Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-wzw2p Total loading time: 0 Render date: 2024-06-02T02:52:15.642Z Has data issue: false hasContentIssue false

Select Bibliography

Published online by Cambridge University Press:  12 January 2023

Henrike Christiane Lange
Affiliation:
University of California, Berkeley
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Select Bibliography

Agamben, Giorgio. The Time That Remains: A Commentary on the Letter to the Romans. Redwood City, 2005.Google Scholar
Aitken, Ellen Bradshaw. “Portraying the Temple in Stone and Text: The Arch of Titus and the Epistle to the Hebrews.” In Religious Texts and Material Contexts, edited by Neusner, Jacob and Strange, James F.. Lanham, 2001, 7388.Google Scholar
Alpatoff, Michel. “The Parallelism of Giotto’s Paduan Frescoes.” Art Bulletin 29 (1947): 149–54.Google Scholar
Auerbach, Erich. Literary Language and Its Public in Late Latin Antiquity and in the Middle Ages. Princeton, 1993.Google Scholar
Austin, Herbert D. “Dante Notes III: From Matter to Spirit.” Modern Language Notes 38 (1923): 140–48.CrossRefGoogle Scholar
Autret, Jean. L’influence de Ruskin sur la vie, les idées et l’œuvre de Marcel Proust. Geneva and Lille, 1955.Google Scholar
Baldovin, John Francis. The Urban Character of Christian Worship. Chicago, 1987.Google Scholar
von Balthasar, Hans Urs. Herrlichkeit: Eine theologische Ästhetik. Vol. 2, Fächer der Stille, part 1, Klerikale Stille; and part 2, Laikale Stille. Einsiedeln, 1984.Google Scholar
Banzato, , Davide (ed.). La Croce di Giotto: Il restauro. Milan, 1995.Google Scholar
Banzato, Davide. “La Croce di Giotto dei Musei Civici di Padova. Ipotesi di collocazione originaria e precedenti restauri.” In La Croce di Giotto: Il restauro, edited by Banzato, Davide. Milan, 1995, 2640.Google Scholar
Banzato, Davide. “L’impronta di Giotto e lo sviluppo della pittura del Trecento a Padova.” In Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura”; I saggi, edited by Tomei, Alessandro. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, 143–55.Google Scholar
Barasch, Moshe. Giotto and the Language of Gesture. Cambridge, 1987.Google Scholar
Barberini, Maria Giulia. I Santi Quattro Coronati a Roma. Rome, 1989.Google Scholar
Barcilon, Pinin Brambilla. “Notizie e risultati del restauro.” In La Croce di Giotto: Il restauro, edited by Banzato, Davide. Milan, 1995, 5775.Google Scholar
Barker, Jennifer M. The Tactile Eye: Touch and the Cinematic Experience. Berkeley, 2009.CrossRefGoogle Scholar
Basile, Giuseppe. Giotto: La Cappella degli Scrovegni. Milan, 1992.Google Scholar
Basile, Giuseppe (ed.). Giotto: The Frescoes of the Scrovegni Chapel in Padua. Milan, 2002.Google Scholar
Basile, Giuseppe. “Giotto’s Pictorial Cycle.” In Giotto: The Frescoes of the Scrovegni Chapel in Padua, edited by Basile, Giuseppe. Milan, 2002, 1320.Google Scholar
Basile, Giuseppe (ed.). Il restauro della Cappella degli Scrovegni: Indagini, progetto, risultati / Restoration of the Scrovegni Chapel: Surveys, Projects, Results. Milan, 2003.Google Scholar
Basile, Giuseppe (ed.). I colori di Giotto: La Basilica di Assisi. Restauro e restituzione virtuale. Exh. cat., Basilica di San Francesco and Palazzo del Monte Frumentario, Assisi. Milan, 2010.Google Scholar
Battisti, Eugenio. Giotto. Geneva, 1960.Google Scholar
Bauch, Kurt. “Die geschichtliche Bedeutung von Giottos Frühstil.” Mitteilungen des Kunsthistorischen Institutes in Florenz 7 (1953): 4364.Google Scholar
Bauch, Kurt. “Giotto und die Porträtkunst.” In Giotto e il suo tempo: Atti del congresso internazionale per la celebrazione del VII centenario della nascita di Giotto. Rome, 1971, 299309.Google Scholar
Bauerle, Dorothée. Gespenstergeschichten für ganz Erwachsene: Ein Kommentar zu Aby Warburgs Bilderatlas Mnemosyne. Münster, 1988.Google Scholar
Baxandall, Michael. Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350–1450. Oxford, 1971.Google Scholar
Beard, Mary. The Roman Triumph. Cambridge, MA, 2009.CrossRefGoogle Scholar
Beck, Eleonora M. Giotto’s Harmony: Music and Art in Padua at the Crossroads of the Renaissance. Florence, 2005.Google Scholar
Bellinati, Claudio. La Cappella di Giotto all’Arena (1300–1306): Studio storico-chronologico su nuovi documenti. Padua, 1967.Google Scholar
Bellinati, Claudio. “La Cappella di Giotto all’arena e le miniature dell’antifonario ‘Giottesco’ della cattedrale (1306).” In Da Giotto al Mantegna, edited by Grossato, Lucio. Exh. cat., Palazzo della Ragione, Padua. Milan, 1974, 2330.Google Scholar
Bellinati, Claudio. “Iconografia, iconologia e iconica nell’arte nuova di Giotto alla Cappella Scrovegni dell’Arena di Padova.” Padova e il suo territorio 11 (1989): 1621.Google Scholar
Bellinati, Claudio. Giotto: Padua felix; Atlante iconografico della Cappella di Giotto 1300–1305. Treviso, 1997.Google Scholar
Bellinati, Claudio. Nuovi studi sulla Cappella di Giotto nell’Arena di Padova: 25 marzo 1303–2003. Padua, 2003.Google Scholar
Bellinati, Claudio. Padua Felix: Iconographic Atlas of Giotto’s Chapel 1300–1305. Ponzano, 2003.Google Scholar
Bellinati, Claudio. “Giotto dipinse nel Palazzo della Ragione a Padova?” In Il Palazzo della Ragione di Padova: La storia, l’architettura, il restauro, edited by Vio, Ettore. Padua, 2008, 327–31.Google Scholar
Bellosi, Luciano. La Pecora di Giotto. Turin, 1985.Google Scholar
Bellosi, Luciano. “Giotto, l’Angelico e Andrea del Castagno.” In Mugello culla del Rinascimento: Giotto, Beato Angelico, Donatello e i Medici, edited by Tosti, Barbara. Exh. cat., Museo d’arte sacra e religiosità popolare “Beato Angelico,” Vicchio; Convento di San Bonaventura a Bosco ai Frati, San Piero a Sieve; Museo della Manifattura Chini, Borgo San Lorenzo; Palazzo dei Vicari, Scarperia; Palazzo Medici Riccardi, Florence. Florence, 2008, 7197.Google Scholar
Belting, Hans. Die Oberkirche von San Francesco in Assisi: Ihre Dekoration als Aufgabe und die Genese einer neuen Wandmalerei. Berlin, 1977.Google Scholar
Belting, Hans. “Assisi e Roma: Risultati, Problemi, Prospettive.” In Roma anno 1300: Atti della IV settimana di Studi di Storia dell’Arte medievale dell’Università di Roma “La Sapienza,” edited by Romanini, Angiola Maria. Rome, 1983, 93101.Google Scholar
Belting, Hans. “Das Bild als Text: Wandmalerei und Literatur im Zeitalter Dantes.” In Malerei und Stadtkultur in der Dantezeit: Die Argumentation der Bilder, edited by Belting, Hans and Blume, Dieter. Munich, 1989, 2364.Google Scholar
Belting, Hans. Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst. Munich, 1990.Google Scholar
Benelli, Francesco. “The Medieval Portrait of Architecture: Giotto and the Representation of the Temple of the Minerva in Assisi.” In Some Degree of Happiness: Studi di storia dell’architettura in onore di Howard Burns, edited by Beltramini, Maria and Elam, Caroline. Pisa, 2009, 3142.Google Scholar
Benelli, Francesco. The Architecture in Giotto’s Paintings. Cambridge, 2012.Google Scholar
Beneš, Carrie E. Urban Legends: Civic Identity and the Classical Past in Northern Italy, 1250–1350. University Park, 2011.Google Scholar
Benton, Janetta Rebold. “Perspective and the Spectator’s Pattern of Circulation in Assisi and Padua.” Artibus et Historiae 10 (1989): 3752.Google Scholar
Benton, Janetta Rebold. “Antique Survival and Revival in the Middle Ages: Architectural Framing in Late Duecento Murals.” Arte medievale 7 (1993): 120–45.Google Scholar
Berenson, Bernhard. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909.Google Scholar
Berenson, Bernard. The Arch of Constantine; or, The Decline of Form. New York, 1954.Google Scholar
Bevilacqua, Eugenia and Puppi, Lionello (eds). Padova: Il volto della città. Dalla pianta del Valle al fotopiano. Padua, 1987.Google Scholar
Bloch, Herbert. “The New Fascination with Ancient Rome.” In Renaissance and Renewal in the Twelfth Century, edited by Benson, Robert L. and Constable, Giles. Cambridge, MA, 1982, 615–36.Google Scholar
Blumenkranz, Bernhard. Il cappello a punta: L’ebreo medievale nello specchio dell’arte cristiana. Edited by Frugoni, Chiara. Bari, 2003.Google Scholar
Bogen, Steffen. “Die Schauöffnung als semiotische Schwelle: Ein Vergleich der Rolin-Madonna mit Bildfeldern des Franziskuszyklus in Assisi.” In Porträt – Landschaft – Interieur: Jan van Eycks Rolin-Madonna im ästhetischen Kontext, edited by Kruse, Christiane and Thürlemann, Felix. Tübingen, 1999, 5372.Google Scholar
Bongiorno, Laurine Mack. “The Theme of the Old and the New Law in the Arena Chapel.” Art Bulletin 50 (1968): 1120.Google Scholar
Bokody, Péter. Images-within-Images in Italian Painting (1250–1350): Reality and Reflexivity. Farnham, 2015.Google Scholar
Boskovits, Miklós. “Giotto: Un artista poco conosciuto?” In Giotto: Bilancio critico di sessant’anni di studi e ricerche, edited by Tartuferi, Angelo. Florence, 2000, 7595.Google Scholar
Botterill, Steven (ed.). Dante: De Vulgari Eloquentia. Cambridge, 1996.Google Scholar
Bottin, Francesco (ed.). Alberto da Padova e la cultura degli agostiniani. Padua, 2014.Google Scholar
Bourdua, Louise and Dunlop, Anne (eds.). Art and the Augustinian Order in Early Renaissance Italy. Aldershot, 2007.Google Scholar
Brandi, Cesare. Giotto. Milan, 1983.Google Scholar
Bredekamp, Horst. Kunst als Medium sozialer Konflikte: Bilderkämpfe von der Spätantike bis zur Hussitenrevolution. Frankfurt, 1975.Google Scholar
Bredekamp, Horst. Repräsentation und Bildmagie in der Renaissance als Formproblem. Munich, 1995.Google Scholar
Brilliant, Richard. “I piedistalli del giardino di Boboli: spolia in se, spolia in re,” Prospettiva 31 (1982): 217.Google Scholar
Brilliant, Richard and Kinney, Dale (eds). Reuse Value: Spolia and Appropriation in Art and Architecture, from Constantine to Sherrie Levine. Farnham, 2011.Google Scholar
Brinkmann, Vinzenz, and Wünsche, Raimund. Bunte Götter: Die Farbigkeit antiker Skulptur. Exh. cat., Staatliche Antikensammlungen and Glyptothek München. Munich, 2004.Google Scholar
Brinkmann, Vinzenz et al. (eds.). Gods in Color: Painted Sculpture of Classical Antiquity. Exh. cat., Arthur M. Sackler Museum, Harvard University Museums, Cambridge, MA. Munich, 2007.Google Scholar
