The asterisks and numbers prefixed to certain items in the Bibliography are explained in the Foreword, p. 8. The following abbreviations have been used:

AAF Archives de I'art francais

AB Art Bulletin

Acts Acts of the XX International Congress of the History of Art, 3 vols, Princeton, 1963

Akten 1964 Akten des 21 internationalen Kongresses fur Kunstgeschichte in Bonn 1964, 3 vols, Berlin, 1967

AQ Art Quarterly

BM Burlington Magazine

BSHAF Bulletin de la Societe de I'Histoire de

VArt francais

GBA La Gazette des Beaux-Arts

IHA L'Information d'Histoire de I'Art

IMU Italia Medioevale e Umanistica


JSAH JWCI Karl der Grosse

Mitt. DAI Mitt. KHIF

Munchner Jahrbuch




Journal of the History of Ideas

Jahrbuch der kunsthistorischen Samm-lungen, Wien

Journal of the Society of Architectural Historians

Journal of the Warburg and Courtauld Institutes

Karl der Grosse, Lebenswerk und Nach-leben, 5 vols, ed. W. Braunfels, Dussel-dorf, 1965-8

Mitteilungen des deutschen archdologi-schen Instituts, romische Abteilung

Mitteilungen des kunsthistorischen Instituts in Florenz

Munchner Jahrbuch der bildenden Kunst La Revue de I'Art

La Revue de I'Art ancien et moderne Zeitschrift fur Kunstgeschichte

Introduction: What is Classicism ?

Battisti, E., 'Classicism', in The McGraw-Hill Encyclopaedia of World Art, New York and London, 1957-68. (Survey with bibliography)

Battisti, E., et al., 'Antique revival', in The McGraw-Hill Encyclopaedia of World Art, New York and London, 1957-68. (Survey with bibliography)

Blunt, A., Artistic Theory in Italy, 1450-1600, Oxford, 1940.

Boas, G. (ed.), The Greek Tradition (Symposium, Baltimore Museum of Art, 1939), Baltimore, 1939. (With papers on archaeology and the idea of classical antiquity, classicism in medieval art, the ancients as authority in seventeenth-century France, etc.)

Bolgar, R. R., The Classical Heritage and its Beneficiaries, Cambridge, 1954. (Learned and detailed; concentrates on literature from fall of Rome to c. 1600)

Bolgar, R. R. (ed.), Classical Influences on European Culture, A.D. 500-1500 (International conference, King's College, Cambridge, 1969), Cambridge, 1971. (Sections on manuscripts, teaching, classical ideas in literature, thought and art)

Bolgar, R. R. (ed.), Classical Influences on European Culture, A.D. 1500-1700, Cambridge, 1976. (Proceedings of 1974 Conference, which tried 'to draw attention

to certain obvious gaps in our present-day knowledge . . . and to indicate certain topics . . . for future research'.)

Fehl, P., The Classical Monument: Reflections on the connection between morality and art in Greek and Roman sculpture, New York, 1972. (Apology for classicism)

Ferguson, W. K., The Renaissance in Historical Thought: Five centuries of interpretation, Boston, 1948.

Gombrich, E. H., Aby Warburg: an intellectual biography, London, 1970. (His concern with 'the after-life of antiquity'. Cf. review by C. Gilbert in Journal of Modern History, XLIV (1972), 381-91, who believes the book gives insufficient attention to the background)

Heckscher, W. S., Imago: a pictorial calendar for 1963: Ancient art and its echoes in post-classical times (The Netherlands Classical Association). (Selective bibliography, and refs for each item. Most useful; parallels Vermeule below)

Highet, G., The Classical Tradition: Greek and Roman influences on Western literature, Oxford, 1949. (Rich in references; thorough index)

Hunger, H., Lexikon der griechischen und romischen Mythologie mit Hinweisen auf das Fortwirken antiker Stoffe und Motive in der bildenden Kunst des Abendlandes bis zur Gegenwart, Vienna, 1953

Kenney, E. J., The Classical Text. Aspects of editing in the age of the printed book, Berkeley, Los Angeles and London, 1974. (Partly a history of classical scholarship)

Kermode, F., The Classic, London, 1975. (Influence of Virgil and of the idea of Rome)

Ladendorf, H., Antikenstudium und Antikenkopie: Vorarbeiten zu einer Darstellung ihrer Bedeutung in der mittelalterlichen und neueren Zeit, 2nd edn, Berlin, 1958. (Very large bibliography divided by subject, and indexed; useful illustrations)

Levin, H., 'Contexts of the classical', in his Contexts of Criticism, Cambridge, Mass., 1957, 38-54.

London: Warburg Institute, Catalog of the Warburg Institute Library, 12 vols, rev. edn, Boston, Mass., 1967. (Very useful; Vols 9-11 for post-antique art)

* Luck, G., 'Scriptor classicus', Comparative Literature, X (1958), 150-8. (Definition via a history of the term 'classic')

Nash, E., A Pictorial Dictionary of Ancient Rome, English translation of rev. edn, 2 vols, London, 1968. (Bibliographies per item; Renaissance material cited where useful)

Pfeiffer, R., A History of Classical Scholarship from 1300 to 1850, Oxford, 1976.

Reynolds, L. D. and Wilson, N. G., Scribes and scholars. A guide to the transmission of Greek and Latin literature, 2nd edn (enlarged), Oxford, 1974.

Rowland, B., The Classical Tradition in European Art. (Useful for its illustrations)

Sandys, J. E., A History of Classical Scholarship, 2nd edn, 3 vols, Cambridge, 1906jff.

*Secretan, D., Classicism, London, 1973. (Useful primer, mainly concerned with literature)

Summerson, J., The Classical Language of Architecture, London, 1964.

Tatarkiewicz, W., History of Aesthetics. Ill: Modern Aesthetics. The Hague and Paris, 1974. (Commentaries on selected key texts)

Venturi, L., Storia della critica d'arte, 2nd edn, Turin, 1964. (With larger bibliography than the English translation)

*Vermeule, C. C., European Art and the Classical Past, Cambridge, Mass., 1964. (Indispensable survey of forms and motifs from point of view of a classical archaeologist; review by E. H. Gombrich in Journal of Roman Studies, LVI (1966), 259-60)

*Weiss, R., The Renaissance Discovery of Classical Antiquity, Oxford, 1969. (Fundamental: a history of Renaissance antiquarianism)

Wellek, R., 'The term and concept of classicism in literary history', in E. R. Wasserman (ed.), Aspects of the 18th Century, Baltimore and London, 1965, 105-28. (Well referenced)

Wilamovitz-Moellendorff, U. von, Storia della filologia classica, Italian translation from the German, Turin, 1967.

Wittkower, R., 'Imitation, eclecticism, genius', in E. R. Wasserman (ed.), Aspects of the 18th Century, Baltimore and London, 1965, 143-61.

Wolffliri, H., Classic Art, English translation, London, 1952.

