Ferrara, Bologna, Parma und Modena, der Lombardei, Genuas, Neapels und Siziliens, mit einem Nachtag zur allen Italienischen Schulen<\/em>, Vienna, 1941<\/td>\n<\/tr>\n
Strauss, 1981<\/strong><\/td>\nStrauss, W. L., ed., The Intaglio Prints of Albrecht D\u00fcrer. Engravings, Etchings and Dry Points<\/em>, New York, 1981<\/td>\n<\/tr>\n
Summers, 1987<\/strong><\/td>\nSummers, David, The Judgment of Sense. Renaissance Naturalism and the Rise of Aesthetics<\/em>, Cambridge, 1987<\/td>\n<\/tr>\n
Symonds, 1893<\/strong><\/td>\nSymonds, John Addington, The Life of Michelangelo Buonarroti<\/em>, 3rd edition, London, 1893<\/td>\n<\/tr>\n
Tauzia, 1878<\/strong><\/td>\nTauzia, L. Both de, Notice des tableaux expos\u00e9s dans les Galeries du Mus\u00e9e National du Louvre<\/em>, I, Paris, 1878<\/td>\n<\/tr>\n
Tauzia, 1881<\/strong><\/td>\nTauzia, L. Both de, Notice des dessins de la collection His de la Salle expos\u00e9s au Louvre<\/em>, Paris, 1881<\/td>\n<\/tr>\n
Tenenti, 1957<\/strong><\/td>\nTenenti, A., Il senso della morte a l’amore della vita nel rinascimento (Francia e Italia)<\/em>, Turin, 1957<\/td>\n<\/tr>\n
Terrasse, 1949<\/strong><\/td>\nTerrasse, Charles, “Sur deux peintures all\u00e9goriques de la Galerie Fran\u00e7ois Ier<\/sup> a Fontainebleau,” Mus\u00e9es de France<\/em>, 1949, no. VI, 1949, 176\u2013<\/span>178<\/td>\n<\/tr>\n
Terrasse, 1951<\/strong><\/td>\nTerrasse, Charles, Fontainebleau<\/em> (Mus\u00e9e des Grandes Architectures), Paris, 1951<\/td>\n<\/tr>\n
Terrasse, III, 1970<\/strong><\/td>\nTerrasse, Charles, Francois Ier<\/sup>, Le Roi et le regne<\/em>, 3 vols., Paris, 1945\u2013<\/span>1970<\/td>\n<\/tr>\n
Terrasse, 1981<\/strong><\/td>\nTerrasse, Charles, “Sur quelques fresques et stucs de la Gallerie Fran\u00e7ois Ier<\/sup> \u00e0 Fontainebleau. L’El\u00e9phant Fleurdelys\u00e9. Le Noed Gordien. L’\u00c9pouse Volage,” GdBA<\/em>, 6th period, XCVIII, 1981, 33\u2013<\/span>36<\/td>\n<\/tr>\n
Tervarent, 1952<\/strong><\/td>\nTervarent, Guy de, Les Enigmes de l’art, L’Art savant<\/em>, Bruges, n.d. [1952], IV, “La Pens\u00e9e du Rosso,” 28\u2013<\/span>45<\/td>\n<\/tr>\n
Tervarent, 1956<\/strong><\/td>\nTervarent, Guy de S. de, “L’origine des fontaines anthropomorphes,” Bulletin de la Classes des Beaux-Arts de l’Academie Royale de Belgique<\/em>, 33, 1956, 122\u2013<\/span>129<\/td>\n<\/tr>\n
Tervarent, 1958<\/strong><\/td>\nTervarent, Guy de, “Attributs et symbols daps l’art profane 1450-1460,” Dictionaire d’un langage perdu<\/em>, I, Geneva, 1958<\/td>\n<\/tr>\n
Testaverde Matteini, 1983<\/strong><\/td>\nTestaverde Matteini, Anna Maria, “La biblioteca erudita di Don Vincenzo Borghini,” Firenze e la Toscana dei Medici nell’ Europa del ‘500<\/em>, III, Florence, 1983, 611\u2013<\/span>643<\/td>\n<\/tr>\n
Testaverde Matteini, 1988<\/strong><\/td>\nTestaverde, Matteini, Anna Maria, “La decorazione festiva e l’intinerario di ‘rifondazione’ della citt\u00e0 negli ingressi trionfali a Firenze tra XV e XVI secolo,” Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, XXXII, 3, 1988, 323\u2013<\/span>352<\/td>\n<\/tr>\n
Theodoor van Thulden<\/em>, 1991<\/strong><\/td>\nTheodoor van Thulden. Een Zuidnederlandse barokschilder. Un peintre baroque du cercle de Rubens<\/em>, ed. Alain Roy, Zwolle, 1991<\/td>\n<\/tr>\n
Thiem, 1961<\/strong><\/td>\nThiem, Christel and Gunther, “Andrea di Ccsimo Feltrini and die Groteskendekoraticn der Florentiner Hochrenaissance,” Zeitscrift f\u00fcr Kunstgeschichte<\/em>, XXIV, 1961, 1\u2013<\/span>39<\/td>\n<\/tr>\n