Brock, Bazon. “Der byzantinische Bilderstreit.” In Bildersturm, edited by Warnke, Martin. Frankfurt am Main, 1977, 3040.Google Scholar
Bruschi, Arnaldo. “Prima del Brunelleschi: Verso un’architettura sintattica e prospettica.” In Bruschi, L’antico, la tradizione, il moderno: Da Arnolfo a Peruzzi, saggi sull’architettura del Rinascimento, edited by Ricci, Maurizio and Zampa, Paola. Milan, 2004, 1884.Google Scholar
Bryer, Anthony and Herrin, Judith (eds.). Iconoclasm. Birmingham, 1977.Google Scholar
Bryson, Norman. Vision and Painting: The Logic of the Gaze. New Haven, 1983.Google Scholar
Burckhardt, Jacob. Der Cicerone: Eine Anleitung zum Genuss der Kunstwerke Italiens; Malerei. Edited by Roeck, Bernd, Tauber, Christine, and Warnke, Martin. Munich, 2001.Google Scholar
Busch, Werner et al. (eds.). Willibald Sauerländer: Geschichte der Kunst – Gegenwart der Kritik. Cologne, 1999.Google Scholar
Bush, Virginia L.The Sources of Giotto’s Meeting at the Golden Gate and the Meaning of the Dark-Veiled Woman.” Bollettino del Museo Civico di Padova 61 (1972): 729.Google Scholar
Cacciari, Massimo. Doppio ritratto: San Francesco in Dante e Giotto. Milan, 2012.Google Scholar
(Mrs.)Callcott, Maria. Description of the Chapel of the Annunziata dell’Arena; or, Giotto’s Chapel, in Padua. London, 1835.Google Scholar
Cannon, Joanna. “Giotto and Art for the Friars: Revolutions Spiritual and Artistic.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 103–34.Google Scholar
Carrà, Carlo. “Parlata su Giotto.” In Carrà, Tutti gli scritti, edited by Carrà, Massimo. Milan, 1978, 6372.Google Scholar
Cary, Phillip. Augustine’s Invention of the Inner Self: The Legacy of a Christian Platonist. Oxford, 2000.Google Scholar
Cary, Phillip. Inner Grace: Augustine in the Traditions of Plato and Paul. Oxford, 2008.CrossRefGoogle Scholar
Cary, Phillip. Outward Signs: The Powerlessness of External Things in Augustine’s Thought. Oxford, 2008.CrossRefGoogle Scholar
Cassidy, Brendan. “Laughing with Giotto at Sinners in Hell.” Viator 35 (2004): 355–86.Google Scholar
Castelli, Ciro, with Parri, Mauro and Santacesaria, Andrea. “Technique of Execution, State of Conservation and Restoration of the Crucifix in Relation to Other Works by Giotto. The Wooden Support.” In Giotto: The Santa Maria Novella Crucifix, edited by Ciatti, Marco and Seidel, Max. Florence, 2002, 247–72.Google Scholar
Castelnuovo, Enrico. “Les portraits individuels de Giotto.” In Le portrait individuel: Réflexions autour d’une forme de représentation, XIIIe–XVe siècles, edited by Olariu, Dominic. Bern, 2009, 103–20.Google Scholar
Cenni storici sulle famiglie di Padova e sui monumenti dell’università. Padua, 1842.Google Scholar
Cennini, Cennino. Das Buch von der Kunst; oder, Tractat der Malerei des Cennino Cennini da Colle di Valdelsa. Edited by Ilg, Albert. Vienna, 1871.Google Scholar
Cennini, Cennino. Il libro dell’arte. Edited by Frezzato., Fabio Vicenza, 2003.Google Scholar
Chastel, André. “Giotto coetano di Dante.” In Studien zur toskanischen Kunst: Festschrift für Ludwig Heinrich Heydenreich. Munich, 1963, 3744.Google Scholar
Chernowitz, Maurice E. Proust and Painting. New York, 1945.Google Scholar
Chiampi, James T.Visible Speech, Living Stone, and the Names of the Word.” Rivista di studi italiani 14 (1996): 112.Google Scholar
Ciucciovino, Carlo. La cronaca del trecento italiano: Giorno per giorno l’Italia di Giotto e Dante. Vol. 1, 1300–1325. Rome, 2007.Google Scholar
Claussen, P. C.Enrico Scrovegni, der exemplarische Fall: Zur Stiftung der Arenakapelle in Padua.” In Für irdischen Ruhm und himmlischen Lohn: Stifter und Auftraggeber in der mittelalterlichen Kunst, edited by Meyer, Hans-Rudolf, Jäggi, Carola, and Büttner, Philippe. Berlin, 1995, 227–46.Google Scholar
Cohen, Jeremy. “The Doctrine of Jewish Witness.” In Cohen, Living Letters of the Law: Ideas of the Jew in Medieval Christianity. Berkeley, 1999, 2365.CrossRefGoogle Scholar
Cole, Bruce. “Virtues and Vices in Giotto’s Arena Chapel Frescoes.” In Cole, Studies in the History of Italian Art, 1250–1550. London, 1996, 337–63.Google Scholar
Cole, Michael W.Perpetual Exorcism in Sistine Rome.” In The Idol in the Age of Art: Objects, Devotions and the Early Modern World, edited by Cole, Michael W. and Zorach, Rebecca. Farnham, 2009, 5776.Google Scholar
Collodo, Silvana. “Enrico Scrovegni.” In La Cappella degli Scrovegni a Padova: The Scrovegni Chapel in Padua, edited by Banzato, Davide et al. Modena, 2005, 918.Google Scholar
Cooper, Donal, and Robson, Janet. The Making of Assisi: The Pope, the Franciscans and the Painting of the Basilica. New Haven, 2013.Google Scholar
Cooper, Donal. “Giotto et les Franciscains.” In Giotto e compagni, edited by Thiébaut, Dominique. Exh. cat., Louvre, Paris. Milan, 2013, 2947.Google Scholar
Cordez, Philippe. “Les marbres de Giotto: Astrologie et naturalisme à la Chapelle Scrovegni.” Mitteilungen des Kunsthistorischen Institutes in Florenz 55 (2013): 925.Google Scholar
Cosnet, Bertrand. “Les personifications dans la peinture monumentale en Italie au XIVe siècle: La grisaille et ses vertus.” In Aux limites de la couleur: Monochromie et polychromie dans les arts (1300–1600), edited by Boudon-Machuel, Marion, Brock, Maurice and Charron, Pascale. Turnhout, 2011, 125–31.Google Scholar
Crowe, J. A., and Cavalcaselle, G. B.. A New History of Painting in Italy from the Second to the Sixteenth Century. Vol. 1. London, 1864.Google Scholar
Curzi, Gaetano. “Giotto, la scultura, gli scultori.” In Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura.” I saggi, edited by Tomei, Alessandro. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, 253–69.Google Scholar
Cutler, Anthony. “The Pathos of Distance: Byzantium in the Gaze of Renaissance Europe and Modern Scholarship.” In Reframing the Renaissance: Visual Culture in Europe and Latin America 1450–1650, edited by Farago, Claire. New Haven, 1995, 2345.Google Scholar
Cutler, Anthony. “Reuse or Use? Theoretical and Practical Attitudes toward Objects in the Early Middle Ages.” In Ideologie e pratiche del reimpiego nell’alto medioevo. Spoleto, 1999, vol. 2: 1055–79.Google Scholar
Czarnecki, James G.The Significance of Judas in Giotto’s Arena Chapel Frescoes.” The Early Renaissance 5 (1978): 3547.Google Scholar
Dante’s Purgatory and Paradise. Illustrated by Gustave Doré. New York, 1883.Google Scholar
Davies, Penelope J. E. Death and the Emperor: Roman Imperial Funerary Monuments from Augustus to Marcus Aurelius. Cambridge, 2000.Google Scholar
Davis, Charles Till. Dante and the Idea of Rome. Oxford, 1957.Google Scholar
Davis, Whitney. A General Theory of Visual Culture. Princeton, 2011.Google Scholar
Davis, Whitney. “Art History, Re-Enactment, and the Idiographic Stance.” In Michael Baxandall: Vision and the Work of Words, edited by Mack, Peter and Williams, Robert. Aldershot, 2015, 6990.Google Scholar
Davis, Whitney. Visuality and Virtuality: Images and Pictures from Prehistory to Perspective. Princeton, 2017.Google Scholar
De Sélincourt, Basil. Giotto. London, 1905.Google Scholar
De Wesselow, Thomas. “The Date of the St Francis Cycle in the Upper Church of S. Francesco at Assisi: The Evidence of Copies and Considerations of Method.” In The Art of the Franciscan Order in Italy, edited by Cook, William R.. Leiden, 2005, 113–67.Google Scholar
Derbes, Anne. “Triplex Periculum: The Moral Topography of Giotto’s Hell in the Arena Chapel, Padua.” Journal of the Warburg and Courtauld Institutes 76 (2015): 4170.CrossRefGoogle Scholar
Derbes, Anne, and Sandona, Mark. “Barren Metal and the Fruitful Womb: The Program of Giotto’s Arena Chapel in Padua.” Art Bulletin 80 (1998): 274–91.Google Scholar
Derbes, Anne, and Sandona, Mark. “‘Ave charitate plena’: Variations on the Theme of Charity in the Arena Chapel.” Speculum 76 (2001): 599637.Google Scholar
Derbes, Anne and Sandona, Mark (eds.). The Cambridge Companion to Giotto. Cambridge, 2004.Google Scholar
Derbes, Anne, and Sandona, Mark. “Giotto Past and Present: An Introduction.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 1–9.Google Scholar
Derbes, Anne, and Sandona, Mark. “Reading the Arena Chapel.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 197220.Google Scholar
Derbes, Anne, and Sandona, Mark. The Usurer’s Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua. University Park, 2008.Google Scholar
Derbes, Anne, and Sandona, Mark. “Enrico Scrovegni: I ritratti del mecenate.” In Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura.” I saggi, edited by Tomei, Alessandro. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, 129–41.Google Scholar
di Castro, Daniela. “Gli ebrei romani all’epoca del giubileo di Bonifacio VIII.” In Bonifacio VIII e il suo tempo: Anno 1300 il primo giubileo, edited by Tosti-Croce, Marina Righetti. Milan, 2000, 6972.Google Scholar
di Fabio, Clario. “Memoria e modernità: Della propria figura di Enrico Scrovegni e di altre sculture nella cappella dell’Arena di Padova, con aggiunte al catalogo di Marco Romano.” In Medioevo: Immagine e memoria: Atti del Convegno internazionale di studi, edited by Quintavalle, Arturo C.. Milan, 2009, 532–46.Google Scholar
di Medio, Arnaldo. Le prime Grandi Perdonanze: Celestino V e Bonifacio VIII, due papi innovatori. Barzago, 2002.Google Scholar
Dittelbach, Thomas. Das monochrome Wandgemälde: Untersuchungen zum Kolorit des frühen 15. Jahrhunderts in Italian. Hildesheim, 1993.Google Scholar
D’Onofrio, Cesare. La papessa Giovanna: Roma e papato tra storia e leggenda. Rome, 1979.Google Scholar
D’Onofrio, Mario. “I cieli di Giotto agli Scrovegni tra immagine e memoria.” In Medioevo: Immagine e memoria: Atti del Convegno internazionale di studi, edited by Quintavalle, Arturo C.. Milan, 2009, 519–31.Google Scholar
Draghi, Andreina (ed.): Gli affreschi dell’Aula gotica nel Monastero dei Santi Quattro Coronati: Una storia ritrovata. Milan, 2006.Google Scholar
Dronke, Peter. “Riuso di forme e immagini antiche nella poesia.” In Ideologie e pratiche del reimpiego nell’alto medioevo. Spoleto, 1999, vol. 1: 283312.Google Scholar
Dyson, R. W. (ed.). Augustine. The City of God against the Pagans. Cambridge, 1998.Google Scholar