1 Bialostocki, J., 'The Renaissance concept of nature and antiquity', in Acts, II, 19-30. (Imitation of nature through imitation of the antique)

2 Gombrich, E. H., 'The style all'antica: imitation and assimilation', in Acts, II, 31—41. ('Illusion of movement and life' attracted the Renaissance to the antique)

3 Janson, H. W., Apes and ape-lore in the Middle Ages and the Renaissance, London, 1952. (287-325: 'Ars simia naturae')

4 *Lee, R. W., Ut Pictura Poesis. The humanistic theory of painting, New York, 1967.

5 McKeon, R., 'The transformation of the liberal arts in the Renaissance', in B. S. Levy (ed.), Developments in the Early Renaissance, Albany, 1972, 158-206. (Good bibliography)

6 *Panofsky, E., Idea: A concept in art theory, English

translation, New York, 1968. (Fundamental; reprints essential texts)

7 Trinkaus, C., In Our Image and Likeness: Humanity and divinity in Italian humanist thought, 2 vols, London, 1970. (On attempts to define 'the nature, condition and destiny of man within the inherited framework of the Christian faith')

8 Weise, G., L'ideale eroico del Rinascimento e le sue premesse umanistiche, Naples, 1961. (Quotation 1126-7)

9 Weise, G., L'ideale eroico del Rinascimento: Diffusione europea e tramontana, Naples, 1965. (Sequel to the above; both cite a wealth of examples, fifteenth to eighteenth centuries)

1 Classicism from the Fall of Rome to Nicola Pisano: Survival and Revival

Pagan into Christian

Beckwith, J., Early Christian and Byzantine Art, Har-mondsworth, 1970.

Beyen, H. G., 'Rome's Bijdrage tot de Ontwikkeling der Bieldende Kunst in het Westen', Mededelingen van het Nederlands Instituut te Rome, X (1940), 25-57. (French summary)

Bialostocki, J., 'Encompassing types and archetypal images', Arte Lombarda (Studi in onore di G. N. Fasola), 1964, 275-284.

*Gough, M., The Origins of Christian Art, London, 1973.

*Grabar, A., Christian Iconography: A study of its origins, London, 1969. (Good bibliography)

Kitzinger, E., 'The Hellenistic heritage of Byzantine art', Dumbarton Oaks Papers, XVII (1963), 97-115.

Krautheimer, R., Early Christian and Byzantine Architecture, Harmondsworth, 1965.

Morey, C. R., Early Christian Art. An outline of the evolution of style and iconography in sculpture and painting from Antiquity to the 8th century, Princeton, 1941.

* Oakeshott, W., Classical Inspiration in Mediaeval Art, London, 1959. (Richly illustrated)

Springer, A., Das Nachleben der Antike im Mittelalter. Bilder aus den neueren Kunstgeschichte, Bonn, 1886.

Swift, E. H., Roman Sources of Christian Art, New York, 1951. (Includes architecture)

10 Amelung, W., 'Di statue antiche trasformate in figure di santi', Mitt.DAI, XII (1897), 71-4..

11 Buddensieg, T., 'Gregory the Great, the destroyer of pagan idols. The history of a mediaeval legend concerning the decline of ancient art and literature', JWCI, XXVIII (1965), 44-65.

12 Dotzauer, W., 'Die Ankunft des Herrschers. Der fiirs-tliche "Einzug" in die Stadt (bis zum Ende des Alten Reichs)', Archivfur Kulturgeschichte, LV(1973), 245-88.

13 Fohlen, C., 'Connaissance et utilisation des tombes antiques pendant le haut moyen age', Melanges de la Societe toulonnaise des etudes classiques, II (1948), 179-93.

14 Grabar, A., The Beginnings of Christian Art, 200-395, English translation, London, 1967.

15 Haufmann, G. M. A., The Season Sarcophagus in Dumbarton Oaks, 2 vols, Cambridge, Mass., 1951.

16 Kantorowicz, E. H., 'The king's advent', AB, XXVI (1944), 207-31.

17 Lawrence, M., 'A gothic reworking of an Early Christian sarcophagus', Art Studies, VII (1929), 89-153.

18 L'Orange, H. P., Apotheosis in Ancient Portraiture, Oslo, 1947.

19 L'Orange, H. P., Studies in the Iconography of Cosmic Kingship in the Ancient World, Oslo, 1953. (139-70: 'The gesture of power.')

20 Male, E., 'L'art symbolique a la fin du moyen age: les triomphes', RAAM, XIX (1906), 111-26.

21 Saxl, F., 'Pagan and Jewish elements in Early Christian sculpture', in his Lectures, 45-57, 2 vols, London, 1957.

22 Saxl, F., 'Pagan Sacrifice in the Italian Renaissance', JWCI, II (1938/9), 346-67.

23 Schmidt, J. H., 'Nachromische Triumphtore', Das Werk des Kunstlers, I (1939), 362-99.

24 Schnitzler, H., Mittelalter und Antike. t)ber die Wieder-geburt der Antike in der Kunst des Mittelalters, Munich, 1949. (Short illustrated survey, Carolingian to Nicola Pisano)

25 Schweitzer, B., Die spdtantiken Grundlagen der mittelalterlichen Kunst, Leipzig, 1949.

Survival and revival

Bonicatti, M., 'Traccia per uno studio sull'arte tardo antica nell'ambiente urbano occidentale', Studi Mis-cellanei, I (1961), 11-27. (Good bibliography; centres on the MS. of the Vatican Virgil)

Chiri, G., 'La cultura classica nella coscienza medi-oevale', Studi Romani, II (1954), 395-410.

Curtius, E. R., European Literature and the Latin Middle Ages, English translation, London, 1953.

Demus, O., Byzantine Art and the West, London, 1970. Gargner, E., 'Zur spatantiken Renaissance', JKHS, VIII (1934), 1-28.

Hubert, J., Porcher, J., and Volbach, W. F., Europe in the Dark Ages, English translation, London, 1969.

Marrou, H.-L, Saint Augustin et la fin de la culture antique, Paris, 1938. (Problem of a balance between old and new)

Panofsky, E., and Saxl, F., 'Classical mythology in mediaeval art', Metropolitan Museum Studies, IV (2) (1933), 228-80.

*Seznec, J., The Survival of the Pagan Gods, English translation, New York, 1953.

Weitzmann, K., 'The survival of mythological representations in Early Christian and Byzantine art and their impact on Christian iconography', Dumbarton Oaks Papers, XIV (1960), 45-68.

* Wolff, P., The Awakening of Europe, Harmondsworth, 1968. (In series 'Pelican History of European Thought'; from Fall of Rome to Abelard).

26 Beckwith, J., Early Mediaeval Art, London, 1964. (30jff. for obsession with the 'authentic')

27 Beckwith, J., 'The Werden Casket Reconsidered', AB, XL (1958), 1-11.

28 Colin, J., 'La plastique "greco-romaine" dans 1'Empire carolingien', Cahiers archeologiques, II (1947), 87-114. (Explains return to Byzantine examples because of melting down of western material)

29 Cumont, F., 'L'Adoration des Mages et 1'art triomphal de Rome', Memorie della Pontifica Accademia Romana di Archeologia, III (1932), 81-105.