Thieme-Becker<\/strong><\/td>\nThieme, U. and F. Becker, ed., Allgemeines Lexikon der bildenden K\u00fcnstler<\/em>, 37 vols., Leipzig, 1907\u2013<\/span>1950<\/td>\n<\/tr>\n
Thirion, 1971<\/strong><\/td>\nThirion, Jacques, “Rosso et les arts d\u00e9coratifs,” RdA<\/em>, 13, 1971, 32\u2013<\/span>47<\/td>\n<\/tr>\n
Thode, 1908\u2013<\/span>1513<\/strong><\/td>\nThode, Henry, Michelangelo, Kritische Untersuchungen \u00fcber seine Werke<\/em>, 3 vols., Berlin, 1908\u2013<\/span>1913<\/td>\n<\/tr>\n
Thomas, 1559<\/strong><\/td>\nThomas. Bruno, “Die M\u00fcncher Harnischvorzeichnungen im Stil Fran\u00e7ois I,” Jahrbuch der Kunsthistorischen Sammlungen in Wien<\/em>, 55, 1959, 31\u2013<\/span>74<\/td>\n<\/tr>\n
Timbal and Metman, 1967<\/strong><\/td>\nTimbal, Pierre-Cl\u00e9ment and Josette Metman, “Ev\u00e9que de Paris et Chapitre de Notre-Dame: La juridiction dans la cath\u00e9dral au moyen ege,” Huitieme centenaire de Notre-Dame de Paris (Congr\u00e8s des 30 Mai\u2013<\/span>3 Juin 1964)<\/em>, Paris, 1967, 115\u2013<\/span>140<\/td>\n<\/tr>\n
Titi, 1686<\/strong><\/td>\nTiti, Filippo, Ammaestramento utile e curioso di pittura, scultura e architettura nelle chiese di Roma, Et in fine un’Aggiunta, dove \u00e8 discritto il Duomo di Citt\u00e0 di Castello<\/em>, Rome, 1686<\/td>\n<\/tr>\n
Tolnay, 1943\u2013<\/span>1960<\/strong><\/td>\nTolnay, Charles de, Michelangelo<\/em>, 5 vols., 1943\u2013<\/span>1960<\/td>\n<\/tr>\n
Trinchieri Camiz, 1994<\/strong><\/td>\nTrinchieri Camiz, Franca, “The Roman ‘studio’ of Francesco Villamena,” BM<\/em>, CXXXVI, 1994, 506\u2013<\/span>516<\/td>\n<\/tr>\n
Turner, 1986<\/strong><\/td>\nTurner, Nicholas, Florentine Drawings of the Sixteenth Century<\/em>, exh. cat., 22 May\u2013<\/span>17 August 1986, British Museum, London, 1986<\/td>\n<\/tr>\n
Turner, 2007<\/strong><\/td>\nTurner, James Grantham, Caraglio’s “Loves of the Gods,” Print Quarterly, 24, no. 4, Dec. 2007, 359\u2013<\/span>380<\/td>\n<\/tr>\n
Triomphe du Mani\u00e9risme<\/em>, 1955<\/strong><\/td>\nLe Triomphe du Mani\u00e9risme Eurp\u00e9en de Michel-Ange au Gr\u00e9co<\/em>, exh. cat., Riaksmuseum, Amsterdam, 1955<\/td>\n<\/tr>\n
Tyler, 1959<\/strong><\/td>\nTyler, Royall, The Emperor Charles the Fifth<\/em>, London, 1956<\/td>\n<\/tr>\n
Uffizi Cat<\/em>., 1902<\/strong><\/td>\nSee Ridolfi, 1902<\/td>\n<\/tr>\n
Uffizi Cat<\/em>., 1979<\/strong><\/td>\nGli Uffizi, Catalocro Generale<\/em>, Florence, 1979<\/td>\n<\/tr>\n
Urban, 1961<\/strong><\/td>\nUrban, G\u00fcnter,”Die Cappella Cesi in S. Maria della Pace and die Zeichnungen des Antonio da Sangallo,” Miscellanea Bibliothecae Hertzianae, zu Ehren von Leo Bruhns, Franz Graf Wolff Metternich, Ludwic Schudt (R\u00f6mische Forschunoen der Bibliotheca Hertziana, XVI)<\/em>, Munich, 1961, 213\u2013<\/span>238<\/td>\n<\/tr>\n
Urbino e le Marche<\/em>, 1983<\/strong><\/td>\nUrbino e le Marche prima e dopo Raffaello<\/em>, exh, cat., ed. Maria Grazie Ciardi Dupr\u00e9 dal Poggetto and Paolo Dal Poggetto, Palazzo Ducale and Chiesa di San Domenico, Urbino, 30 July\u2013<\/span>30 October 1983, Florence, 1983<\/td>\n<\/tr>\n
Vaccaro, 1996<\/strong><\/td>\nVaccaro, Mary, Review of Franklin, 1994, Sixteenth Century Journal<\/em>, XXVII, 1, 1996, 292\u2013<\/span>293<\/td>\n<\/tr>\n