Eberhardt, Barbara. “Wer dient wem? Die Darstellung des Flavischen Triumphzuges auf dem Titusbogen und bei Josephus (B.J. 7.123–162).” In Josephus and Jewish History in Flavian Rome and Beyond, edited by Sievers, Joseph and Lembi, Gaia. Leiden, 2005, 257–77.Google Scholar
Eco, Umberto. “Possible Woods.” In Eco, Six Walks in the Fictional Woods. Cambridge, 1994, 7596.Google Scholar
Edgerton, Samuel Y. The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution. Ithaca, 1991.Google Scholar
Edwards, Mary D.Cross-Dressing in the Arena Chapel: Giotto’s Virtue Fortitude Re-Examined.” In Receptions of Antiquity, Constructions of Gender in European Art, 1300–1600, edited by Rose, Marice and Poe, Alison C.. Leiden, 2015, 3779.Google Scholar
von Ehrenkrook, Jason. Sculpting Idolatry in Flavian Rome: (An)Iconic Rhetoric in the Writings of Flavius Josephus. Atlanta, 2011.Google Scholar
Ehrle, Franz. “Die Frangipani und der Untergang des Archivs und der Bibliothek der Päpste am Anfang des 13. Jahrhunderts.” In Mélanges offerts à Emile Châtelain. Paris, 1910, 448–85.Google Scholar
Elliott, Janis. “Augustine and the New Augustinianism in the Choir Frescoes of the Eremitani, Padua.” In Art and the Augustinian Order in Early Renaissance Italy, edited by Bourdua, Louise and Dunlop, Anne. Aldershot, 2007, 99126.Google Scholar
Elm, Susanna. “Bodies, Books, Histories: Augustine of Hippo and the Extraordinary (civ. Dei 16.8 and Pliny, HN 7).” Forthcoming in Susanna Elm, New Romans: Dress, Manliness, Display and the Extraordinary.Google Scholar
Enright, Nancy. “Dante’s Divine Comedy, Augustine’s Confessions, and the Redemption of Beauty.” Logos 10 (2007): 3256.Google Scholar
Esch, Arnold. “Spolien: Zur Wiederverwendung antiker Baustücke und Skulpturen im mittelalterlichen Italien.” Archiv für Kulturgeschichte 51 (1969): 164.Google Scholar
Esch, Arnold. “Reimpiego dell’antico nel medioevo: La prospettiva dell’archeologo, la prospettiva dello storico.” In Ideologie e pratiche del reimpiego nell’alto medioevo. Spoleto, 1999, vol. 1: 73108.Google Scholar
Esch, Arnold. “L’uso dell’antico nell’ideologia papale, imperiale e comunale.” In Roma antica nel Medioevo: Mito, rappresentazioni, sopravvivenze nella “Respublica Christiana” dei secoli IX–XIII, edited by Zerbi, Pietro. Milan, 2001, 325.Google Scholar
Euler, Walter. Die Architekturdarstellung in der Arena-Kapelle: Ihre Bedeutung für das Bild Giottos. Bern, 1967.Google Scholar
Fagiolo, Marcello and Luisa Madonna, Maria (eds.). Roma 1300–1875: La città degli anni santi. Atlante. Milan, 1985.Google Scholar
Falaschi, Enid T.Giotto: The Literary Legend.” Italian Studies 27 (1972): 127.Google Scholar
Fallani, Giovanni. La poetica dantesca e le arti: Unità e diversità. Florence, 1965.Google Scholar
Ferrante, Joan M.Boniface VIII, Pope.” In The Dante Encyclopedia, edited by Lansing, Richard. New York, 2000, 122–24.Google Scholar
Fine, Steven. “‘When I went to Rome, there I Saw the Menorah…’: The Jerusalem Temple Implements between 70 C.E. and the Fall of Rome.” In The Archaeology of Difference: Gender, Ethnicity, Class and the “Other” in Antiquity Studies in Honor of Eric M. Meyers, edited by Edwards, Douglas R. and McCollough, C. Thomas. Boston, 2007, 169–80.Google Scholar
Fine, Steven. “Menorahs in Color: Polychromy in Jewish Visual Culture of Roman Antiquity.” Images 6 (2013): 325.CrossRefGoogle Scholar
Fine, Steven The Menorah: From the Bible to Modern Israel. Cambridge, MA, 2016.Google Scholar
Fine, Steven (ed.). The Arch of Titus: From Jerusalem to Rome – and Back. Leiden and Boston, 2021.Google Scholar
Flores d’Arcais, Francesca. Giotto. New York, 1995.Google Scholar
Flores d’Arcais, Francesca. “Giotto after the Restoration.” In Giotto: The Frescoes of the Scrovegni Chapel in Padua, edited by Basile, Giuseppe. Milan, 2002, 1320.Google Scholar
Forster, E. M. A Room with a View. London, 1908.Google Scholar
Fränkel, Jonas (ed.). Goethes Briefe an Charlotte von Stein. Vol. 1. Berlin, 1960.Google Scholar
Frankfurter, Alfred. “Old Myth and New Reality.” Portfolio and Art News Annual 4 (1961): 60, 62, 68, 74–75, 174–80.Google Scholar
Freccero, John. Dante: The Poetics of Conversion. Cambridge, MA, 1986.Google Scholar
Freccero, John. Dante’s Cosmos. Binghamton, 1998.Google Scholar
Freccero, John. In Dante’s Wake: Reading from Medieval to Modern in the Augustinian Tradition. Edited by Callegari, Danielle and Swain, Melissa. New York, 2015.Google Scholar
Fredriksen, Paula. “Beyond the Body/Soul Dichotomy: Augustine on Paul against the Manichees and the Pelagians.” Recherches augustiniennes 23 (1988): 87114.Google Scholar
Fredriksen, Paula. “Excaecati Occulta Justitia Dei: Augustine on Jews and Judaism.” Journal of Early Christian Studies 3 (1995): 299324.Google Scholar
Fredriksen, Paula. Augustine and the Jews: A Christian Defense of Jews and Judaism. New Haven, 2010.Google Scholar
Frojmovič, Eva. “Giotto’s Allegories of Justice and the Commune in the Palazzo della Ragione in Padua: A Reconstruction.” Journal of the Warburg and Courtauld Institutes 59 (1996): 2447.Google Scholar
Frojmovič, Eva. “Giotto’s Circumspection.” Art Bulletin 89 (2007): 195210.Google Scholar
Frugoni, Arsenio. Il giubileo di Bonifacio VIII. Rome, 1999.Google Scholar
Frugoni, Arsenio. “La Roma di Dante: Tra il tempo e l’eterno.” In Pellegrini a Roma nel 1300: Cronache del primo Giubileo, edited by Accrocca, Felice. Casale Monferrato, 1999, 97122.Google Scholar
Frugoni, Chiara. “Female Mystics, Visions, and Iconography.” In Women and Religion in Medieval and Renaissance Italy, edited by Bornstein, Daniel and Rusconi, Roberto. Chicago, 1996, 130–64.Google Scholar
Frugoni, Chiara. Due Papi per un giubileo: Celestino V, Bonifacio VIII e il primo Anno Santo. Milan, 2000.Google Scholar
Frugoni, Chiara. Gli affreschi della Cappella Scrovegni a Padova. Turin, 2005.Google Scholar
Frugoni, Chiara. L’affare migliore di Enrico: Giotto e la cappella Scrovegni. Turin, 2008.Google Scholar
Fuhrer, Therese. “Rom als Diskursort der Heterodoxie und Stadt der Apostel und Märtyrer: Zur Semantik von Augustins Rombild-Konstruktionen.” In Der Fall Roms und seine Wiederauferstehungen in Antike und Mittelalter, edited by Harich-Schwarzbauer, Henriette and Pollmann, Karla. Berlin, 2013, 5375.Google Scholar
Gamboni, Dario. The Destruction of Art: Iconoclasm and Vandalism since the French Revolution. London, 2013.Google Scholar
Gandelman, Claude. Reading Pictures, Viewing Texts. Bloomington, 1991.Google Scholar
Garbagna, Cristina (ed.). Da Giotto a Malevič: La reciproca meraviglia. Exh. cat., Scuderie del Quirinale, Rome. Milan, 2004.Google Scholar
Gardner, Julian. Giotto and His Publics: Three Paradigms of Patronage. Cambridge, MA, 2011.CrossRefGoogle Scholar
Ghelardi, Maurizio. Aby Warburg: La lotta per lo stile. Turin, 2012.Google Scholar
Ghisalberti, Alessandro. “Roma antica nel pensiero politico da Tommaso d’Aquino a Dante.” In Roma antica nel Medioevo: Mito, rappresentazioni, sopravvivenze nella “Respublica Christiana” dei secoli IX–XIII, edited by Zerbi, Pietro. Milan, 2001, 347–64.Google Scholar
Gilbert, Creighton. “The Sequence of Execution in the Arena Chapel.” In Essays in Honor of Walter Friedlaender. New York, 1965, 8086.Google Scholar
Gilbert, Creighton. “Florentine Painters and the Origins of Modern Science.” In Arte in Europa: Scritti di Storia dell’Arte in onore di Edoardo Arslan. Milan, 1966, 333–40.Google Scholar
Gilbert, Creighton. “The Fresco by Giotto in Milan.” Arte Lombarda 47–48 (1977): 3172.Google Scholar
Gilbert, Creighton. “Ghiberti on the Destruction of Art.” I Tatti Studies 6 (1995): 135–44.Google Scholar
Gilbert, Creighton. How Fra Angelico and Signorelli Saw the End of the World. University Park, 2003.Google Scholar
Gioseffi, Decio. Giotto architetto. Milan, 1963.Google Scholar
Giovagnoli, Gabriella. Il palazzo dell’Arena e la Cappella di Giotto (secc. XIV–XIX): Proprietari, prepositi, beni. Padua, 2008.Google Scholar
Gizzi, Corrado. Giotto e Dante. Milan, 2001.Google Scholar
Gnudi, Cesare. “Sugli inizi di Giotto e i suoi rapporti col mondo gotico.” In Gnudi, L’arte gotica in Francia e in Italia. Turin, 1982, 5576.Google Scholar
Goffen, Rona. “Bonaventure’s Francis.” In Goffen, Spirituality in Conflict: Saint Francis and Giotto’s Bardi Chapel. University Park, 1988, 5977 and 117–24.Google Scholar
Gombrich, E. H.Giotto’s Portrait of Dante?Burlington Magazine 121 (1979): 471–83.Google Scholar
Gosebruch, Martin. “Vom Aufragen der Figuren in Dantes Dichtung und Giottos Malerei.” Festschrift für Kurt Badt zum 70. Geburtstag, edited by Gosebruch, Martin. Berlin, 1961, 3265.Google Scholar
Gosebruch, Martin. Giotto und die Entwicklung des neuzeitlichen Kunstbewußtseins. Cologne, 1962.Google Scholar
Hansen, Maria Fabricius. The Eloquence of Appropriation: Prolegomena to an Understanding of Spolia in Early Christian Rome. Rome, 2003.Google Scholar
Harich-Schwarzbauer, Henriette and Pollmann, Karla (eds.). Der Fall Roms und seine Wiederauferstehungen in Antike und Mittelalter. Berlin, 2013.Google Scholar
Harding, Catherine. “Time, History and the Cosmos: The Dado in the Apse of the Church of the Eremitani, Padua.” In Art and the Augustinian Order in Early Renaissance Italy, edited by Bourdua, Louise and Dunlop, Anne. Aldershot, 2007, 127–42.Google Scholar
Hartmann, Nicolai. Ethik. Berlin, 1949.Google Scholar
Haug, Walter. “Francesco Petrarca – Nicolas Cusanus – Thüring von Ringoltingen: Drei Probestücke zu einer Geschichte der Individualität im 14./15. Jahrhundert.” In Individualität, edited by Frank, Manfred and Haverkamp, Anselm. Munich, 1988, 291324.Google Scholar
Havely, Nick (ed.). Dante in the Nineteenth Century: Reception, Canonicity, Popularization. Oxford, 2011.Google Scholar
Heffernan, James. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago, 1993.Google Scholar
Heidegger, Martin. Sein und Zeit. Tübingen, 1967.Google Scholar
Herzner, Volker. “Giottos Grabmal für Enrico Scrovegni.” Münchener Jahrbuch der bildenden Kunst 33 (1982): 3966.Google Scholar
von Hesberg, Henner. “Archäologische Denkmäler zum römischen Kaiserkult.” In Aufstieg und Niedergang der römischen Welt: Geschichte und Kultur Roms im Spiegel der neueren Forschung, edited by Temporini, Hildegard and Haase, Wolfgang. Berlin, 1978, vol. 2: 911–95.Google Scholar
Hetzer, Theodor. Giotto: Grundlegung der neuzeitlichen Kunst. Stuttgart, 1981.Google Scholar