30 Duval, N., 'Les origines de la basilique chretienne. Etat de la question', IHA, VII (1962), 1-19.

31 Grabar, A., Martyrium: Recherches sur le culte des reliques et I'art chretien antique, 2 vols, Paris, 1943-6.

32 Ragusa, L, 'The Re-use of Roman Sarcophagi during the Middle Ages and the Renaissance', M.A. thesis (unpublished), New York Institute of Fine Arts, 1951. (I have not seen this item)

33 Simone, F., 'La coscienza della Rinascita negli umanisti', La Rinascita, II (1939), 838-71; and III (1940), 163-86.

34 Walter, C., 'Papal political imagery in the mediaeval Lateran Palace', Cahiers archeologiques, XX (1970), 155-76; and XXI (1971), 109-36.

35 Wes, W. A., 'La fin de Rome dans 1'historiographie de 1'humanisme italien', Mededelingen van het Nederlands Instituut te Rom, XXXVI (1974), 113-22.

36 Williams, P. L., 'Two Roman reliefs in Renaissance disguise', JWCI, IV (1941), 47-66.

The Carolingian Renaissance

Braunfels, W. (ed.), Karl der Grosse, Lebenswerk und Nachleben, 5 vols, Dusseldorf, 1965-3. (Especially Vols III and IV)

*Bullough, D., The Age of Charlemagne, 2nd edn, London, 1973.

Bullough, D., 'Europae pater: Charlemagne and his achievement in the light of recent scholarship', English Historical Review, LXXV (1970), 59-105.

*Conant, K. J., Carolingian and Romanesque Architecture, 800-1200, Harmondsworth, 1966.

Council of Europe, Charlemagne: oeuvre, rayonnement et survivances, Exhibition catalogue, Aix-la-Chapelle, 1965.

Davis-Weyer, C., Early Mediaeval Art 300-1150: Sources and documents, New Jersey, 1971.

Krautheimer, R., Studies in Early Christian, Mediaeval and Renaissance Art, New York, 1969. (Reprints, with additions, important articles such as 'The Carolingian revival of Early Christian architecture', ex. AB)

Laistner, M. L. W., Thought and Letters in Western Europe, 500-900, 2nd edn, London, 1957.

37 Bandmann, G., 'Die Vorbilder der Aachener Pfalzkap-elle', in Karl der Grosse, II, 424-62.

38 Beckwith, J., 'Byzantine influence at the court of Charlemagne', in Karl der Grosse, III, 288-300.

39 Belting, H., 'Der Einhardsbogen', Zf.KG, XXXVI (1973), 93-121.

40 Benson, G. R., 'New light on the origin of the Utrecht Psalter', AB, XIII (1931), 13-79.

41 Bloch, H., 'Monte Cassino, Byzantium and the West in the earlier middle ages', Dumbarton Oaks Papers, III (1946), 166-224.

42 Boselli, G., Sommario delle vite de gl'imperatori romani, Bologna, n.d. (late seventeenth century). (On medals of the emperors, short commentary)

43 Cecchelli, C., 'Ispirazione classica e biblica nell'iconografia carolingia', Studi Romani, V (1956), 523-38.

44 Crozet, R., 'Les survivances de la pensee et de 1'art antiques dans la peinture carolingienne', in Melanges d'histoire du moyen age dedies a la memoire de Louis Halphen, Paris, 1951, 165-8.

45 Falkenstein, L., Der "Laterari der karolingischen Pfalz zu Aachen, Cologne and Graz, 1966. (Aachen as a second Rome)

46 Folz, R., The Coronation of Charlemagne, English translation, London, 1974.

47 Gaehde, J. E., 'Carolingian interpretations of an Early Christian picture cycle to the Octateuch in the Bible of San Paolo fuori le Mura in Rome', Fruhmittelalterliche Studien, VIII (1974), 351-84.

48 Golzius, H., Icones Imperatorum Romanorum, Antwerp, 1645.

49 Heckscher, W. S., 'Relics of pagan antiquity in mediaeval settings', JWCI, I (1937/8), 204-20.

50 Heer, F., The Holy Roman Empire, English translation, London, 1968.

51 Hoffmann, H., 'Die Aachener Theoderichstatue' in V. R. Elbern (ed.), Das Erste Jahrtausend. Kultur und Kunst im werdenden Abendland an Rhein und Ruhr, 3 vols, Diisseldorf, 1962, 318-35.

52 Hubert, J., Volbach, W. F., and Porcher, J., Carolingian Art, English translation, London, 1970. (Quotation 35)

53 Kleinbauer, W. E., 'Charlemagne's palace chapel at Aachen and its copies', Gesta, IV (1965), 2-11.

54 Knowles, M. D., 'The preservation of the classics', in F. and C. E. Wright (ed.), The English Library before 1700, London, 1958, 136-47.

55 *Lasko, P., Ars Sacra, Harmondsworth, 1972. (Quotation 53)

56 Lavin, I., 'The house of the Lord: Aspects of the role of palace triclinia in the architecture of late Antiquity and the early Middle Ages', AB, XLIV (1962), 1-27.

57 Leroux, H., 'Figures equestres et personnages du nom de Constantin aux Xle et Xlle siecles', Bulletin de la Societe des Antiquaires de I'Ouest, XII (1974), 379-84.

58 Matthiae, G., 'La cultura artistica in Roma nel secolo IX', Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte, III (1954), 257-74.

59 Montesquiou-Fezensac, B. de, 'L'Arc d'Emhard', Cahiers archeologiques, VIII (1956), 147-74.

60 Morey, C. R., 'The covers of the Lorsch Gospels' Speculum, III (1928), 64-74; and IV (1929), 411-29.

61 Miitherich, F., 'Die Buchmalerei am Hofe Karles des Grossen', in Karl der Grosse, III, 9-53.

62 Pacht, O., 'Notes and observations on the origin of humanistic book-decoration', in D. J. Gordon (ed.), Fritz Saxl: A volume of memorial essays, London, 1957 184-94.

63 Riche, P., Education et culture dans I'Occident barbare Vle-VIIIe siecles, Paris, 1962.

64 Rosenbaum, E., 'The evangelist portraits of the Ada School and their models', AB, XXXVIII (1956), 81-90. (Dependence on Mediterranean MSS., sixth to eighth centuries)

65 Rosenthal, E., 'Classical elements in Carolingian illustration', La Bibliofilia, LV (1953), 85-106.

66 Schober, A., 'Das Rombild der Ludwigsbulle', Anzeiger der Osterreichen Akademie der Wissenschaft, LXXXVI (1949), 410-23.