Valle, 1994<\/strong><\/td>\nValle, Goffredo Ademollo, Rosso Fiorentino a Piombino: Il ritratto di Jacopo V Appiani<\/em>, Piombino, 1994<\/td>\n<\/tr>\n
Vallone, 1993<\/strong><\/td>\nVallone, Giancarlo, “Contribute allo studio dell’arte del ferro tra Italia e Francia: Due chiavi gi\u00e0 attribuite al Cellini,” BdA<\/em>, 77, 1993, 63\u2013<\/span>78<\/td>\n<\/tr>\n
Vanaise, 1973<\/strong><\/td>\nVanaise, Paul, “Cahier in\u00e9dit de Tabellion de 1535. D\u00e9penses pour le parach\u00e8vement et la peinture d’ouvrages de stuc dans la Chambre du Roi, la Galerie Fran\u00e7ois Ier<\/sup> et la Chambre de la Reine au Ch\u00e2teau de Fontainebleau,” Bulletin de la Classe des Beaux-Arts, Acad\u00e8mie Royale de Belgique<\/em>, 5th series, LV, 10, 1973, 133\u2013<\/span>193<\/td>\n<\/tr>\n
Van Marle, XVI, 1937<\/strong><\/td>\nVan Marle, Raimond, The Development of the Italian Schools of Painting<\/em>, XVI, The Hague, 1937<\/td>\n<\/tr>\n
Van Regteren Altena, 1966<\/strong><\/td>\nVan Regteren Altena, J. Q., Les dessins italiens de la Reine Christine de Su\u00e8de, Analecta Reginensia II<\/em>, Stockholm, 1966<\/td>\n<\/tr>\n
Vasari, 1550<\/strong><\/td>\nVasari, Giorgio, Le vite de piu eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a’temni nostri<\/em>, 3 parts in 2 vols., Torrentino, Florence, 1550; facsimile, Ann Arbor, 1978<\/td>\n<\/tr>\n
Vasari, 1568<\/strong><\/td>\nVasari, Giorgio, Delle vice de’ piu eccellenti pittori scultori et architettori<\/em>, 3 vols, Giunti, Florence, 1568<\/td>\n<\/tr>\n
Vasari-Barccchi, Michelangelo, 1962<\/strong><\/td>\nVasari, Giorgio, La Vita di Michelanclo nelle redazioni del 1550 e del 1568<\/em>, 5 vols., Milan\u2013<\/span>Naples, 1962<\/td>\n<\/tr>\n
Vasari-Bettarini Barocchi, 1976<\/strong><\/td>\nVasari, Giorgio, Le Vite…nelle redazionidel 1550 a 1568<\/em>, ed. Rosanna Bettarini and Paola Barocchi, Florence, IV, Florence, 1976<\/td>\n<\/tr>\n
Vasari-Bottari, 1759\u2013<\/span>1760<\/strong><\/td>\nVasari, Giorgio, Le Vite…<\/em>,ed. Giovanni Bottari, 3 vols., Rome, 1759\u2013<\/span>1760<\/td>\n<\/tr>\n
Vasari-Darragon, 1984<\/strong><\/td>\nVasari, Giorgio, Les Vies des meilleurs peintres, sculpteurs et architectes<\/em>, French translation and commentary under direction of Andr\u00e9 Chastel, VI, “Vie de Rosso’,” trans. Eric Darragaon, Paris, 1984, 175\u2013<\/span>194<\/td>\n<\/tr>\n
Vasari-Del Vita, 1938<\/strong><\/td>\nIl Libro delle Ricordanze di Giorgio Vasari<\/em>, ed. Alessandro del Vita, Rome 1938<\/td>\n<\/tr>\n
Vasari-De Vere, 1912\u2013<\/span>1915<\/strong><\/td>\nVasari, Giorgio, Lives of the Most Eminent Painters Sculptors and Architects<\/em>, trans. Gaston de Vere, 10 vols., London, 1912\u2013<\/span>1915<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Frey, 1934<\/strong><\/td>\nVasari, Giorgio, Der Literarische Nachlass Giorgio Vasaris<\/em>, ed. Carl and Hweman-Walther Frey, 2 vols., Munich, 1923, 1930<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Foster, 1890\u2013<\/span>1892<\/strong><\/td>\nVasari, Giorgio, Lives of the Most Eminent Painters, Sculptors and Architects<\/em>, trans. Mrs. Jonathan Foster, 5 vols., London, 1890\u2013<\/span>1892<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Heikamp, 1964<\/strong><\/td>\nVasari, Giorgio, Vita di Baccio Bandinelli scultore fiorentino di Giorgio Vasari<\/em>, ed. Detlef Heikamp, Milan, 1964<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Milanesi, 1878\u2013<\/span>1885, 