Hills, Paul. The Light of Early Italian Painting. New Haven and London, 1987.Google Scholar
Holländer, Hans. “Bild, Vision und Rahmen.” In Zusammenhänge, Einflüsse, Wirkungen: Kongressakten zum ersten Symposium des Mediävistenverbandes in Tübingen, 1984, edited by Fichte, Joerg O., Göller, Karl Heinz, and Schimmelpfennig, Bernhard. Berlin, 1986, 7194.Google Scholar
Holloway, R. R.Some Remarks on the Arch of Titus.” L’Antiquité classique 56 (1987): 183–91.Google Scholar
Homann, Ursula. “Vergessene Concordia: Ecclesia und Synagoga.” Die Zeichen der Zeit: Lutherische Monatshefte 1 (1999): 2528.Google Scholar
Hueck, Irene. “Sovrapporta con figure allegoriche.” In Banzato, Davide et al., La Cappella degli Scrovegni a Padova/The Scrovegni Chapel in Padua. Modena, 2005, 211–14.Google Scholar
Hülsen, Christian. Il foro Romano: Storia e monumenti. Rome, 1982.Google Scholar
Hutchinson, Ben. W. G. Sebald: Die dialektische Imagination. Berlin, 2009.Google Scholar
Hutton, Ronald (ed.). Medieval or Early Modern: The Value of a Traditional Historic Division. Newcastle upon Tyne, 2015.Google Scholar
Hyde, John Kenneth. Padua in the Age of Dante. Manchester, 1966.Google Scholar
Imdahl, Max. Giotto: Arenafresken. Ikonographie, Ikonologie, Ikonik. Munich, 1988.Google Scholar
Irmscher, Johannes (ed.). Der byzantinische Bilderstreit: Sozialökonomische Voraussetzungen, ideologische Grundlagen, geschichtliche Wirkungen. Leipzig, 1980.Google Scholar
Iser, Wolfgang. “Das Individuum zwischen Evidenzerfahrung und Uneinholbarkeit.” In Individualität, edited by Frank, Manfred and Haverkamp, Anselm. Munich, 1988, 9598.Google Scholar
Isermeyer, Christian-Adolf. “Rahmengliederung und Bildfolge in der Wandmalerei bei Giotto und den Florentinern Malern des 14. Jahrhunderts.” PhD diss., Univ. Göttingen. Würzburg, 1937.Google Scholar
Itgenshorst, Tanja. Tota illa pompa: Der Triumph in der römischen Republik. Mit einer CD-ROM, Katalog der Triumphe von 340 bis 19 vor Christus. Göttingen, 2005.Google Scholar
Jacobus, Laura. “Giotto’s Annunciation in the Arena Chapel, Padua.” Art Bulletin 81 (1999): 93107.Google Scholar
Jacobus, Laura. “A Knight in the Arena: Enrico Scrovegni and His ‘true image.’” In Fashioning Identities in Renaissance Art, edited by Rogers, Mary. Aldershot, 2000, 1731.Google Scholar
Jacobus, Laura, Giotto and the Arena Chapel: Art, Architecture and Experience. Turnhout, 2008.Google Scholar
Jacobus, Laura. “The Tomb of Enrico Scrovegni in the Arena Chapel, Padua.” Burlington Magazine 154 (2012): 403–9.Google Scholar
Jacobus, Laura. “‘Propria Figura’: The Advent of Facsimile Portraiture in Italian Art.” Art Bulletin 99 (2017): 72101.Google Scholar
Jaffé, Aniela (ed.): Erinnerungen Träume Gedanken von C. G. Jung. Zurich 1963.Google Scholar
Jameson, Anna. Memoirs of the Early Italian Painters. Boston, 1896.Google Scholar
Jantzen, Hans. “Die zeitliche Abfolge der Paduaner Fresken Giottos” and “Giotto und der gotische Stil.” In Jantzen, Über den gotischen Kirchenraum und andere Aufsätze. Berlin, 1951, 2133 and 35–40.Google Scholar
Jarves, James J. Art Studies: The “Old” Masters of Italy, Painting. New York, 1861.Google Scholar
Jochum, Herbert. “Ecclesia und Synagoga: Alter und Neuer Bund in der christlichen Kunst.” In Der ungekündigte Bund? Antworten des Neuen Testaments, edited by Frankemölle, Hubert. Freiburg, 1998, 248–76.Google Scholar
Jones, Lars R.Visio Divina? Donor Figures and Representations of Imagistic Devotion: The Copy of the ‘Virgin of Bagnolo’ in the Museo dell’Opera del Duomo, Florence.” In Italian Panel Painting of the Duecento and Trecento, edited by Schmidt, Victor M.. Washington, DC, 2002, 3155.Google Scholar
Jung, Jacqueline E. “Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches.” Art Bulletin 82 (2000): 622–57.Google Scholar
Jung, Jacqueline E. The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200–1400. Cambridge, 2012.Google Scholar
Kablitz, Andreas, “Jenseitige Kunst oder Gott als Bildhauer: Die Reliefs in Dantes Purgatorio (Purg. X–XII).” In Mimesis und Simulation, edited by Kablitz, Andreas and Neumann, Gerhard. Freiburg, 1998, 309–56.Google Scholar
Kallendorf, Craig. “Classical Antiquity.” In The Dante Encyclopedia, edited by Lansing, Richard. New York, 2000, 172–75.Google Scholar
Kantorowicz, Ernst H. The King’s Two Bodies: A Study in Mediaeval Political Theology. Princeton, 1957.Google Scholar
Karfíková, Lenka. Grace and the Will According to Augustine. Leiden, 2012.Google Scholar
Karpeles, Eric. Paintings in Proust: A Visual Companion to In Search of Lost Time. London, 2008.Google Scholar
Katzenellenbogen, Adolf. “Die Psychomachie in der Kunst des Mittelalters von den Anfängen bis zum 13. Jahrhundert.” PhD diss., University of Hamburg. Hamburg, 1933.Google Scholar
Katzenellenbogen, Adolf. Allegories of the Virtues and Vices in Medieval Art: From Early Christian Times to the Thirteenth Century. London, 1939.Google Scholar
Kecks, Ronald G. Madonna und Kind: Das häusliche Andachtsbild. Berlin, 1988.Google Scholar
Keller, Harald. “Die Entstehung des Bildnisses am Ende des Hochmittelalters.” Römisches Jahrbuch für Kunstgeschichte 3 (1939): 227365.Google Scholar
Kemp, Wolfgang. “Zum Programm von Stefaneschi-Altar und Navicella.” Zeitschrift für Kunstgeschichte 30 (1967): 309–20.Google Scholar
Kemp, Wolfgang. “Das letzte Bild: Welt-Ende und Werk-Ende bei Giotto und Dante.” In Das Ende: Figuren einer Denkform, edited by Stierle, Karlheinz and Warning, Rainer. Munich, 1996, 415–34.Google Scholar
Kemp, Wolfgang. Die Räume der Maler: Zur Bilderzählung seit Giotto. Munich, 1996.Google Scholar
Kessler, Herbert L.Turning a Blind Eye: Medieval Art and the Dynamics of Contemplation.” In The Mind’s Eye: Art and Theological Argument in the Middle Ages, edited by Hamburger, Jeffrey F. and Bouché, Anne-Marie. Princeton, 2006, 413–39.Google Scholar
Kessler, Herbert L.Giotto e Roma.” In Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura.” I saggi, edited by Tomei, Alessandro. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, 8599.Google Scholar
Kessler, Herbert L. and Nirenberg, David (eds). Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism. Philadelphia, 2011.Google Scholar
Kessler, Herbert L. and Zacharias, Johanna. Rome 1300: On the Path of the Pilgrim. New Haven, 2000.Google Scholar
Kitzinger, Ernst. Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art, 3rd–7th Century. Cambridge, MA, 1995.Google Scholar
Kleiner, Diana E. E. Roman Sculpture. New Haven and London, 1992.Google Scholar
Kleiner, Fred S.The Arches of Vespasian in Rome.” Römische Mitteilungen 97 (1990): 127–36.Google Scholar
von Klenze, Camillo. “The Growth of Interest in the Early Italian Masters: From Tischbein to Ruskin.” Modern Philology 4 (1906): 207–74.Google Scholar
Klewitz, Hans-Walter. “Das Ende des Reformpapsttums.” Deutsches Archiv für Geschichte des Mittelalters 3 (1939): 371412.Google Scholar
Kloos, Kari. Christ, Creation, and the Vision of God: Augustine’s Transformation of Early Christian Theophany Interpretation. Leiden, 2011.Google Scholar
Kocks, Dirk. “Die Stifterdarstellung in der italienischen Malerei des 13.–15. Jahrhunderts.” PhD diss., University of Cologne. Cologne, 1971.Google Scholar
Kohl, Benjamin G.The Scrovegni in Carrara Padua and Enrico’s Will.” Apollo 142 (1995): 4347.Google Scholar
Kohl, Benjamin G.Giotto and His Lay Patrons.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 176–96.Google Scholar
Kohl, Benjamin G.Chronicles into Legends and Lives: Two Humanist Accounts of the Carrara Dynasty in Padua.” In Chronicling History: Chroniclers and Historians in Medieval and Renaissance Italy. University Park, 2007, 223–48.Google Scholar
Köhren-Jansen, Helmtrud. “Giottos Navicella: Bildtradition, Deutung, Rezeptionsgeschichte.” PhD diss., University of Cologne. Worms am Rhein, 1993.Google Scholar
Kolrud, Kristine and Prusac, Marina (eds.). Iconoclasm from Antiquity to Modernity. Farnham, 2014.Google Scholar
Krautheimer, Richard. “Introduction to an ‘Iconography of Medieval Architecture.’” In Krautheimer, Studies in Early Christian, Medieval, and Renaissance Architecture. New York, 1969, 115–50.Google Scholar
Krautheimer, Richard. Rome: Profile of a City, 312–1308. Princeton, 2000.Google Scholar
Krieger, Michaela. Grisaille als Metapher: Zum Entstehen der Peinture en Camaieu im frühen 14. Jahrhundert. Vienna, 1995.Google Scholar
Kristeva, Julia. “Giotto’s Joy.” In Kristeva, Desire in Language: A Semiotic Approach to Literature and Art. New York, 1980, 210–36.Google Scholar
Kruft, Hanno-Walter. “Giotto e l’antico.” In Giotto e il suo tempo: Atti del congresso internazionale per la clebrazione del VII centenario della nascita di Giotto. Rome, 1971, 169–76.Google Scholar
Kruse, Christiane. “Fleisch werden – Fleisch malen: Malerei als ‘incarnazione’. Mediale Verfahren des Bildwerdens im Libro dell’Arte von Cennino Cennini.” Zeitschrift für Kunstgeschichte 63 (2000): 305–25.Google Scholar
Kübler, Mirjam. Judas Iskariot: Das abendländische Judasbild und seine antisemitische Instrumentalisierung im Nationalsozialismus. Waltrop, 2007.Google Scholar
Ladis, Andrew. “The Legend of Giotto’s Wit and the Arena Chapel.” Art Bulletin 68 (1986): 581–96. Reprinted in Andrew Ladis, Studies in Italian Art. London, 2001, 61–95.Google Scholar
Ladis, Andrew. Giotto’s O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel. University Park, 2008.Google Scholar
Land, Norman E. “Giotto’s Eloquence.” Notes in the History of Art 23 (2004): 1519.Google Scholar
Lange, Henrike Christiane. “Relief Effects: Giotto’s Triumph.” PhD diss., Yale University, New Haven, 2015.Google Scholar
Lange, Henrike Christiane. “Cimabue’s True Crosses in Arezzo and Florence.” In Material Christianity: Western Religion and the Agency of Things, edited by Ocker, Christopher and Elm, Susanna. Cham, 2020, 2967.CrossRefGoogle Scholar
Lange, Henrike Christiane. “Portraiture, Projection, Perfection: The Multiple Effigies of Enrico Scrovegni in Giotto’s Arena Chapel.” In Picturing Death 1200–1600, edited by Perkinson, Stephen and Turel, Noa. Leiden, Boston, and Paderborn, 2020, 3648.Google Scholar