67 Schwartz, J., 'Quelques sources antiques d'ivoires caro-lingiens', Cahiers archeologiques, XI (1960), 145-62.

68 Snijder, G. A. S., 'Antique and mediaeval gems on bookcovers at Utrecht', AB, XIV (1932), 5-52.

69 Snijder, G. A. S., 'Fruhmittelalterliche Imitationen anti-ker Kameen', Germania, XVII (1933), 118-24.

70 Swarzenski, H., 'The Xanten Purple Leaf and the Carolingian Renaissance', AB, XXII (1940), 7-24.

71 Tolnay, C. de, 'The visionary evangelists of the Rei-chenau School', BM, LXIX (1936), 257-63. (Ottoman figures as 'Atlas')

72 Ullmann, B. L., The Origin and Development of Humanistic Script, Rome, 1960.

73 Verbaek, A., 'Die architektonische Nachfolge der Aachener Pfalzkapelle', in Karl der Grosse, IV, 113-56.

74 Volbach, W. F., Elfenbeinskulpturen der Spdtantike und desfruhen Mittelalters, 2nd edn, Mainz, 1952.

75 Weisbach, W., 'Les images des evangelistes dans 1'Evangiliaire d'Othon III et leurs rapports avec 1'antiquite', GBA, XXI (1939), 131-52.

76 Weitzmann, K., 'The Herakles plaques of St Peter's Cathedra', AB, LV (1973), 1-35. (Problems of dating 'revival' material)

77 Wesenberg, R., Bernwardische Plastik, Berlin, 1955.

78 Wormald, F., The Utrecht Psalter, Utrecht, 1953.

The Renaissance of the Twelfth Century

*Brooke, C., The Twelfth-Century Renaissance, London, 1969.

Durand-Lefebvre, M., Art gallo-romain et sculpture romane, Paris, 1937.

Giocarinis, K., 'Bernard of Cluny and the antique', Classica et Medievalia, XXVI (1965), 310-48. (311, note 2, for bibliographical suggestions)

Goldschmidt, A., 'Das Nachleben der antiken Formen im Mittelalter', Vortrdge der Bibliothek Warburg 1921-22, Leipzig and Berlin, 1923, 40-9.

Hamann-Maclean, R. H. L., 'Antikenstudium in der Kunst des Mittelalters', Marburger Jahrbuch fur Kunst-wissenschaft, XV (1949 and 1950), 157-250.

Liebeschiitz, H., 'Das 12. Jahrhundert und die Antike', Archivfur Kulturgeschichte, XXXV (1953), 247-71.

Pacht, O., 'The pre-carolingian roots of early roman-esque art', in Acts, I, 67-75.

Sanford, E. M., 'The twelfth century—renaissance or proto-renaissance?', Speculum XXVI (1951), 635^2.

Sauerlander, W., 'Art antique et sculpture autour 1200', Art de France, I (1961), 47-56. (Fountain bowl of the Sens School with strong antique connections)

Shearer, C., The Renaissance of Architecture in Southern Italy, Cambridge, 1935.

Southern, R. W., Mediaeval Humanism and Other Studies, Oxford, 1970.

79 Adhemar, J., Influences antiques dans I'art du moyen age francais; recherches sur les sources et les themes d'inspiration, London, 1939. (Survey from Merovingian times to the Due de Berry; 208jff. for cult of Charlemagne)

80 Benoit, F., 'La legende d'Hercule a Saint-Trophime d'Arles', Latomus,lX (1950), 67-71.

81 Bloch, M., Land and Work in Mediaeval Europe, English translation, London, 1967. (1-43: 'The Empire and the idea of Empire under the Hohenstaufen')

82 Boutemy, A., and Vercouteren,^., 'Foulcoie de Beauvais et 1'interet pour 1'archeologie antique au Xle et Xlle siecle', Latomus, I (3) (1937), 173-86.

83 Demus, O., 'A Renascence of Early Christian art in the 13th century in Venice', K. Weitzmann (ed.), Late classical and mediaeval studies in honour of A. M. Friend Jnr., Princeton, N.J., 1955, 348-61.

84 Deschamps, P., 'Etude sur la renaissance de la sculpture a 1'epoque romane', Bulletin Monumental (1925), 5-98.

85 Durliat, M., 'L'art roman en France', Journal des Savants (1972), 114-38. (Etat de la question; large number of references)

86 Glass, D., 'Romanesque sculpture in Campania and Sicily: a problem of method', AB, LVI (1974), 315-24. (Use of antique sources; well referenced)

87 Horn, W., Die Fassade von St-Gilles, eine Untersuchung zur Frage des Antikeneinflusses in der sudfranzosischen Kunst des 12. Jahrhunderts, dissertation, Hamburg, 1937.

88 Jullian, R., 'Les survivances antiques dans la sculpture lombarde', Etudes Italiennes, I (1931), 131-40, 217-28.

89 Lassalle, V., L'Influence antique dans I'art roman provencal, Paris, 1970.

90 Nochles, K., 'Die Fassade von S. Pietro in Tuscania. Bin Beitrag zur Frage der Antikenrezeption im 12. und 13. Jahrhundert in Mittelitalien', Romisches Jahrbuch fur Kunstgeschichte, IX-X (1961/2), 15-72.

91 Paatz, W., 'Italien und die kiinstlerischen Bewegungen der Gotik und Renaissance', Romisches Jahrbuch fur Kunstgeschichte, V (1941), 165-222.

92 Panofsky, E., Renaissance and Renascences in Western Art, Copenhagen, 1960. (Quotation 113)

93 Pope-Hennessy, J., Italian Gothic Sculpture, London, 1955. (Quotation 5)

94 Rey, R., 'Quelques survivances antiques dans la sculp^ ture meridionale', GBA (1928), 173-91.

95 Wentzel, H., 'Portraits "a 1'antique" on French mediaeval gems and seals', JWCI, XVI (1953), 342-50.

2 Antique Art and the Renaissance: a Gallery of Types

Meyer-Weinschel, A., Renaissance und Antike. Beobachtungen uber das Aufkommen der antikisierenden Gewandgebung in der Kunst der italienischen Renaissance, Reutlingen, 1933. (Wide-ranging; concentrates on drapery; 244 illus.)

Panofsky, E., Tomb Sculpture: Four lectures on its changing aspect from ancient Egypt to Bernini, ed. H. W. Janson, New York, 1964.

Rowland, B., 'Montecavallo revisited', AQ, XXX (1967), 143-52. (Fame of the Horse-tamers in the Renaissance)

Rubinstein, R. O., 'A Bacchic sarcophagus in the Renaissance', in The Classical Tradition (British Museum Yearbook No. 1), London, 1976, 103-56. (The sarcophagus is now in the British Museum, London)

Saxl, F., 'Rinascimento dell'antichita. Studien zu den Arbeiten A. Warburgs', Repertorium fur Kunst-wissenschaft, XLIII (1922), 220-72.

Schmitt, A., 'Gentile da Fabriano und der Beginn der Antikennachzeichnung', Munchner Jahrbuch, XI (1960), 91-146. (With catalogue)

96 Ansaldi, G. R., 'H Laocoonte del rinascimento e il Laocoonte dell'antichita', Emporium, CI (1945), 54-61. (Copies and reconstructions)

97 Antal, F., 'Some examples of the role of the maenad in Florentine art of the later 15th and early 16th centuries', JWCI, I (1937/8), 71-3.