1906<\/strong><\/td>\nLe opere di Giorgio Vasari<\/em>, ed. GaetanoMilanesi, 9 vols., Florence, 1878\u2013<\/span>1885; reprint, 1906<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Novara, 1967<\/strong><\/td>\nVasari, Giorgio, Le vite de’ pi\u00f9 eccellenti Pittori scultori e architettore<\/em>, 9 vols., Novara, 1967<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Ricci, 1927<\/strong><\/td>\nLe vite del Vasari nell’edizione del MDL<\/em>, ed. Corrado Ricci, 4 vols., Milan\u2013<\/span>Rome, 1927<\/td>\n<\/tr>\n
Vasari\u2013<\/span>Turin, 1986<\/strong><\/td>\nVasari, Giorgio, Le vite de’ pi\u00f9 eccellenti architetti, pittori, et scultori italiani, da Cimabue in sino \u00e0 tempi nostri, nell’ edizione per i tipi di Lorenzo Torrentino, Firenze, 1550<\/em>, ed. Luciano Bellosi and Aldo Rossi, notes to Part III by Fabrizio Guidi, Turin, 1986<\/td>\n<\/tr>\n
Vatout, 1852<\/strong><\/td>\nVatout, G. F., Le Palais de Fontainebleau, son histoire, sa description<\/em>, Paris, 1852<\/td>\n<\/tr>\n
Vaux de Foletier, 1966<\/strong><\/td>\nVaux de Foletier, Fran\u00e7ois de, “Iconographie des Egyptiens: Pr\u00e9cision sur le costume ancien des tsiganes,” GdBA<\/em>, 6th period, LXVIII, 1966, 165\u2013<\/span>172<\/td>\n<\/tr>\n
Venturi, IX, 5, 1932<\/strong><\/td>\nVenturi, Adolf, Storia dell’Arte Italiana<\/em>, IX, 5, Milan, 1932<\/td>\n<\/tr>\n
Verdier, 1967<\/strong><\/td>\nVerdier, Philippe, Catalogue of the Painted Enamels of the Renaissance<\/em>, The Walters Art Gallery, Baltimore, 1967<\/td>\n<\/tr>\n
Viatte, 1965\u2013<\/span>1966<\/strong><\/td>\nViatte, Germain, Le XVIe<\/sup> si\u00e8cle europ\u00e9en tapisseries<\/em>, exh. cat., Paris, Mobilier National, 1965\u2013<\/span>66<\/td>\n<\/tr>\n
Viatte, 1988<\/strong><\/td>\nViatte, Fran\u00e7oise, Inventaire G\u00e9n\u00e9ral des Dessins italiens, III, Dessins Toscans XVIe<\/sup>\u2013<\/span>XVIIIe<\/sup> Si\u00e8cles<\/em>, I, 1560\u2013<\/span>1640, Paris, 1988<\/td>\n<\/tr>\n
Villot, 1849, 1854<\/strong><\/td>\nVillot, Marie Joseph Fr\u00e9d\u00e9ric, Notice des tableaux expos\u00e9s dand les galeries du Mus\u00e9e Imp\u00e9rial du Louvre<\/em>, I, \u00c9cole d’Italie et d`Espagne<\/em>, Paris, 1849, 1854<\/td>\n<\/tr>\n
Von Erdberg and Ross, 1952<\/strong><\/td>\nVon Erdberg, Joan Prentice, and Marvin C. Ross, Catalogue of the Italian Majolica in the Walters Art Gallery<\/em>, Baltimore, 1952<\/td>\n<\/tr>\n
Von Holst, 1974<\/strong><\/td>\nVon Holst, Christian, Francesco Granacci<\/em>, Munich, 1974<\/td>\n<\/tr>\n
Voragaine, V, 1900<\/strong><\/td>\nVoragaine, Jacobus de, The Golden Legend or Lives of the Saints as Englished by William Caxton<\/em>, London, V, 1900<\/td>\n<\/tr>\n
Voragaine, 1969<\/strong><\/td>\nVoragaine, Jacobus de, The Golden Legend<\/em>, translated and adapted from the Latin by Granger Ryan and Helmut Ripperger, New York, 1969<\/td>\n<\/tr>\n
Voss, 1920<\/strong><\/td>\nVoss, Herman, Die Malerie der Sp\u00e4trenaisance in Rom and Florenz<\/em>, 2 vols., Berlin, 1920<\/td>\n<\/tr>\n
Voss, 1928<\/strong><\/td>\nZeichnungen der Italienischen Sp\u00e4trenaissance<\/em>, Munich, 1928<\/td>\n<\/tr>\n
Waagen, 1838<\/strong><\/td>\nWaagen, G. F., Works of Art and Artists in England<\/em>, 3 vols., London, 1838<\/td>\n<\/tr>\n
Waagen, 1854<\/strong><\/td>\nWaagen, G. F., Treasures of Art in Great Britain<\/em>, III, London, 1854<\/td>\n<\/tr>\n