Lange, Henrike Christiane. “Relief Effects in Donatello and Mantegna.” In The Reinvention of Sculpture in Fifteenth-Century Italy, edited by Bloch, Amy and Zolli, Daniel M.. Cambridge, 2020, 327343.Google Scholar
Lange, Henrike Christiane. “Giotto’s Triumph: The Arena Chapel and the Metaphysics of Ancient Roman Triumphal Arches.I Tatti Studies 25 (2022), 538.Google Scholar
Lange, Julius. “Die Farbe und die Bildhauerkunst (1886).” In Julius Lange’s Ausgewählte Schriften (1886–1897), edited by Brandes, Georg and Köbke, Peter. Strasbourg, 1912, vol. 2: 3349.Google Scholar
Langeli, Attilio Bartoli. “Il testamento di Enrico Scrovegni (12 marzo 1336).” In Frugoni, Chiara, L’affare migliore di Enrico: Giotto e la cappella Scrovegni. Turin, 2008, 397539.Google Scholar
Latte, Kurt. “Livy’s Patavinitas.” Classical Philology 35 (1940): 5660.Google Scholar
Lavin, Marilyn Aronberg. The Place of Narrative: Mural Decoration in Italian Churches, 431–1600. Chicago, 1990.Google Scholar
Lee, Alexander. Petrarch and St. Augustine: Christian Theology and the Origins of the Renaissance. Leiden and Boston, 2012.Google Scholar
Lemaitre, Jean-Loup. “La présence de la Rome antique dans la liturgie monastique et canoniale du IXe au XIIIe siècle.” In Roma antica nel Medioevo: Mito, rappresentazioni, sopravvivenze nella “Respublica Christiana” dei secoli IX–XIII, edited by Zerbi, Pietro. Milan, 2001, 93129.Google Scholar
Leone de Castris, Pierluigi. Giotto a Napoli. Naples, 2006.Google Scholar
Lermer, Andrea. “Planetengötter im Gotteshaus: Zur Ikonographie von Guarientos Freskenzyklus der Sieben Planeten und Lebensalter in der Eremitanikirche zu Padua.” Arte medievale 11 (1997): 151–69.Google Scholar
Lermer, Andrea. “Giotto’s Virtues and Vices in the Arena Chapel: The Iconography and the Possible Mastermind behind It.” In Out of the Stream: Studies in Medieval and Renaissance Mural Painting, edited by Afonso, Luís Urbano and Serrão, Vítor. Newcastle, 2007, 291317.Google Scholar
Levasti, Arrigo. Mistici del Duecento e del Trecento. Milan, 1960.Google Scholar
Levey, Michael. “Botticelli and Nineteenth-Century England.” Journal of the Warburg and Courtauld Institutes 23 (1960): 291306.Google Scholar
Levine, Emily J. Dreamland of Humanists: Warburg, Cassirer, Panofsky, and the Hamburg School. Chicago, 2013.Google Scholar
SirLindsay, Coutts. “Second Period – Giotto’s First Visit to Lombardy.” In Lindsay, Lord, Sketches of the History of Christian Art. London, 1847, vol. 2: 180200.Google Scholar
Lisner, Margit. Holzkruzifixe in Florenz und in der Toskana von der Zeit um 1300 bis zum frühen Cinquecento. Munich, 1970.Google Scholar
Lloyd, Christopher. “Giotto and the Calydonian Boar Hunt: A Possible Antique Source?Notes in the History of Art 3 (1984): 811.Google Scholar
Longhi, Roberto. “Giotto spazioso.” Paragone 31 (1952): 1824.Google Scholar
Longhi, Roberto. “Giudizio sul Duecento” e ricerche sul Trecento nell’Italia centrale, 1939–1970. Florence, 1974.Google Scholar
Longhi, Roberto. Eine kurze aber wahre Geschichte der Malerei. Cologne, 1996.Google Scholar
Lubbock, Jules. Storytelling in Christian Art from Giotto to Donatello. New Haven, 2006.Google Scholar
Lucianetti, Sergio. “Lo sviluppo della città medioevale.” In La città di Padova: Saggio di analisi urbana, edited by Aymonino, Carlo et al. Rome, 1970, 71125.Google Scholar
Lusanna, Enrica Neri. “L’eredità di Giotto nella scultura.” In L’eredità di Giotto: Arte a Firenze 1340–1375, edited by Tartuferi, Angelo. Exh. cat. Uffizi, Florence. Florence, 2008, 3955.Google Scholar
Macdonald, Ronald R. The Burial-Places of Memory: Epic Underworlds in Vergil, Dante, and Milton. Amherst, 1987.Google Scholar
MacDonald, William L. The Architecture of the Roman Empire. Vol. 1, An Introductory Study. New Haven, 1982.Google Scholar
MacMullen, Ramsay. “A Note on ‘Sermo Humilis.’” The Journal of Theological Studies 17 (1966): 108–12.Google Scholar
Maddalo, Silvia. “Bonifacio VIII e Jacopo Stefaneschi: Ipotesi di lettura dell’affresco della loggia lateranense.” Studi Romani 31 (1983): 129–50.Google Scholar
Maginnis, Hayden B. J.The Problem with Giotto.” In Maginnis, Painting in the Age of Giotto: A Historical Reevaluation. University Park, 1997, 79102.Google Scholar
Maginnis, Hayden B. J.In Search of an Artist.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 1031.Google Scholar
Mandel, Ursula. “On the Qualities of the ‘Colour’ White in Antiquity.” In Circumlitio: The Polychromy of Antique and Mediaeval Sculpture, edited by Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max. Munich, 2010, 303–23.Google Scholar
Marcellan, Francesca. “L’artista, l’usuraio, il teologo: Tre voci nella Cappella degli Scrovegni.” In La Giustizia di Giotto, edited by Marcellan, Francesca and Vincenti, Umberto. Naples, 2006, 168.Google Scholar
Marchesi, Simone. Dante and Augustine: Linguistics, Poetics, Hermeneutics. Toronto, 2011.Google Scholar
Mariani, Valerio. Giotto. Rome, 1937.Google Scholar
Markham Telpaz, Anne. “Some Antique Motifs in Trecento Art.” Art Bulletin 46 (1964): 372–76.Google Scholar
Marks, Laura U. Touch: Sensuous Theory and Multisensory Media. Minneapolis, 2002.Google Scholar
Mather, Frank Jewett. “Giotto’s St. Francis Series at Assisi Historically Considered.Art Bulletin 25 (1943): 97111.Google Scholar
Matisse, Henri. “Notes d’un peintre.” In La Grande Revue (Paris), 25 December 1908.Google Scholar
Mauro, Walter. Il doppio segno – visioni di artisti che hanno illustrato la Divina Commedia: Signorelli, Botticelli, Michelangelo, Raffaello, Stradano, Zuccari, Füssli, Blake, Koch, Scaramuzza, Martini, Dalí, Sassu. Rome, 2006.Google Scholar
Mazzotta, Giuseppe. Cosmopoiesis: The Renaissance Experiment. Toronto, 2001.Google Scholar
Mazzotta, Giuseppe. Dante, Poet of the Desert: History and Allegory in the Divine Comedy. Princeton 1979.Google Scholar
Mazzotta, Giuseppe. “La Metafisica della Creazione.” In Confine quasi orizzonte: Saggi su Dante. Rome, 2014, 97114.Google Scholar
Mazzotta, Giuseppe. The Worlds of Petrarch. Durham, 1993.Google Scholar
Mazzucchi, Andrea (ed.). Dante historiato da Federigo Zuccaro. Rome, 2005.Google Scholar
McGinn, Bernard. The Varieties of Vernacular Mysticism: 1350–1550. New York, 2012.Google Scholar
McGinn, Bernard. “Ordering the Times: The Theology of History in Augustine’s De civitate Dei and Joachim of Fiore’s Concordia Novi ac Veteris Testamenti.” Essays in Medieval Studies 35 (2020): 120.Google Scholar
McGregor, James H. S.Reappraising Ekphrasis in Purgatorio 10.” Dante Studies 121 (2003): 2541.Google Scholar
McGregor, James H. S.Classical and Vernacular Narrative Models for Art Biography in Vasari’s Lives.” In Writers Reading Writers: Intertextual Studies in Medieval and Early Modern Literature in Honor of Robert Hollander, edited by Smarr, Janet Levarie. Newark, 2007, 183200.Google Scholar
McWilliam, Joanne (ed.). Augustine: From Rhetor to Theologian. Waterloo, 1992.Google Scholar
Meiss, Millard. Giotto and Assisi. New York, 1960.Google Scholar
Merback, Mitchell B. (ed.). Beyond the Yellow Badge: Anti-Judaism and Antisemitism in Medieval and Early Modern Visual Culture. Leiden, 2008.Google Scholar
Messerer, Wilhelm. “Giottos Verhältnis zu Arnolfo di Cambio.” In Gosebruch, Martin et al., Giotto di Bondone. Constance, 1970, 209–27.Google Scholar
Michler, Jürgen. “Materialsichtigkeit, Monochromie, Grisaille in der Gotik um 1300.” In Denkmalkunde und Denkmalpflege: Wissen und Wirken. Festschrift für Heinrich Magirius zum 60. Geburtstag, edited by Reupert, Ute, Trajkovits, Thomas, and Werner, Winfried. Dresden, 1995, 197221.Google Scholar
Michler, Jürgen. “Die Einbindung der Skulptur in die Farbgebung gotischer Innenräume.” Kölner Domblatt 64 (1999): 89108.Google Scholar
Michler, Jürgen. “Altbekannte Neuigkeiten über die Farbigkeit der Kathedralen von Chartres, Amiens, Köln.” Kunstchronik 62 (2009): 353–63.Google Scholar
Mieth, Sven Georg. “Giotto: Das mnemotechnische Programm der Arenakapelle in Padua.” PhD diss., Universität Tübingen, 1990.Google Scholar
Millar, Fergus. “Last Year in Jerusalem: Monuments of the Jewish War in Rome.” In Flavius Josephus and Flavian Rome, edited by Edmondson, Jonathan, Mason, Steve, and Rives, J.. Oxford, 2005, 101–28.Google Scholar
Mitchell, Charles. “The Lateran Fresco of Boniface VIII.” Journal of the Warburg and Courtauld Institutes 14 (1951): 16.Google Scholar
Moevs, Christian. The Metaphysics of Dante’s Comedy. Oxford, 2005.Google Scholar
Mommsen, Theodor E.Petrarch’s Conception of the ‘Dark Ages.’” Speculum 17 (1942): 226–42.Google Scholar
Mommsen, Theodor E.St. Augustine and the Christian Idea of Progress: The Background of ‘The City of God.’Journal of the History of Ideas 12 (1951): 346–74.Google Scholar
Mommsen, Theodor E. “Petrarch and the Decoration of the Sala Virorum Illustrium in Padua.” Art Bulletin 34 (1952): 95116.Google Scholar
Mor, Carlo Guido (ed.). Il Palazzo della ragione di Padova. Venice, 1964.Google Scholar
Moschetti, Andrea. La Cappella degli Scrovegni e gli affreschi di Giotto in essa dipinti. Florence, 1904.Google Scholar
Moskowitz, Anita Fiderer. “Trecento Classicism and the Campanile Hexagons.” Gesta 22 (1983): 4965.Google Scholar
Mueller von der Haegen, Anne. Die Darstellungsweise Giottos mit ihren konstitutiven Momenten, Handlung, Figur und Raum im Blick auf das mittlere Werk. PhD diss., Universität Würzburg. Braunschweig, 2000.Google Scholar
Murray, Peter. “Notes on Some Early Giotto Sources.” Journal of the Warburg and Courtauld Institutes 16 (1953): 5880.Google Scholar
Murray, Peter. “On the Date of Giotto’s Birth.” In Giotto e il suo tempo: Atti del congresso internazionale per la clebrazione del VII centenario della nascita di Giotto. Rome, 1971, 2534.Google Scholar
Musa, Mark. “E questo sia suggel ch’ ogn’ uomo sganni (Inferno XIX, 21).” Italica 41 (1964): 134–38.Google Scholar
Naab, Erich (ed.). Augustinus. Über Schau und Gegenwart des unsichtbaren Gottes. Stuttgart, 1998.Google Scholar
Nagel, Alexander. Michelangelo and the Reform of Art. Cambridge, 2000.Google Scholar
Nagel, Alexander. Medieval Modern: Art Out of Time. London, 2012.Google Scholar
Nagel, Alexander, and Wood, Christopher S.. Anachronic Renaissance. New York, 2010.Google Scholar