98 Bieber, M., Laocoon: the influence of the group since its rediscovery, New York, 1942.

99 Bober, P. P., 'An antique sea-thiasos in the Renaissance', in L. F. Sandier (ed.), Essays in memory of Karl Lehmann, New York, 1964, 43-48. (Similar in intention to Loeffler's article, below)

100 Bober, P. P., 'The census of antique works of art known to Renaissance artists', in Acts, II, 82-9. (Files at Warburg Institute, London)

101 Chastel, A., Art et humanisms a Florence au temps de Laurent le Magnifique, Paris, 1961. (631-71: 'Le Musee Etrusque et 1'Etruscan Revival')

102 Dacos, N., 'A propos d'un fragment de sarcophage de Grottaferrata et de son influence a la Renaissance', Bulletin de I'Institut Historique Beige de Rome, XXXIII (1961), 143-50.

103 Dacos, N., La Decouverte de la domus aurea et la formation des grotesques d la Renaissance, London, 1969.

104 Dacos, N., 'Ghirlandaio et 1'antique', Bulletin de I'Institut Historique Beige de Rome, XXXIV (1962), 419-55. (Example of a sketch-book at work)

105 Essen, C. van, 'Element! etruschi nel rinascimento toscano', Studi Etruschi, XIII (1939), 497-9. (Cites many comparisons)

106 Essen, C. van, 'Les frises dans le Cortile du Palazzo Spada a Rome', Bulletin van de Vereeniging tot Bevorder-ing der Kennis van de Antieke Beschaving, XXIV and XXVI (1949/51), 91-5.

107 Ettlinger, L., 'Exemplum doloris: reflections on the Laocoon group', in M. Meiss (ed.), De Artibus Opuscula XL. Essays in honour of Erwin Panofsky, New York, 1961, 121-6.

108 Friederichs, C., and Wolters, P., Die Gispabgusse antiker Bildwerk, Berlin, 1885. (Heckscher calls this 'the nearest thing to a census of antiques')

109 Herbig, R., 'Etrusca aeterna', in Studies presented to David M. Robinson, St. Louis, Missouri, 1951, I, 730-5.

110 Keller, H., Das Nachleben des antiken Bildnisses von der Karolingerzeit bis zur Gegenwart, Freiburg im Breslau, 1970.

1 lOa Lanciani, R., Storia degli Scavi di Roma, 4 vols, 1902-12. (Re-use of sarcophagi, I, 29-36)

111 Lawrence, M., 'City Gate sarcophagi', AB, X (1927), 1^5.

112 Lawrence, M., 'Columnar sarcophagi in the Latin West', AB, XVI (1932), 103-85.

113 Loeffler, E. P., 'A famous antique: a Roman sarcophagus at the Los Angeles Museum', AB, XXXIX (1957), 1-7. (Influence of one sarcophagus over centuries)

114 Oleson, J. P., 'A reproduction of an Etruscan tomb in the Parco dei Mostri at Bomarzo', AB, LVII (1975), 410-17. (Note 50 for further references)

115 Prandi, A., 'La fortuna del Laocoonte della sua scoperta nelle Terme di Tito', Rivista dell'Istituto Nazionale d'Archeologia e Storia dell'Arte, III (1954), 78-107.

116 *Salis, A. von, Antike und Renaissance: uber Nachleben

und Weiterwirken der alien in der neueren Kunst, Erlen-bach and Zurich, 1947. ('Monographs' on antique types: 35-60: Domus aurea; 136-53: Laocoon; 165-89: Belvedere torso; etc.)

117 Schwinn, C., Die Bedeutung des Torso von Belvedere fiir Theorie und Praxis der bildendend Kunst von 16. Jahrhun-dert bis Winckelmann, Berne and Frankfurt-am-Main, 1973.

118 Trachtenberg, M., 'An antique model for Donatello's marble David', AB, L (1969), 286-9. (Etruscan bronze goddess, Museo Archeologico, Florence)

119 Vermeule, C. C., 'The Dal Pozzo-Albani drawings of classical antiquities in the British Museum', Transactions of the American Philosophical Society, L (part 5), Philadelphia, 1960. (Short introduction; well-illustrated catalogue; see also items 603-5 below)

120 Winner, M., 'Zum Apoll vom Belvedere', Jahrbuch der Berliner Museen, X (1968), 181-99.

121 Winner, M., 'Zum Nachleben des Laokoon in der Renaissance', Jahrbuch der Berliner Museen, XVI (1974), 83-121.

3 Roma Quanta Fuit Ipsa Ruina Docet

The idea of Rome in the Middle Ages

Besso, M., Roma e il Papa nei proverbi e nei modi di dire, rev. ed, Rome and Florence, 1971. (31-82: 'Roma Caput Mundi')

Brentano, R., Rome Before Avignon, London, 1974. (Ch. I: 'The Physical City'; ch. II: 'The Ideal City')

Dupre Theseider, E., L'idea imperiale di Roma nella tradizione del medio evo, Milan, 1942.

Mazzolani, L. S., The Idea of the City in Roman Thought, English translation, London, 1970. (Civitas/urbs, usually focused on Rome)

Mommsen, T. E., 'Petrarch's conception of the dark ages', Speculum, XVII (1942), 226-42. (As very dark)

Schneider, P., Rom und Romgedanke im Mittelalter: Die geistigen Grundlagen der Renaissance, Munich, 1926. (General survey)

122 Bayley, C. C., 'Petrarch, Charles IV and the renovatio imperii', Speculum, XVII (1942), 323-41. (Petrarch's desire to restore Rome, Italy and the Empire)

123 Bracco, V., 'Il ricordo dei monumenti di Roma e del mondo romano nella Divina Commedia', Studi Romani, XIII (1965), 281-95.

124 Brezzi, P., Roma e I'impero medioevale, 774-1252, Bologna, 1947.

125 Buschhausen, H., 'Das Alterbildnis Kaiser Friedrichs II', JKHS, LXX (1974), 7-38.

126 Davis, C. T., Dante and the Idea of Rome, Oxford, 1957. (Large bibliography)

127 Demus, O., 'A renascence of Early Christian art in 13th century Venice', in K. Weitzmann (ed.), Classical and mediaeval studies in honour of A. M. Friend, Princeton, 1955, 348-61.

128 Graf, A., Roma nella memoria e nelle immaginazioni del medio evo, Turin, 1915.

129 Gregorovius, F., The History of the City of Rome in the Middle Ages, English translation, London, 1900jff. (I, 296jff. for barbarian destruction and renovation)

130 *Hammer, W., 'The concept of the New or Second Rome

in the middle ages', Speculum, XIX (1944), 50-62.

131 Kantorowicz, E., Frederick the Second, 1194-1250, English translation, London, 1931. (Especially 441-516)

132 Kaschnitz-Weinberg, G., 'Bildnisse Friedrichs II von Hohenstaufen. I: Der Kolossalkopf aus Lanuvium', Mitt.DAI, LX/LXI (1953/4), 1-21.