Waagen, 1857<\/strong><\/td>\nWaagen, G. F., Galleries and Cabinets of Art in Great Britain<\/em>, (Supplement to Waagen, 1854), London, 1857<\/td>\n<\/tr>\n
Wackernagel, 1938<\/strong><\/td>\nWackernagel, Martin, Der Lebensraum des Kunstlers in der florentinischen Renaissance: Autgaben un Auftraggeber, Werkstatt and Kunstmarkkt<\/em>, Leipzig, 1938<\/td>\n<\/tr>\n
Wackernagel, 1981 (1938)<\/strong><\/td>\nWackernagel, Martin, trans. Alison Luchs, (1938) The World of the Florentine Artists, Projects and Patrons, Workshop and Art Market<\/em>, Princeton, 1981<\/td>\n<\/tr>\n
Waddington, 1991<\/strong><\/td>\nWaddingtonm, Raymond B., “The Bisexual Portrait of Francis I: Fontainebleau, Castiglione, and the Tone of Courtly Mythology,” Playing with Gender. A Renaissance Pursuit<\/em>, ed. Jean R. Brink, Marianne C. Horowitz, and Alison Coudet, Urbana and Chicago, 1991<\/td>\n<\/tr>\n
Wagner, 1979<\/strong><\/td>\nWagner, Brigitte, “‘Franz\u00f6sische Groteske’\u2013<\/span>Gedanken zur Schwierigkeit einer Definition,” Zeitschrift f\u00fcr \u00c4sthetik und allgemeine Kunstwissenschaft<\/em>, 24, 2, 1979, 132\u2013<\/span>175, 265\u2013<\/span>271<\/td>\n<\/tr>\n
Waldman, 1998<\/strong><\/td>\nWaldman, Louis A., \u201cThe \u2018Master of the Kress Landscapes\u2019 Unmasked: Giovanni Larciani and the Fucecchio Altar-Piece,\u201d Burlington Magazine<\/em>, Vol. 140, no. 1144, July 1998, pp. 456\u2013<\/span>469<\/td>\n<\/tr>\n
Waldman and Franklin, 1999
<\/strong><\/td>\n		Waldman, Louis A. and David Franklin, \u201cNew Evidence for Rosso Fiorentino in Piombino,\u201d Paragone<\/em>, L, No. 587, Third Series, 23, 105\u2013<\/span>112, and Pls. 51\u2013<\/span>52<\/td>\n<\/tr>\n
Waldman, 2000<\/strong><\/td>\nWaldman, Louis A.,”The Origins and Family of Rosso Fiorentino,” BM<\/em>, vol. 142, no. 1171, October 2000, 607\u2013<\/span>612<\/td>\n<\/tr>\n
Wallach, 1974\u2013<\/span>1975<\/strong><\/td>\nWallach, Nancy Cole, “An Iconographic Interpretation of a Ceiling Painting Attributed to Caravaggio,” Marsyas<\/em>, XVII, 1974\u2013<\/span>1975, 101\u2013<\/span>112<\/td>\n<\/tr>\n
Walker Bynum, 1986<\/strong><\/td>\nWalker Bynum, Caroline, “The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg,” Renaissance Quarterly<\/em>, XXXIX, 3, 1986, 399\u2013<\/span>439<\/td>\n<\/tr>\n
Walters, 1978<\/strong><\/td>\nWalters, Margaret, The Nude Male, A New Perspective<\/em>, New York and London, 1978<\/td>\n<\/tr>\n
Ward, 1978<\/strong><\/td>\nWard, Roger B., A Catalogue of the Drawingsby Baccio Bandinelli in the British Museum<\/em>, M. A. Report, Courtauld Institute of Art, University of London, 1978<\/td>\n<\/tr>\n
Ward, 1981<\/strong><\/td>\nWard, Roger B., “Same Late Drawings by Baccio Bandinelli,” Master Drawings<\/em>, 19, 1, 1981, 3\u2013<\/span>14<\/td>\n<\/tr>\n
Ward, 1982<\/strong><\/td>\nWard, Roger B., Baccio Bandinelli as a Draughtsman<\/em>, PhD Thesis, Courtauld Institute of Art, University of London, 1982<\/td>\n<\/tr>\n
Ward, Victoria<\/em>, 1982<\/strong><\/td>\nWard, Roger B., “Observations on the Red Chalk Figure Studies of Baccis Bandinelli: Two examples at Melbourne,” Art Bulletin of Victoria<\/em>, 23, 1982, 19\u2013<\/span>37<\/td>\n<\/tr>\n
Ward, 1988<\/strong><\/td>\nWard, Roger B., Baccio Bandinelli, 1493\u2013<\/span>1560 Drawings from British Collections<\/em>, exh. cat., Cambridge, Fitzwilliam Museum, 3 May\u2013<\/span>3 July, 1988, Kansas City, Missouri, 1988<\/td>\n<\/tr>\n