Nagel, Ivan. Gemälde und Drama: Giotto, Masaccio, Leonardo. Frankfurt am Main, 2009.Google Scholar
von Nagy, Maria. Die Wandbilder der Scrovegni-Kapelle zu Padua: Giottos Verhältnis zu seinen Quellen. Bern, 1962.Google Scholar
Nancy, Jean-Luc. The Birth to Presence. Stanford, 1993.Google Scholar
Nancy, Jean-Luc. Noli me tangere: Essai sur la levée du corps. Paris, 2003.Google Scholar
Niebuhr, Gustav. “Mea Culpa: The Pope Apologizes for His Church.” New York Times, 12 March 2000.Google Scholar
Noack, Ferdinand. “Triumph und Triumphbogen.” Vorträge aus der Bibliothek Warburg 5 (1930): 147201.Google Scholar
Noll, Thomas. Die Silvester-Kapelle in SS. Quattro Coronati in Rom: Ein Bilderzyklus im Kampf zwischen Kaiser und Papst. Munich, 2011.Google Scholar
Nolthenius, Hélène. Duecento: The Late Middle Ages in Italy. New York, 1968.Google Scholar
Novello, Roberto Paolo. “Statua di Enrico Scrovegni.” In La Cappella degli Scrovegni a Padova, edited by Banzato, Davide et al. Modena, 2005, 279–81.Google Scholar
Oberman, Heiko A. “The Augustinian Renaissance.” In The Dawn of the Reformation. Grand Rapids, 1992, 812.Google Scholar
Oehl, Benedikt. “Die Altercatio Ecclesiae et Synagogae: Ein antijudaistischer Dialog der Spätantike.” PhD diss., Rheinische Friedrich-Wilhelms-Universität Bonn. Bonn, 2012.Google Scholar
Oertel, Robert. Early Italian Painting to 1400. New York, 1968.Google Scholar
Øestergaard, Jan Stubbe. “The Polychromy of Antique Sculpture: A Challenge to Western Ideals?” In Circumlitio: The Polychromy of Antique and Mediaeval Sculpture, edited by Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max. Munich, 2010, 78107.Google Scholar
Offner, Richard. “A Great Madonna by the St. Cecilia Master.” Burlington Magazine 1 (1927): 90104.Google Scholar
Offner, Richard. “Giotto, non-Giotto I.” Burlington Magazine 74 (1939): 258–69.Google Scholar
Offner, Richard. “Giotto, non-Giotto II.” Burlington Magazine 75 (1939): 96109.Google Scholar
Offner, Richard. “Giotto, non-Giotto.” In A Discerning Eye. Essays on Early Italian Painting by Richard Offner, edited by Ladis, Andrew. University Park, 1998, 6188.Google Scholar
Olson, Roberta J.M. “Giotto’s Portrait of Halley’s Comet,” in Scientific American 240 (1979): 160170.Google Scholar
Olson, Roberta J.M. “Much Ado about Giotto’s Comet.” in Quarterly Journal of the Royal Astronomical Society 35 (1994): 145148.Google Scholar
Olson, Roberta J.M., and Jay M., Pasachoff. Cosmos: The Art and Science of the Universe. Clerkenwell, 2019.Google Scholar
van Os, Henk. “St. Francis of Assisi as a Second Christ in Early Italian Painting.” Simiolus 7 (1974): 320.Google Scholar
von der Osten, Gert. “Plato über das Relief.” Wallraf-Richartz-Jahrbuch 25 (1962): 1520.Google Scholar
Pallucchini, Rodolfo (ed.). G. B. Cavalcaselle: Disegni da antichi maestri. Vicenza, 1973.Google Scholar
Panofsky, Erwin. Renaissance and Renascences in Western Art. Stockholm, 1960.Google Scholar
Panofsky, Erwin. Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini. New York, 1967.Google Scholar
Panzanelli, Roberta et al. (eds.). The Color of Life: Polychromy in Sculpture from Antiquity to the Present. Exh. cat., The J. Paul Getty Museum, Los Angeles. Los Angeles, 2008.Google Scholar
Pardo, Mary. “Giotto and the ‘Things Not Seen, Hidden in the Shadow of Natural Ones.’” Artibus et Historiae 18 (1997): 4153.Google Scholar
Parker, John Henry. The Archæology of Rome, Part 6, The Via Sacra in Rome. London, 1883.Google Scholar
Paterson, Mark. The Senses of Touch: Haptics, Affects, and Technologies. Oxford, 2007.Google Scholar
Paterson, Mark (ed.). Touching Space, Placing Touch. Farnham, 2012.Google Scholar
Pentcheva, Bissera V.The Performative Icon.” Art Bulletin 88 (2006): 631–55.Google Scholar
Pentcheva, Bissera V. The Sensual Icon: Space, Ritual, and the Senses in Byzantium. University Park, 2010.Google Scholar
Perkinson, Stephen. “Rethinking the Origins of Portraiture.” Gesta 46 (2007): 135–57.Google Scholar
Pešina, Jaroslav. Tektonický prostor a architektura u Giotta. Prague, 1945.Google Scholar
Petrarca, Francesco. In difesa dell’Italia (Contra eum qui maledixit Italie), edited by Giuliana Crevatin. Venice, 1995.Google Scholar
Pfanner, Michael. Der Titusbogen. Mainz am Rhein, 1983.Google Scholar
Pfeiffenberger, Selma. “The Iconology of Giotto’s Virtues and Vices at Padua.” PhD diss., Bryn Mawr College, 1966.Google Scholar
Pfisterer, Ulrich. “Phidias und Polyklet von Dante bis Vasari: Zu Nachruhm und künstlerischer Rezeption antiker Bildhauer in der Renaissance.” Marburger Jahrbuch für Kunstgeschichte 26 (1999): 6197.Google Scholar
Pfisterer, Ulrich. Donatello und die Entdeckung der Stile, 1430–1445. Munich, 2002.Google Scholar
Pfisterer, Ulrich. Die Sixtinische Kapelle. Munich, 2013.Google Scholar
Philippi, Adolf. Über die römischen Triumphalreliefe und ihre Stellung in der Kunstgeschichte. Leipzig, 1872.Google Scholar
Pinkus, Assaf. “A Voyeuristic Invitation in the Arena Chapel.” In Sehen und Sakralität in der Vormoderne, edited by Ganz, David and Lentes, Thomas. Berlin, 2011, 106–19.Google Scholar
Pisani, Giuliano. I volti segreti di Giotto: Le rivelazioni della Cappella degli Scrovegni. Milan, 2008.Google Scholar
Pisani, Giuliano. “La concezione agostiniana del programma teologico della Cappella degli Scrovegni.” In Alberto da Padova e la cultura degli agostiniani, edited by Bottin, Francesco. Padua, 2014, 215–68.Google Scholar
Poeschke, Joachim. Die Sieneser Domkanzel des Nicola Pisano: Ihre Bedeutung für die Bildung der Figur im “stile nuovo” der Dante-Zeit. Berlin, 1973.Google Scholar
Poeschke, Joachim. Die Kirche San Francesco in Assisi und ihre Wandmalereien. Munich, 1985.Google Scholar
Poeschke, Joachim (ed.). Antike Spolien in der Architektur des Mittelalters und der Renaissance. Munich, 1996.Google Scholar
Poeschke, Joachim. Wandmalerei der Giottozeit in Italien: 1280–1400. Munich, 2003.Google Scholar
Pope-Hennessy, John. A Sienese Codex of the Divine Comedy. Oxford, 1947.Google Scholar
Prinz, Wolfram. “Ritratto istoriato oder das Bildnis in der Bilderzählung: Ein frühes Beispiel von Giotto in der Bardikapelle.” Mitteilungen des Kunsthistorischen Institutes in Florenz 30 (1986): 577–81.Google Scholar
Prinz, Wolfram. Die Storia oder die Kunst des Erzählens in der italienischen Malerei und Plastik des späten Mittelalters und der Frührenaissance 1260–1460; Textband. Mainz, 2000.Google Scholar
Prosdocimi, Alessandro. “Il Comune di Padova e la Cappella degli Scrovegni nell’Ottocento: Acquisto e restauri degli affreschi.” Bollettino del Museo Civico di Padova 49 (1960): 69120.Google Scholar
Prosdocimi, Alessandro. “Osservazioni sulla partitura delle scene affrescate da Giotto nella Cappella degli Scrovegni.” In Giotto e il suo tempo: Atti del congresso internazionale per la clebrazione del VII centenario della nascita di Giotto. Rome, 1971, 135–42.Google Scholar
Proust, Marcel. À la recherche du temps perdu. Edited by Pierre Clarac and André Ferre. 3 vols. Paris, 1954.Google Scholar
Puttfarken, Thomas. “Masstabsfragen: Über die Unterschiede zwischen grossen und kleinen Bildern.” PhD diss., Universität Hamburg. Hamburg, 1971.Google Scholar
Quintavalle, Arturo Carlo. “Giotto architetto, l’antico e l’Île de France.” In Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura.” I saggi, edited by Tomei, Alessandro. Exh. cat. Complesso del Vittoriano, Rome. Milan, 2009, 389437.Google Scholar
Quintavalle, Arturo Carlo. “La Croce di Ognissanti. Giotto e la scultura del XIII secolo in occidente.” In L’officina di Giotto: Il restauro della Croce di Ognissanti, edited by Ciatti, Marco. Florence, 2010, 2946.Google Scholar
Rambaldi, Pier Liberale. “Dante e Giotto nella letteratura artistica.” Rivista d’arte 4 (1937): 286384.Google Scholar
Rankin, Susan. “Terribilis est locus iste: The Pantheon in 609.” In Rhetoric Beyond Words: Delight and Persuasion in the Arts of the Middle Ages, edited by Carruthers, Mary. Cambridge, 2010, 281310.Google Scholar
Rath, Markus et al. (eds.). Das haptische Bild: Körperhafte Bilderfahrung in der Neuzeit. Berlin, 2013.Google Scholar
Rehm, Walter. Der Untergang Roms im abendländischen Denken: Ein Beitrag zur Geschichtsschreibung und zum Dekadenzproblem. Leipzig, 1930.Google Scholar
Ricci, Corrado (ed.). La Divina commedia di Dante Alighieri nell’arte del cinquecento (Michelangelo, Raffaello Zuccari, Vasari, ecc.). Milan, 1908.Google Scholar
Richardson, L. Jr. A New Topographical Dictionary of Ancient Rome. Baltimore, 1992.Google Scholar
Riegl, Alois. Spätrömische Kunstindustrie. Vienna, 1901.Google Scholar
Riess, Jonathan B.Justice and Common Good in Giotto’s Arena Chapel Frescoes.” Arte Cristiana 72 (1984): 6980.Google Scholar
Rintelen, Friedrich. Giotto und die Giotto-Apokryphen: Zweite, verbesserte Auflage. Basel, 1923.Google Scholar
Rockwell, Peter. “Some Reflections on Tools and Faking.” In Marble: Art Historical and Scientific Perspectives on Ancient Sculpture, edited by True, Marion and Podany, Jerry. Malibu, 1990, 207–22.Google Scholar
Rohlfs-Von Wittich, Anna. “Das Innenraumbild als Kriterium für die Bildwelt.” Zeitschrift für Kunstgeschichte 18 (1955): 109–35.Google Scholar
Romanini, Angiola Maria (ed.). Roma anno 1300: Atti della IV Settimana di Studi di Storia dell’Arte Medievale dell’Università di Roma “La Sapienza” (19–24 maggio 1980). Rome, 1983.Google Scholar
Romano, Serena. “Giotto e la nuova pittura: Immagine, parola e tecnica nel primo Trecento Italiano.” In Il secolo di Giotto nel Veneto, edited by Toniolo, Federica and Valenzano, Giovanna. Venice, 2007, 743.Google Scholar
Romano, Serena. La O di Giotto. Milan, 2008.Google Scholar
Romdahl, Axel L.Stil und Chronologie der Arenafresken Giottos.” Jahrbuch der Königlich Preussischen Kunstsammlungen 32 (1911): 318.Google Scholar
Rosenthal, Erwin. Giotto in der mittelalterlichen Geistesentwicklung. Augsburg, 1924.Google Scholar
Rossi, Aldo. “Caratteri urbani delle città venete.” In La città di Padova: Saggio di analisi urbana, edited by Aymonino, Carlo et al. Rome, 1970, 421–90.Google Scholar
Rothschild, Edward F., and Wilkins, Ernest H.. “Hell in the Florentine Baptistery Mosaic and in Giotto’s Paduan Frescoes.” Art Studies 6 (1928): 3135.Google Scholar