133 Lavagnino, E., 'II Campidoglio al tempo di Petrarca', Capitolium, XV (1941), 103-14. (With survey of later developments)

134 Lenkeith, N., Dante and the Legend of Rome, London, 1952. (Mediaeval and Renaissance Studies, Supplement

135 Llewellyn, P., Rome in the Dark Ages, London, 1970.

136 Mattei, R. de, 'Petrarca e Roma', Studi Romani, XXII (1974), 155-71.

137 Pratt, K. J., 'Rome as eternal', JHI, XXXVI (1965), 25^4.

138 Rubinstein, N., 'The beginnings of political thought in Florence. A study in mediaeval historiography', JWCI, V (1942), 198-227. (Florentine 'nationalism' and links with antique Roman example)

139 Rubinstein, N., 'Vasari's painting of The Foundation of Florence in the Palazzo Vecchio', in D. Fraser, H. Hibbard, and M. J. Lewine (eds.), Essays in the History of Architecture presented to Rudolf Wittkower, London, 1967, 64-73.

140 Schramm, P. E., Kaiser Rom und Renovatio, 2nd edn, Darmstadt, 1957.

141 Tellenbach, G., 'La citta di Roma dal IX al XI secolo vista dai contemporanei d'oltre frontiera', Studi storici in onore di Ottorino Bertolini, Pisa, 1972, II, 679-734.

142 *Van Cleve, T. C., The Emperor Frederick II of Hohenstaufen, Immutator Mundi, Oxford, 1972. (Especially 333-46)

143 Weiss, R., 'Petrarch the antiquarian', in C. Henderson Jnr. (ed.), Classical and mediaeval studies in honour of B. L. Ullmann, Rome, 1964, II, 199-209.

144 Weiss, R., The Renaissance Discovery of Classical Antiquity, Oxford, 1969. (Numerous footnotes, but no bibliography; quotation, 191)

145 Wentzel, H., 'Der Augustalis Friedrichs II und die abendlandische Glyptik des 13. Jahrhunderts', Zf.KG, XV (1952), 183-7.

146 Witt, R., 'Coluccio Salutati and the origins of Florence', II pensiero politico, 11(1969), 161-72.

Attitudes to the Monuments during the Middle Ages

Hiilsen, C., Le chiese di Roma nei medio evo, Florence, 1927.

Ross, J. B., 'A study of twelfth-century interest in the antiquities of Rome', in J. L. Gate and E. N. Anderson (eds.), Mediaeval and historical essays in honour of J. W. Thompson, Chicago, 1938, 302-21. (Refers to Bishop of Winchester's purchases, of which nothing remains)

147 Ackerman, J. S., 'Marcus Aurelius on the Capitoline Hill', Renaissance News, X (1957), 69-75.

148 Ashby, T., and Dougill, W., 'The Capitol, Rome, its history and development', Town planning review, XII (1927), 159-80.

149 Boiiard, A. de, 'Gli antichi marmi di Roma nei medio evo', Archivio della societd romana di storia patria, XXXIV (1911), 239^5.

150 Comparetti, D., Virgilio nei medio evo, 2nd edn (by G. Pasquali), Florence, 1937.

151 Coulter, C., 'Boccaccio's archaeological knowledge', American Journal of Archaeology, XLI (1937), 397-405.

152 Deer, J., 'The dynastic porphyry tombs of the Norman period in Sicily' (Dumbarton Oaks Studies, V), Cambridge, Mass., 1959. (150-4 for political implications)

153 Fedele, P., 'Sul commercio delle antichita in Roma nei XII secolo', Archivio della societd romana di storia patria, XXXIII (1909), 465-70.

154 Glass, D., 'Papal patronage in the early 12th century: notes on the iconography of cosmatesque pavements', JWCI, XXXIII (1969), 386-90.

155 Glass, D., 'Studies in Cosmatesque Pavements', Unpublished Ph.D thesis, Johns Hopkins University, Baltimore, 1968. (122jff. for ritual use of porphyry, and mingling of sacred and profane)

156 Heckscher, W. S., Die Romruinen. Die geistigen Voraussetzungen ihrer Wertung im Mittelalter und in der Renaissance, dissertation, Hamburg, 1936. (Review by W. Hammer in Classical Philology, XXXIII (1938), 433-5)

157 Hiilsen, C., Bilder aus der Geschichte des Kapitols, Rome, 1889.

158 Lanciani, R., The Destruction of Ancient Rome, London and New York, 1899.

159 Mann, J. G., 'Instances of antiquarian feeling in mediaeval and renaissance art', Archaeological Jnl, LXXXIX (1932), 254-74.

160 Mitchell, C., 'The Lateran fresco of Boniface VIII', JWCI, XIV (1951), 1-6. (Papal adoption of the imperial idea)

161 Mommsen, T. E., 'Petrarch and the decoration of the Sala Virorum Illustrium in Padua', AB, XXXIV (1952), 95-116.

162 Miintz, E., 'Etudes iconographiques. La legende du sorcier Virgile dans 1'art du XlVe, XVe et XVIe siecles', Monatsberichte fiir Kunst und Kunstwissenschaft, II (1902), 85-91.

163 Miintz, E., 'La tradition antique chez les artistes du moyen age', Journal des savants (1887), 629^12; (1888), 40-50, 162-177. (Nominally a review of Springer's Das Nachleben der Antike im Mittelalter)

164 Nochles, K., 'Die Kunst des Cosmaten und die Idee der Renovatio Romae', in Festschrift Werner Hager zum 65. Geburtstag, Recklinghausen, 1966, 17-37.

165 Pietrangeli, C., 'I palazzi capitolini nei medioevo', Capitolium, XXXIX (1964), 191-4. (Very well illustrated)

166 Quinones, R. J., The Renaissance Discovery of Time, Cambridge, Mass., 1972. (Literary rather than philosophical)

167 Rodocanachi, E., Le Capitole romain, antique et moderne, Paris, 1904. (Contrasting attitudes, medieval and later)

168 Rushforth, G. McN., 'Magister Gregorius De Mirabilius Urbis Romae', Journal of Roman Studies, IX (1919), 14-58.

169 Schmitt, A., 'Zur Wiederbelebung der Antike im Trecento. Petrarcas Rom-Idee in ihrer Wirkung auf die Paduaner Malerei. Die methodische Einbeziehung des romischen Miinzbildnisses in die Ikonographie "Ber-iihmter Manner",' Mitt.KHIF, XVIII (1974), 167-218.

170 Schudt, L., Le guide di Roma: Materialen zu einer Geschichte der romischen Topographic, Vienna and Augsburg, 1930. (Divided by language of guide-book and then by type: topographical, antiquarian, architectural, etc.)

171 Siebenhiiber, H., Das Kapitol in Rom. Idee und Gestalt, Munich, 1954. (Cf. Ackerman's review in AB, XXXVIII (1956), 55-7, with further references)

172 Spargo, J. W., Virgil the Necromancer, Cambridge, Mass., 1934.

173 Turner, A. R., The Vision of Landscape in Renaissance Italy, Princeton, 1966. (Ch. VIII: 'In ruinous perfection')

174 Valentini, R., and Zucchetti, G., Codice topografico della Cilia di Roma, Rome, 1940-53. (IV, 65-73, for Dondi's account; cf. Panofsky's Renaissance and renascences . . ., 208-9, for Dondi's account as quoted in text)

175 Weiss, R., 'Lineamenti per una storia degli studi anti-quarii in Italia dal dodicesimo secolo al sacco di Roma del 1527', Rinascimento, IX (1958), 141-201. (Large bibliography)

Rome after the return of the Popes from Avignon

Ettlinger, L., The Sistine Chapel before Michelangelo, Oxford, 1965.