Ward\u2013<\/span>Jackson, 1967<\/strong><\/td>\nWard\u2013<\/span>Jackson, Peter, “Some Main Streams and Tributaries in European Ornament From 1500 to 1750. Part I,” Victoria and Albert Museum Bulletin<\/em>, III, 2, 1967, 58\u2013<\/span>71<\/td>\n<\/tr>\n
Ward\u2013<\/span>Jackson, 1979<\/strong><\/td>\nWard\u2013<\/span>Jackson, Peter, Victoria and Albert Museum Catalogues. Italian Drawings, Volume One, 14th\u2013<\/span>16th Century<\/em>, 2 vols., London, 1979, 1980<\/td>\n<\/tr>\n
Wardropper, 1985<\/strong><\/td>\nWardropper, Ian Bruce, The Sculpture and Prints of Domenico del Barbiere<\/em>, PhD Dissertation, New York University, February 1985<\/td>\n<\/tr>\n
Wasserman, 1964<\/strong><\/td>\nWasserman, Jack, Italian Drawings to Commemorate the 400th Anniversary of the Death of Michelangelo<\/em>, exh. cat., Milwaukee, 1964<\/td>\n<\/tr>\n
Watson, 1986<\/strong><\/td>\nWatson, Wendy M., Italian Renaissance Maiolica in the William A. Clark Collection<\/em>, London, 1986<\/td>\n<\/tr>\n
Weigel, 1865<\/strong><\/td>\nWeigel, Rudolph, Die Werke der Maler in ihren Handzeichnungen, Beschreibendes Verzeichniss der in Kupfergestochenen, lithographirten und photographirten Facsimiles van Originalzeichnungen grosser Meister<\/em>, Leipzig, 1865<\/td>\n<\/tr>\n
Weigel, 1869<\/strong><\/td>\nWeigel, J. A. G., Catalogue einer Sammlung von Original-Handzeichnungen<\/em>, Leipzig, 1869<\/td>\n<\/tr>\n
Weigert, 1932; 1962<\/strong><\/td>\nWeigert, Roger-Armand, Le tapisserie fran\u00e7aise<\/em>, Faris, 1932; French Tapestry<\/em>, trans. Donald and Monique King, Newton, Mass., 1962<\/td>\n<\/tr>\n
Weil\u2013<\/span>Garris, 1977<\/strong><\/td>\nWeil-Garris, Kathleen, The Casa Santa-di Loreto. Problems in Cinquecento Sculpture<\/em>, New York\u2013<\/span>London, 1977, PhD Thesis, Harvard University, Cambridge, Mass., 1965<\/td>\n<\/tr>\n
Weinberger, 1967<\/strong><\/td>\nWeinberger, Martin, Michelangelo, the Sculptor<\/em>, London\u2013<\/span>New York, 1957<\/td>\n<\/tr>\n
Weinstein, 1989<\/strong><\/td>\nWeinstein, David, “The Art of Dying Well and Popular Piety in the Preaching and Thought of Girolamo Saronarola,” in Life and Death in Fifteenth-Century Florence<\/em>, ed. Marcel Tetel, Ronald G. Witt, and Rona Goffen, Durham and London, 1989, 88\u2013<\/span>104, 213\u2013<\/span>216<\/td>\n<\/tr>\n
Weise, 1971<\/strong><\/td>\nWeise, Il manierismo, bilancio critico del problema stilstico e culturale<\/em>, Accdemia Toscana di Scienza e Lettere “La Colombaria,” “Studi” XX, Florence, 1971<\/td>\n<\/tr>\n
Whitley, 1930<\/strong><\/td>\nWhitley, W. T., Art in England 1821\u2013<\/span>37<\/em>, Cambridge, 1930<\/td>\n<\/tr>\n
Wickhoff, 1892<\/strong><\/td>\nWickhoff, Franz, “Die Italienischen Handzeichnungen der Albertina,” Part II, “Die r\u00f6mische Schule,” Jahrbuch der Kunsthistorischen Sammlungen des Alberh\u00f6chsten Kaiserhauses<\/em>, XIII, 1892, Vienna, 175\u2013<\/span>283<\/td>\n<\/tr>\n
Wilde, 1953<\/strong><\/td>\nWilde, Johannes, Michelangelo and his Studio, (Italian Drawings in the Department of Prints and Drawings in the British Museum)<\/em>, London, 1953<\/td>\n<\/tr>\n
Wilde, 1957<\/strong><\/td>\nWilde, Johannes, “Notes on the Genesis of Michelanglo’s Leda<\/em>,” Fritz Saxl, A Volume of Memorial Essays from his Friends in England<\/em>, ed. D.J. Gordon, London, 1957, 270\u2013<\/span>280<\/td>\n<\/tr>\n