Rough, Robert H.Enrico Scrovegni, the Cavalieri Gaudenti and the Arena Chapel in Padua.” Art Bulletin 62 (1980): 2435.Google Scholar
Rowe, Nina. The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century. Cambridge, 2011.Google Scholar
Rubin, Patricia. “Understanding Renaissance Portraiture.” In The Renaissance Portrait: From Donatello to Bellini, edited by Christiansen, Keith, Weppelmann, Stefan, and Rubin, Patricia Lee. Exh. cat., Metropolitan Museum of Art, New York. New York, 2011, 225.Google Scholar
Ruskin, John. The Stones of Venice. London, 1851–53.Google Scholar
Ruskin, John. Giotto and His Works in Padua: Being an Explanatory Notice of the Series of Woodcuts Executed for the Arundel Society after the Frescoes in the Arena Chapel. London, 1854.Google Scholar
Ruskin, John. The Art Criticism of John Ruskin. Edited by Herbert, Robert L.. New York, 1964.Google Scholar
Salvini, Roberto. “Medioevo e rinascimento nell’arte di Giotto.” Civiltà moderna 7 (1935): 355–69.Google Scholar
Saak, Eric Leland. Creating Augustine: Interpreting Augustine and Augustinianism in the later Middle Ages. Oxford, 2012.Google Scholar
Sandström, Sven. Levels of Unreality: Studies in Structure and Construction in Italian Mural Painting during the Renaissance. Uppsala, 1963.Google Scholar
Sanson, Virginio. “L’edificio sacro cristiano nella bibbia.” In Lo spazio sacro: Architettura e liturgia, edited by Sanson, Virginio. Padua, 2002, 2336.Google Scholar
Sauerländer, Willibald. “Giotto, Assisi e la crisi dei conoscitori.” In Zanardi, Bruno, Giotto e Pietro Cavallini: La questione di Assisi e il cantiere medievale della pittura a fresco. Milan, 2002, 712.Google Scholar
Sauerländer, Willibald. “Marcel Proust und die Malerei.” Jahrbuch der Bayerischen Akademie der Schönen Künste 10 (1996): 326.Google Scholar
Sauerländer, Willibald. “‘Quand les statues étaient blanches’: Discussion au sujet de la polychromie.” In La couleur et la pierre polychromie des portails gothiques: Actes du colloque, Amiens, 12–14 octobre 2000, edited by Verret, Denis and Steyaert, Delphine. Paris, 2002, 2742.Google Scholar
Sauerländer, Willibald. “Von Wiligelmo zu Giotto: Mediävistische Aphorismen zum Thema Frankreich und Italien.” In “Il se rendit en Italie”: Études offertes à Andrè Chastel. Paris, 1987, 516.Google Scholar
Scardeone, Bernardino. De Antiquitate urbis Patavii et claris civibus patavinis. Basel, 1560.Google Scholar
Scharioth, Barbara. Arnolfo di Cambio und Giotto. PhD diss., Bochum, 1975. Essen, 1976.Google Scholar
Schiessl, Ulrich and Kühnen, Renate (eds.). Polychrome Skulptur in Europa: Technologie, Konservierung, Restaurierung. Dresden, 1999.Google Scholar
Schinkel, Karl Friedrich. Reisen nach Italien: Erste Reise 1803–1805. Berlin, 1994.Google Scholar
Schmersahl, Friedrich. “Die Architektur in Giottos Bildern, betrachtet von einem Architekten.” In Gosebruch, Martin et al., Giotto di Bondone. Constance, 1970, 253–85.Google Scholar
Schmidt, Gerhard. “Giotto und die gotische Skulptur: Neue Überlegungen zu einem alten Thema” and “Probleme der Begriffsbildung: Kunsthistorische Terminologie und geschichtliche Realität.” In Schmidt, Gotische Bildwerke und ihre Meister (Textband). Vienna, 1992, 927 and 313–56.Google Scholar
Schöne, Wolfgang. “Studien zur Oberkirche von Assisi.” In Festschrift Kurt Bauch: Kunstgeschichtliche Beiträge zum 25. November 1957, edited by Hackelsberger, Berthold, Himmelheber, Georg, and Meier, Michael. Munich, 1957, 50116.Google Scholar
Schüßler, Gosbert. “Giottos visuelle Definition der ‘Sapientia Saeculi’ in der Cappella Scrovegni zu Padua.” In Opere e giorni: Studi su mille anni di arte europea dedicati a Max Seidel, edited by Bergdolt, Klaus and Bonsanti, Giorgio. Venice, 2001, 111–22.Google Scholar
Schwarz, Michael Viktor. Die Mosaiken des Baptisteriums in Florenz: Drei Studien zur Florentiner Kunstgeschichte. Cologne, 1997.Google Scholar
Schwarz, Michael Viktor. Giottus Pictor, vol. 2, Giottos Werke. Vienna, 2008.Google Scholar
Schwarz, Michael Viktor. Giotto. Munich, 2009.Google Scholar
Schwarz, Michael Viktor. “Poesia e verità: Una biografia critica di Giotto.” In Giotto e il Trecento: ‘Il più Sovrano Maestro stato in dipintura.’ I saggi, edited by Tomei, Alessandro. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, 929.Google Scholar
Schwarz, Michael Viktor. “Padua, Its Arena and the Arena Chapel: A Liturgical Ensemble.” Journal of the Warburg and Courtauld Institutes 73 (2010): 3964.Google Scholar
Schwarz, Michael Viktor. “Goldgrund im Mittelalter: ‘Don’t ask for the meaning, ask for the use!’” In Gold, edited by Husslein-Arco, Agnes and Zaunschirm, Thomas. Exh. cat., Belvedere, Vienna. Munich, 2011, 2837.Google Scholar
Schwarz, Michael Viktor. “Figure of Memory and Figure of the Past: Giotto’s Double Life – with a Side-Glance at Joseph Beuys.” Taidehistoriallisia Tutkimuksia Konsthistoriska Studier – Studies in Art History 46 (2013): 1423.Google Scholar
Schwarz, Michael Viktor, and Theis, Pia. Giottus Pictor, vol. 1: Giottos Leben. Vienna, 2004.Google Scholar
Sebald, W. G. Schwindel; Gefühle. Frankfurt am Main, 1998.Google Scholar
Sebregondi, Ludovica and Parks, Tim (eds.). Money and Beauty: Bankers, Botticelli and the Bonfire of the Vanities. Exh. cat., Palazzo Strozzi, Florence. Florence, 2011.Google Scholar
Seidel, Linda. Songs of Glory: The Romanesque Façades of Aquitaine. Chicago, 1981.Google Scholar
Seiferth, Wolfgang S. Synagoge und Kirche im Mittelalter. Munich, 1964.Google Scholar
Seiler, Peter. “Giotto als Erfinder des Porträts.” In Das Porträt vor der Erfindung des Porträts, edited by Büchsel, Martin and Schmidt, Peter. Mainz am Rhein, 2003, 153–72.Google Scholar
Seiler, Peter. “Die Idolatrieanklage im Prozeß gegen Bonifaz VIII.” In Bild/Geschichte: Festschrift für Horst Bredekamp, edited by Helas, Philine et al. Berlin, 2007, 353–74.Google Scholar
Selvatico, Pietro Estense. Sulla Cappellina degli Scrovegni nell’Arena di Padova e sui freschi di Giotto in essa dipinti. Padua, 1836.Google Scholar
Selvatico, Pietro Estense. “Visita di Dante a Giotto: Nell’Oratorio degli Scrovegni in Padova (1306).” In Selvatico, L’Arte nella vita degli artisti: Racconti storici. Firenze, 1870, 170.Google Scholar
Settis, Salvatore. “Continuità, distanza, conoscenza: Tre usi dell’antico.” In Memoria dell’antico nell’arte italiana, edited by Settis, Salvatore. Turin, 1986, 375486.Google Scholar
Settis, Salvatore. “Schicksale der Klassik: Vom Gips zur Farbe.” In Zurück zur Klassik: Ein neuer Blick auf das Alte Griechenland, edited by Brinkmann, Vinzenz. Exh. cat., Liebieghaus Skulpturensammlung, Frankfurt am Main. Munich, 2013, 5983.Google Scholar
Shorr, Dorothy C. “The Role of the Virgin in Giotto’s Last Judgment.Art Bulletin 38 (1956): 207–14.Google Scholar
Signer, Michael. “Jews and Judaism.” In Augustine through the Ages, edited by Fitzgerald, Allan D.. Grand Rapids, 1999, 470–74.Google Scholar
Simon, Robin. “Giotto and After: Altars and Alterations at the Arena Chapel, Padua.” Apollo 142 (1995): 2436.Google Scholar
Simon, Robin. “‘The Monument Constructed for Me.’ Evidence for the First Tomb Monument of Enrico Scrovegni in the Arena Chapel, Padua.” In Venice and the Veneto during the Renaissance: The Legacy of Benjamin Kohl, edited by Knapton, Michael et al. Florence, 2014, 385404.Google Scholar
von Simson, Otto. “Über Giottos Einzelgestalten.” In Gosebruch, Martin et al., Giotto di Bondone. Constance, 1970, 229–41.Google Scholar
Sirén, Osvald. Giotto and Some of His Followers. Vol. 1. Cambridge, 1917.Google Scholar
Sjöström, Ingrid. Quadratura: Studies in Italian Ceiling Painting. Stockholm, 1978.Google Scholar
Smart, Alastair. “Ghiberti’s ‘quasi tutta la parte di sotto’ and Vasari’s Attributions to Giotto at Assisi.” Renaissance and Modern Studies 8 (1963): 524.Google Scholar
Smart, Alastair. The Assisi Problem and the Art of Giotto: A Study of the Legend of St. Francis in the Upper Church of San Francesco, Assisi. New York, 1983.Google Scholar
Spiazzi, Anna Maria. “La decorazione del Salone.” In Il Palazzo della Ragione di Padova: La storia, l’architettura, il restauro, edited by Vio, Ettore. Padua, 2008, 315–25.Google Scholar
Starn, Randolph. “Renaissance Triumphalism in Art.” In The Renaissance World, edited by Martin, John Jeffries. New York, 2007, 326–46.Google Scholar
Starn, Randolph, and Partridge, Loren. Arts of Power: Three Halls of State in Italy, 1300–1600. Berkeley, 1992.Google Scholar
Steiner, Reinhard. “Paradoxien der Nachahmung bei Giotto: die Grisaillen der Arenakapelle zu Padua.” In Die Trauben des Zeuxis: Formen künstlicher Wirklichkeitsaneignung, edited by Körner, Hans et al. Hildesheim, 1990, 6186.Google Scholar
Steinke, Hubert. “Giotto und die Physiognomik.” Zeitschrift für Kunstgeschichte 59 (1996): 523–47.Google Scholar
Stella, Francesco. “Roma antica nella poesia mediolatina: Alterità e integrazione di un segno poetico.” In Roma antica nel Medioevo: Mito, rappresentazioni, sopravvivenze nella “Respublica Christiana” dei secoli IX–XIII, edited by Zerbi, Pietro. Milan, 2001, 277308.Google Scholar
Stieber, Mary C. Euripides and the Language of Craft. Leiden, 2011.Google Scholar
Stierle, Karlheinz. “Das System der schönen Künste im ‘Purgatorio.’” In Stierle, Ästhetische Rationalität; Kunstwerk und Werkbegriff. Munich, 1996, 389416.Google Scholar
Stock, Brian. Augustine the Reader: Meditation, Self-Knowledge, and the Ethics of Interpretation. Cambridge, MA, 1998.Google Scholar
Stock, Brian. Augustine’s Inner Dialogue: The Philosophical Soliloquy in Late Antiquity. Cambridge, 2010.Google Scholar
Stock, Brian. The Integrated Self: Augustine, the Bible, and Ancient Thought. University Park, 2017.Google Scholar
Stöhr, Jürgen. Auch Theorien haben ihre Schicksale: Max Imdahl, Paul de Man, Beat Wyss. Bielefeld, 2010.Google Scholar
Stoichita, Victor I. The Pygmalion Effect: From Ovid to Hitchcock. Chicago, 2008.Google Scholar
Strauss, Ernst. Koloritgeschichtliche Untersuchungen zur Malerei seit Giotto. Munich, 1972.Google Scholar
Strauss, Walter A.Proust – Giotto – Dante.” Dante Studies 96 (1978): 163–85.Google Scholar
Strehlke, Carl Brandon. “Giotto: Bilancio critico di sessant’anni di studi e ricerche at the Galleria dell’Accademia, Florence.” Burlington Magazine 142 (2000): 591–93.Google Scholar