Hermanin, P., Die Stadt Rom im 15. und 16. Jahrhundert, Leipzig, 1911. (The appearance of the City)

Mariani, V., Incontri con Roma nei Rinascimento: L. B. Alberti, Donatella, A. Mantegna, Raffaello, Rome, 1960.

Miintz, E., L'art a la cour des papes. Innocent VIII, Alexandre VI, Pie III (1484-1503). Recueil de documents inedits oupeu connus, Paris, 1898.

Pastor, L., The history of the popes from the close of the middle ages, English translation, London, 1891jff. (40 vols)

Roeder, H., 'The borders of Filarete's bronze doors to St. Peter's', JWCI, X (1947), 150-3. (Mixture of classical literature and medieval style)

176 Battisti, E., 'L'antichita in Nicolo V e 1'iconografia della Cappella Sistina', in // mondo antico nel Rinascimento (Atti del V Convegno di studi sul Rinascimento), Florence, 1958, 207-16.

177 Ciaccio, L., 'La scultura romana del Rinascimento. Primo periodo (sino al Pontificate di Pio II)', L'Arte, IX (1906), 165-84, 345-56, 433-41. (Conscious antiquarianism)

178 Esch, A., 'Florentiner in Rom um 1400', Quellen und Forschungen, LII (1972), 476-525.

179 Fontana, V., Artisti e commitenti nella Roma del Quattrocento. Leon Battista Alberti e la sua opera mediatrice, Rome, 1973. (Good sketch concerning 1417-83)

180 *Gabel, L. C., 'The first revival of Rome, 1420-1484', in

The Renaissance reconsidered. A symposium (Smith College studies in history, XLIV), 1964, 13-25.

181 Giordani, P., 'Scultura romana del Quattrocento. I basso-rilievi del Tabernacolo di Sisto IV, L'Arte, X (1907), 263-75.

182 Greco, A., 'Momenti e figure deU'umanesimo romano', in Aspetti deU'umanesimo a Roma (Lectures at the Istituto di Studi Romani, 1967/8), Rome, 1969, 31-72.

183 Home, H., 'An account of Rome in 1450', Revue archeologique, X (1907), 82-97. (The Zibaldone of Giovanni Rucellai)

184 Kennedy, R. W., 'The contribution of Martin V to the rebuilding of Rome, 1420-31', in The Renaissance reconsidered. A symposium (Smith College studies in history, XLIV), 1964, 27-52.

185 Pietrangeli, C., 'I palazzi capitolini nel Rinascimento', Capitolium, XXXIX (1964), 195-8. (Includes a model of the Senatorio before Michelangelo's alterations)

186 *Saxl, F., 'The Capitol during the Renaissance—a symbol

of the imperial idea', in his Lectures, 2 vols, London, 1957, 200-14.

187 Ullmann, B. L., The humanism of Coluccio Salutati, Padua, 1963.

Scholarly study of the antiquities of Rome

Billanovich, G., Iprimi umanisti e le tradizioni dei classici latini, Freiburg, 1953.

Dudley, D. R., Urbs Roma. A source book of classical texts on the city and its monuments, London, 1967.

Francastel, P., 'La fete mythologique au Quattrocento. Expression litteraire et visualisation plastique', Revue d'Esthetique, V (1952), 376-410. \

Marchant, H. J., 'Papal inscriptions iri^Ronie, 1417-1527', unpublished M.Phil, dissertation, London University, 1973. (With much on epigraphic styles)

Morison, S., Politics and script. Aspects of authority and freedom in the development of Graeco-Latin script . . . (Lyell Lectures 1957, ed. N. Barker), Oxford, 1972. (264ff: 'From Martin V to Sixtus V)

Stark, C. B., Systematik und Geschichte der Archdologie der Kunst, Leipzig, 1880. (I, 80-161, for history of Renaissance antiquarianism)

188 Allen, D. C., Mysteriously meant. The rediscovery of pagan symbolism and allegorical interpretation in the Renaissance, Baltimore and London, 1970. (Ch. IX,

'The symbolical interpretations of Renaissance antiquarians'—but no more than disconnected notes)

189 * Burke, P., The Renaissance sense of the past, London,

1969. (Extracts with commentaries; resume in Journal of World History, II (1969), 615-32)

190 Castagnoli, F., 'Raffaello e le antichita di Roma', in RaffaelloL'opera, le fonti, la fortuna, ed. M. Salmi, Novara, 1968, II, 571-86.

191 Goldschmidt, E. P., The printed book of the Renaissance, Cambridge, 1950. (74jff.)

192 Hill, G. F., 'Classical influence on the Italian medal', BM, XVIII (1911), 259-69.

193 Kuthmann, H., Overbeck, B., Steinhilber, D., and Weber, L, Bauten Roms auf Munzen und Medaillen (Exhibition, Staatlichen Mimzsammlung Munich, 1973), Munich, 1973. (Buildings of Rome in antique, medieval and modern times; well illustrated)

194 Lanciani, R., 'La pianta di Roma antica e i disegni archeologici di Raffaello Sanzio', Rendiconti dell'Accademia dei Lincei, 1895, 791-804.

195 Meiss, M-, 'Toward a more comprehensive Renaissance palaeography', AB, XLII (1960), 97-112. (Revival of the Imperial Roman majuscule)

196 *Momigliano, A., 'Ancient history and the antiquarian',

JWCI, XIII (1950), 285-315. (Fundamental article on distinction between history and antiquarianism)

197 Robathan, D. M., 'Flavio Biondo's Roma instaurata', Medievalia et humanistica, I (1970), 203-16.

198 Rosati, F. P., 'Ispirazione classica nella medaglia italiana del Rinascimento', in La medaglia d'arte (Atti del primo convegno internazionale di studi, Udine, 1970), Udine, 1973, 95-105. (Basic bibliography)

199 *Scherer, M., The marvels of ancient Rome, New York, 1955. (Pictorial commentary)

200 Spring, P., 'The topographical and archaeological study of the antiquities of the City of Rome, 1420-1447', unpublished Ph.D. thesis, Edinburgh University, 1972.

201 Wardrop, J., The script of humanism. Some aspects of humanistic script, 1460-1560, Oxford, 1963. (1-18: 'The rise of humanistic cursive: antiquarian and scholarly influences', with useful references)

202 Weiss, R., 'Andrea Fulvio antiquario romano', Annali della scuola normale superiore di Pisa: lettere, storia e filosofia, Pisa (1959), 1^14.