Wildenstein, 1951<\/strong><\/td>\nWildenstein, Georges, “Le go\u00fbt pour la peintures dans la bourgeoise parisienne entre 1550 et 1610,” GdBA<\/em>, 6th series, XXXVIIIA, 1951, 11\u2013<\/span>343<\/td>\n<\/tr>\n
Williams, 1985<\/strong><\/td>\nWilliams, Robert, “Notes by Vincenzo Borghini on works of art in San Gimignano and Volterra: a source for Vasari ‘Lives,”‘ BM<\/em>, CXXVII, 1985, 17\u2013<\/span>21<\/td>\n<\/tr>\n
Wilmes, 1985<\/strong><\/td>\nWilmes, Ulrich, Rosso Fiorentino und der Manierismus. Ein Beitrag zur Entwicklung der Tafelmaleri im 16. Jahrhundert<\/em>, Essen, 1985<\/td>\n<\/tr>\n
Wilson, 1987<\/strong><\/td>\nWilson, Timothy, Ceramic Art of the Italian Renaissance<\/em>, with the collaboration of Patricia Collins, and an essay by Hugo Blake, Austin, 1987<\/td>\n<\/tr>\n
Wilson\u2013<\/span>Chevalier, 1982<\/strong><\/td>\nWilson\u2013<\/span>Chevalier, Kathleen, “La post\u00e9rit\u00e9 de l’\u00c9cole de Fontainebleau dans le gravure du XVIIe<\/sup> si\u00e8cle,” Nouvelles de l’Estampe<\/em>, 62, 1982, 5\u2013<\/span>16<\/td>\n<\/tr>\n
Wilson\u2013<\/span>Chevalier, 1993<\/strong><\/td>\nWilson-Chevalier, Kathleen, “Women on Top at Fontainebleau,” Oxford Art Journal<\/em>, 16, 1, 1993, 34\u2013<\/span>48<\/td>\n<\/tr>\n
Wind, 1968<\/strong><\/td>\nWind, Edgar, Pagan Mysteries in the Renaissance<\/em>, New York, 1968<\/td>\n<\/tr>\n
Winternitz, 1967<\/strong><\/td>\nWinternitz, Emanuel, “Musical Archaeology of the Renaissance in Raphael’s Parnassus<\/em>,” in Winternitz, Emanuel, Musical Instruments and their Symbolism in Western Art<\/em>, London, 1967, 185\u2013<\/span>201; orignally published in Rendiconti della Pontificia Accademia Romana di Archeologia<\/em>, XXVII, 1952\u2013<\/span>1954<\/td>\n<\/tr>\n
Witcombe, 1989<\/strong><\/td>\nWitcombe, “An ‘Annunciation’ by Giovanni Battista Cungi,” BM<\/em>, CXXXI, 1989, 849\u2013<\/span>851<\/td>\n<\/tr>\n
Wittkower, 1937\u2013<\/span>1938<\/strong><\/td>\nWittkower, Rudolf, “Chance, Time and Virtue,” JWCI<\/em>, I, 1937\u2013<\/span>1938, 313\u2013<\/span>321<\/td>\n<\/tr>\n
Wittkower, 1963<\/strong><\/td>\nWittkower, Rudolf and Margot, Born Under Saturn<\/em>, New York, 1963<\/td>\n<\/tr>\n
Wolk\u2013<\/span>Simon, 1991<\/strong><\/td>\nWolk\u2013<\/span>Simon, Linda, “A New Drawing by Raffaellino del Colle and an Old Attribution,” Master Drawings<\/em>, 29, 3, 1991, 301\u2013<\/span>306<\/td>\n<\/tr>\n
Wood, 1990<\/strong><\/td>\nWood, Jeremy, “Padre Resta’s Flemish Drawings. Van Diepenbeeck, Van Thulden, Rubens, and the School of Fontainebleau,” Master Drawings<\/em>, 28, I, 1990, 3\u2013<\/span>53<\/td>\n<\/tr>\n
Woodbridge, 1986<\/strong><\/td>\nWoodbridge, Kenneth, Princely Gardens. The Origins and Development of the French Formal Style<\/em>, New York, 1986<\/td>\n<\/tr>\n
Wright, 1976<\/strong><\/td>\nWright, Christopher, Old Master Paintings in Britain<\/em>, London, 1976<\/td>\n<\/tr>\n
W\u00fcrtenberger, 1963<\/strong><\/td>\nW\u00fcrtenberger, Franzsepp, Mannerism, The European Style of the Sixteenth Century<\/em>, trans. Michael Heron, London, 1963<\/td>\n<\/tr>\n
Wyatt, 1859<\/strong><\/td>\nWyatt, A., “Le ‘Libro de Disegni’ du Vasari,” GdBA<\/em>, 1st series, IV, 1859, 339\u2013<\/span>351<\/td>\n<\/tr>\n
Zafran, 1988<\/strong><\/td>\nZafran, Eric M., Fifty Old Master Paintings from The Walters Art Gasllery<\/em>, Baltimore, 1988<\/td>\n<\/tr>\n