Strocka, Volker Michael. “Der ‘flavische Stil’ in der römischen Kunst – Einbildung oder Realität?” In Tradition und Erneuerung: Mediale Strategien in der Zeit der Flavier, edited by Kramer, Norbert and Reitz, Christiane. Berlin, 2010, 95132.Google Scholar
Summers, David. Real Spaces: World Art History and the Rise of Western Modernism. London, 2003.Google Scholar
Taschera, Babet. “I Dalesmanini: Una famiglia magnatizia nella Padova dei secoli XII–XIV.” Laurea vecchio ordinamento, Padua, 2003.Google Scholar
Thiébaut, Dominique (ed.). Giotto e compagni. Exh. cat., Louvre, Paris. Milan, 2013.Google Scholar
Thode, Henry. Giotto. Bielefeld, 1899.Google Scholar
Thomann, Johannes. “Pietro d’Abano on Giotto.” Journal of the Warburg and Courtauld Institutes 54 (1991): 238–44.Google Scholar
Thomas, Hans-Michael. “Contributi alla storia della cappella degli Scrovegni a Padova.” Nuova Rivista Storica 57, nos. 1–2 (1973): 109–28.Google Scholar
Thürlemann, Felix. Mehr als ein Bild: Für eine Kunstgeschichte des hyperimage. Munich, 2013.Google Scholar
Tintori, Leonetto, and Meiss, Millard. The Painting of The Life of St. Francis in Assisi: With Notes on the Arena Chapel. New York, 1962.Google Scholar
Tintori, Leonetto, and Meiss, Millard. “Additional Observations on Italian Mural Technique.” Art Bulletin 46 (1964): 377–80.Google Scholar
Toesca, Pietro. Giotto. Turin, 1941.Google Scholar
Tolomei, Antonio. La chiesa di S. Maria della Carità dipinta da Giotto nell’Arena. Padua, 1880.Google Scholar
Tomei, Alessandro (ed.). Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura.” I saggi. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009.Google Scholar
Tomei, Alessandro. “La decorazione della Basilica di San Francesco ad Assisi come metafora della questione giottesca.” In Giotto e il Trecento: “Il più Sovrano Maestro stato in dipintura.” I saggi, edited by Tomei, Alessandro. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, 3149.Google Scholar
Tomei, Alessandro and Pisani, Giuliano (eds.). Magister Giotto. Villanova di Castenaso, 2017.Google Scholar
Took, John. “Dante and the ‘Confessions’ of Augustine.” Annali d’Italianistica 8 (1990): 360–82.Google Scholar
Took, John. “Dante, Augustine and the Drama of Salvation.” In Word and Drama in Dante: Essays on the Divina Commedia, edited by Barnes, John C. and Petrie, Jennifer. Dublin, 1993, 7392.Google Scholar
Torresini, Donatella. Padova 1509–1969: Gli effetti della prassi urbanistica borghese. Padua, 1975.Google Scholar
Tosti-Croce, Marina Righetti (ed.). Bonifacio VIII e il suo tempo: Anno 1300. Il primo giubileo. Exh. cat. Palazzo di Venezia, Rome. Milan, 2000.Google Scholar
Trachtenberg, Marvin. The Campanile of Florence Cathedral: “Giotto’s Tower.” New York, 1971.Google Scholar
Trachtenberg, Marvin. Building-in-Time: From Giotto to Alberti and Modern Oblivion. New Haven, 2010.Google Scholar
Tronzo, William. “On the Role of Antiquity in Medieval Art: Frames and Framing Devices.” In Ideologie e pratiche del reimpiego nell’alto medioevo. Spoleto, 1999, vol. 2: 10851111.Google Scholar
Tronzo, William. “Giotto’s Figures.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 6375.Google Scholar
Tronzo, William (ed.). The Fragment: An Incomplete History. Los Angeles, 2009.Google Scholar
Van Fleteren, Frederick. “Acies mentis (Gaze of the Mind)” and “Videndo Deo, De (On Seeing God).” In Augustine through the Ages: An Encyclopedia, edited by Fitzgerald, Allan D.. Grand Rapids, 1999, 56, and 869.Google Scholar
Van Gogh, Vincent. Letter 655 (To Emile Bernard), Arles, on or about Sunday, 5 August 1888. Online source http://vangoghletters.org/vg/letters/let655/letter.html, last accessed 24 December 2019.Google Scholar
Van Gogh, Vincent. Letter 683 (To Theo van Gogh), Arles, Tuesday, 18 September 1888. Online source http://vangoghletters.org/vg/letters/let683/letter.html, last accessed 24 December 2019.Google Scholar
Van Gogh, Vincent. Letter RM21 (To Joseph Jacob Isaäcson.), Auvers-sur-Oise, Sunday, 25 May 1890. Online source http://vangoghletters.org/vg/letters/RM21/letter.html, last accessed 24 December 2019.Google Scholar
Villani, Filippo. De origine civitatis Florentie et de eiusdem famosis civibus. Edited by Tanturli, Giuliano. Padua, 1997.Google Scholar
Villani, Filippo. “Giotto’s Revival of Ancient Art.” In Images of Quattrocento Florence, edited by Baldassarri, Stefano Ugo and Saiber, Arielle. New Haven, 2000, 185–87.Google Scholar
Vincenti, Umberto. “La Giustizia di Giotto.” In Umberto Vincenti and Francesca Marcellan, La Giustizia di Giotto. Naples, 2006, 6992.Google Scholar
Walter-Karydi, Elena. “The Coloring of the Relief Background in Archaic and Classical Greek Sculpture.” In Gods in Color: Painted Sculpture of Classical Antiquity, edited by Brinkmann, Vinzenz et al. Exh. cat., Arthur Museum, M. Sackler, Harvard University Museums, Cambridge, MA. Munich, 2007, 172–77.Google Scholar
Warburg, Aby. Tagebuch der Kulturwissenschaftlichen Bibliothek Warburg: Mit Einträgen von Gertrud Bing und Fritz Saxl. Edited by Michels, Karen and Schoell, Charlotte-Glass, . Berlin, 2001.Google Scholar
Warnke, Martin. “Italienische Bildtabernakel bis zum Frühbarock.” Münchner Jahrbuch der Bildenden Kunst 14 (1968): 61102.Google Scholar
Warnke, Martin. Hofkünstler: Zur Vorgeschichte des modernen Künstlers. Cologne, 1996.Google Scholar
Wataghin, Gisella Cantino. “…ut haec aedes Christo Domino in Eccelesiam consecretur. Il riuso Cristiano di edifici antichi tra tarda antichita e alto medioevo.” In Ideologie e pratiche del reimpiego nell’alto medioevo. Spoleto, 1999, vol. 2: 673750.Google Scholar
Weigelt, Curt H. Giotto: Des Meisters Gemälde. Berlin, 1925.Google Scholar
Weil, Simone. Gravity and Grace. New York, 1952.Google Scholar
Weise, Georg. Die geistige Welt der Gotik und ihre Bedeutung für Italien. Halle an der Saale, 1939.Google Scholar
Wenderholm, Iris. Bild und Berührung: Skulptur und Malerei auf dem Altar der italienischen Frührenaissance. Munich, 2006.Google Scholar
Weppelmann, Stefan and Wolf, Gerhard (eds.). Rothko/Giotto. Exh. cat., Gemäldegalerie, Berlin. Munich, 2009.Google Scholar
Weppelmann, Stefan. “‘Giotto’s Rumblings’: Mark Rothko and the Renaissance as a Rhetoric of Modernism.” In Rothko / Giotto, edited by Weppelmann, Stefan and Wolf, Gerhard. Exh. cat., Gemäldegalerie der Staatlichen Museen zu Berlin. Munich, 2009, 4166.Google Scholar
White, Hayden V. The Content of Form: Narrative Discourse and Historical Representation. London, 1990.Google Scholar
White, John. The Birth and Rebirth of Pictorial Space. Boston, 1967.Google Scholar
Wickham, Chris. Roma medievale: Crisi e stabilità di una città, 900–1150. Edited by Fiore, Alessio and Provero, Luigi. Rome, 2013.Google Scholar
Wiener, Jürgen. “Rahmen und Ranke in der italienischen Skulptur um 1300.” In Format und Rahmen: Vom Mittelalter bis zur Neuzeit, edited by Körner, Hans and Möseneder, Karl. Berlin, 2008, 4168.Google Scholar
Wilkins, Ernest Hatch. “Dante and the Mosaics of his Bel San Giovanni.Speculum: A Journal of Mediaeval Studies 2 (1927): 110.Google Scholar
Witt, Ronald G. “In the Footsteps of the Ancients”: The Origins of Humanism from Lovato to Bruni. Leiden, 2000.Google Scholar
Wollesen, Jens T.‘Ut poesis pictura?’ Problems of Images and Texts in the Early Trecento.” In Petrarch’s Triumphs: Allegory and Spectacle, edited by Eisenbichler, Konrad and Iannucci, Amilcare A.. Ottawa, 1990, 183210.Google Scholar
Wollesen, Jens T. Pictures and Reality: Monumental Frescoes and Mosaics in Rome around 1300. New York, 1998.Google Scholar
Wood, Christopher S. Forgery Replica Fiction. Chicago and London, 2008.Google Scholar
Zaho, Margaret Ann. Imago Triumphalis: The Function and Significance of Triumphal Imagery for Italian Renaissance Rulers. New York, 2004.Google Scholar
Zanardi, Bruno. “L’organizzazione del cantiere.” In Il cantiere di Giotto: Le storie di san Francesco ad Assisi. Milan, 1996, 1920, 34–36, 38–40, 42–44, 46–58.Google Scholar
Zanardi, Bruno. Giotto e Pietro Cavallino: La questione di Assisi e il cantiere medievale della pittura a fresco. Milan, 2002.Google Scholar
Zanardi, Bruno. “Giotto and the St. Francis Cycle at Assisi.” In The Cambridge Companion to Giotto, edited by Derbes, Anne and Sandona, Mark. Cambridge, 2004, 3262.Google Scholar
Zanardi, Maria Cristina. Catalogo degli Incunaboli della Biblioteca Antoniana di Padova. Florence, 2012.Google Scholar
Zanichelli, Giuseppa Z.Manoscritti Ebraici Romani.” In Bonifacio VIII e il suo tempo: Anno 1300 il primo giubileo, edited by Tosti-Croce, Marina Righetti. Milan, 2000, 111–16.Google Scholar
Zanker, Paul. Die Apotheose der römischen Kaiser. Munich, 2004.Google Scholar
Zöllner, Frank. “Policretior manu: Zum Polykletbild der frühen Neuzeit.” In Der Bildhauer der griechischen Klassik, edited by Beck, Herbert. Exh. cat., Liebieghaus, Museum alter Plastik, Frankfurt am Main. Mainz, 1990, 450–72.Google Scholar
Zucker, Mark J.Figure and Frame in the Paintings of Giotto.” Source 1 (1982): 15.Google Scholar
Zucker, Mark J. “Al ha-Pereq: Al Shiḥrur Roma,” la-Ḥayyal: Alon-Yomi le-Ḥayyilim be-Yaveshet Europa 79 (May 6, 1944): 2.Google Scholar

Save book to Kindle

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

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

Find out more about the Kindle Personal Document Service.

  • Select Bibliography
  • Henrike Christiane Lange, University of California, Berkeley
  • Book: Giotto's Arena Chapel and the Triumph of Humility
  • Online publication: 12 January 2023
  • Chapter DOI: https://doi.org/10.1017/9781009036450.014
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select Bibliography
  • Henrike Christiane Lange, University of California, Berkeley
  • Book: Giotto's Arena Chapel and the Triumph of Humility
  • Online publication: 12 January 2023
  • Chapter DOI: https://doi.org/10.1017/9781009036450.014
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select Bibliography
  • Henrike Christiane Lange, University of California, Berkeley
  • Book: Giotto's Arena Chapel and the Triumph of Humility
  • Online publication: 12 January 2023
  • Chapter DOI: https://doi.org/10.1017/9781009036450.014
Available formats
×