Zauber der Medusa<\/em>, 1987<\/strong><\/td>\nZauber der Medusa<\/em>, ehx. cat., organized by Werner Hofman, 3 April\u2013<\/span>12 July 1987, Wiener Kunstlerhause, Vienna, 1987<\/td>\n<\/tr>\n
Zava Boccazzi, 1962<\/strong><\/td>\nZava Boccazzi, Franca, Antonio da Trento<\/em>, Trent, 1962<\/td>\n<\/tr>\n
Zava Boccazzi, 1964<\/strong><\/td>\nZava Boccazzi, Franca, “Affreschi restaurati del Rosso Fiorentino a Fontainebleau,” Emporium<\/em>, CXXXIX, no. 832, 1964, 153\u2013<\/span>156<\/td>\n<\/tr>\n
Zeri, 1953<\/strong><\/td>\nZeri, Federico, “Alonso Berruguette: Una ‘Madonna con San Giovannino,”‘ Paragone<\/em>, IV, no. 43, 1953, 49\u2013<\/span>51<\/td>\n<\/tr>\n
Zeri, 1962<\/strong><\/td>\nZeri, Federico, “Eccentrics fiorentini,” BdA<\/em>, XLVII, 1962, 216\u2013<\/span>236<\/td>\n<\/tr>\n
Zerner, 1964<\/strong><\/td>\nZerner, Henri, “L’Eau Forte \u00e0 Fontainebleau\u2013<\/span>Le R\u00f4le de Fantuzzi,” Art de France<\/em>, IV, 1964, 70\u2013<\/span>85<\/td>\n<\/tr>\n
Zerner, 1969<\/strong><\/td>\nZerner, Henri, \u00c9cole de Fontainebleau, Gravures<\/em>, Paris, 1969<\/td>\n<\/tr>\n
Zerner, 1972<\/strong><\/td>\nZerner, Henri, “Les Estampes et le style de l’ornement,” “Galerie,” RdA<\/em>, 1972, 112\u2013<\/span>120<\/td>\n<\/tr>\n
Zerner, \u201cCaraglio,\u201d 1972<\/strong><\/td>\nZerner, Henri, “Sur Giovanni Jacopo Caraglio,” \u00c9volution g\u00e9n\u00e9rale et d\u00e9velopnments r\u00e9gionaux en histoire de l’art, Actes du XXIIe<\/sup> Congr\u00e8s international d’histoire de l’art<\/em>, Budapest, 1969, 3 vols., Budapest, 1972, I, 691\u2013<\/span>695, III, Pls. 219\u2013<\/span>221<\/td>\n<\/tr>\n
Zerner, Actes<\/em>, 1975<\/strong><\/td>\nZerner, Henri, “Le syst\u00e8me decoratif de la Galerie Francois Ier e Fontainebleau,” Actes<\/em>, 1975, 31\u2013<\/span>34<\/td>\n<\/tr>\n
Zerner, IB<\/em>, 32, 33, 1979<\/strong><\/td>\nZerner, Henri, ed., The Illustrated Bartsch, 32, 33 (Formerly Volume 16 [Parts 1 and 2]), Italian Artists of the Sixteenth Century, School of Fontainebleau<\/em>, New York, 1979<\/td>\n<\/tr>\n
Zerner, 1980<\/strong><\/td>\nZerner, Henry [sic], “L’estampe erotique au temps de Titien,” Tiziano e Venezia Convegno Internationale di Studi, Venezia, 1976,Verona<\/em>, 1980, 85\u2013<\/span>90<\/td>\n<\/tr>\n
Zerner, 1988<\/strong><\/td>\nZerner, Henri, “An Unknown Etching After Rosso,” Print Quarterly<\/em>, V, 4, December, 1988, 403\u2013<\/span>405<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Other bibliographical items, cited only once, can be found in the catalogues. AB The Art Bulletin Achiardi, 1908 Achiardi, Pietro d’, Sebastiano del Piombo, Rome, 1908 Actes, 1975 Actes du collogue international sur l’art de Fontainebleau\u00a0(Fontainebleau and Paris, 18\u201320 October 1972), ed. Andr\u00e9 Chastel, Paris, 1975 Actes de Francois Ier, 1887\u20131908 Catalogue des Actes de […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":1402,"menu_order":10,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1418","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1418","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=1418"}],"version-history":[{"count":32,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1418\/revisions"}],"predecessor-version":[{"id":11891,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1418\/revisions\/11891"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1402"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=1418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}