203 Weiss, R. (ed.), Andrea Fulvio: Illustrium Imagines, Rome, 1967. (Includes account of numismatic studies in the Renaissance)

204 Weiss, R., 'Biondo Flavio archeologico', Studi Romag-noli, XIV (1963), 335^1.

205 Weiss, R., 'Traccia per una biografia di Annio da Viterbo', IMU, V (1962), 425^1. (Scholar notorious as a literary forger)

206 Weiss, R., 'The study of ancient numismatics during the Renaissance', Numismatic chronicle, VIII (1968), 177-87.

The collecting of Antiquities

Clain-Stefanelli, E. E., Numismatics: an ancient science. A survey of its history, Washington, 1940.

Degenhardt, B., 'Michele di Giovanni di Bartolo: disegni dall'antico e il Camino "Delia lole" ', Bollettino d'Arte, XXXV (1950), 208-15.

Hoist, N. von, Creators, collectors and connoisseurs. The anatomy of artistic taste from antiquity to the present day, English translation, London, 1967.

Miintz, E., Les antiquitez de la ville de Rome au XlVe, XVe et XVIe siecles. Topographic, monuments, collections, Paris, 1886.

Taylor, F. H., The taste of angels. A history of art collecting from Rameses to Napoleon, Boston, 1948.

Van der Meulen, M., 'Cardinal Cesi's antique sculpture garden: notes on a painting by Hendrick van Cleef III', BM, CXVI (1974), 14-24. (Painting dated 1550)

207 Brummer, H. H., The Statue Court of the Vatican Belvedere, Stockholm, 1970.

208 Carettoni, G., 'La riscoperta dei monumenti romani', in Aspetti deU'umanesimo a Roma (lectures at the Istituto di studi romani, 1967/8), Rome, 1969, 75-84.

209 Chastel, A., Art et humanisme a Florence au temps de Laurent le Magnifique, Paris, 1961. (31-82 on collecting)

210 Dannenfeldt, K. H., 'Egypt and Egyptian antiquities in the Renaissance', Studies in the Renaissance, VI (1959), 7-27.

211 Fanelli, V., 'Aspetti della Roma cinquecentesca. Le case e le raccolte archeologiche del Colcci', Studi Romani, X (1962), 391-402.

212 Goodhart, P. (ed.), Two Renaissance book hunters. The letters ofPoggius Bracciolini to Nicolaus de Niccolis, New York and London, 1974.

213 Heckscher, W. S., Aeneas Insignes Statuas Romano Popolo Restituendas Censuit, The Hague, n.d.

214 Hubner, P. G., Le statue di Roma. Grundlagen fur eine Geschichte der antiken Monumente in der Renaissance (Romische Forschungen, Biblioteca Hertziana, II), Leipzig, 1912. (Uncompleted; cf. important review by C. Hiilsen in Gottingischen gelehrten Anzeiger, V (1914), 257-311)

215 Hiilsen, C., Romische Antikengarten des XVI Jahrhun-derts, Heidelberg, 1917. (Illustrated catalogue of the collections of Cardinals Cesi and Carpi, and of the Cardinal of Ferrara)

216 Hiilsen, C., 'Scavi e scavatori nel Rinascimento', Mar-zocco, 30 March 1913 (from a lecture).

217 Magnaguti, A., 'La piu illustre collezionista del Rinascimento', Rivista italiana di numismatica, XXVI (1913), 389-94. (Some of Isabella d'Este's coins came from Delos)

218 Michaelis, A., 'Storia della collezione capitolina di antichita fino all'inaugurazione del Museum', Mitt, kaiserlich DAI, VI (1891), 3-66. (12-15 for gift of Sixtus IV)

219 Miintz, E., 'Le Musee du Capitole et les autres collections remains a la fin du 15e siecle et au commencement du 16e siecle', Revue archeologique, XLIII (1882), 24-36.

220 Miintz, E., Les collections des Medicis au XVe siecle, Paris and London, 1888.

221 Robert-Delondre, L., 'Les sujets antiques dans la tapis-serie', Revue archeologique, V (1917), 296-309; VII (1918), 131-50; IX (1919), 48-63; X (1919), 294-333. (14th-16th centuries)

222 Sabbadini, R., Le scoperte dei codici latini egreci ne' secoli XIV e XV, Florence, 1905.

224 Venturi, A., 'Les Triomphes de Petrarque dans 1'art representatif, RAAM (1906), 81-209. (The antique in court life)

225 Weiss, R., Un umanista veneziano: Papa Paolo II, Venice and Rome, 1958.

226 Zappert, G., 'Uber Antiquitaten Funde im Mittelalter', Sitzungsberichte der kaiserlichen Akademie der Wissenschaften. Philosophische-historische Klasse, II, iv (1850), 752-98. (Well documented)

The use of antiquities by artists

Bartoli, A., I monumenti antichi di Roma dei disegni degli Ujfizi, 5 vols, Rome, 1914-22.

Berlin-Dahlem: Kupferstichkabinett, Zeichner sehen die Antike. Europdische Handzeichnungen 1450-1800 (Exhibition), Berlin-Dahlem, 1967. (Discursive; many references)

Warburg, A., La rinascita del paganismo antico. Contri-buti alia storia della cultura, Italian translation, Florence, 1966.

Waetzoldt, W., Das klassische Land. Wandlungen der Italien-Sehnsucht, Leipzig, 1927. (Survey of North European interest in Italy)

Weise, G., Renaissance und Antike, Tubingen, 1953. (Well referenced, well illustrated)

227 Ashby, T., 'Antiquae statuae urbis Romae', Papers of the British School at Rome, IX (1920), 107-58. (Cavalieri's enormous success, from c. 1561)

228 Berlin: Staatliche Museen, Katalog der Ornament-stichsammlung der Staatlichen Kunstbibliothek Berlin, 2 vols, Berlin, 1939. (Invaluable reference tool of over 5,000 entries)

229 Bober, P., 'The census of antique works of art known to Renaissance artists', in Acts, II, 82-9.

230 Brigode, S., 'Les recueils de monuments d'ltalie', Bulletin de I'lnstitut historique Beige de Rome, XIV (1934), 242-56. (Lists the main books)

231 Calarco, A. S., 'Commemorative monuments in 16th century Italy', unpublished Ph.D. thesis, Case Western Reserve University, 1973.

232 Dacos, N., 'Ghirlandaio et 1'antique', Bulletin de I'lnstitut historique Beige de Rome, XXXIV (1962), 419-55.

233 Egger, H., Codex Escurialensis. Bin Skizzenbuch aus der Werkstatt Domenico Ghirlandaios, Vienna, 1906.

234 Fienga, D. D., 'The Antiquarie Prospettiche Romane composts per Prospectivo Melanese Depictore: a document for the study of the relationship between Bramante and Leonardo da Vinci', unpublished Ph.D. thesis, University of California, 1971.

235 Giglioli, G. A., 'La Calumnia d'Apelle', Rassegna d'arte antica e moderna, VII (1920), 173-82.

236 Gilbert, C., 'Antique frameworks for Renaissance art theory: Alberti and Pino', Marsyas, III (1945), 87-98.

237 Ivins, W., Prints and visual communication, Cambridge, Mass., 1969.

238 Lloyd, C. H., Art and its images, exhibition, Bodleian Library, Oxford, 1975. (5-23 for problems of accuracy)

223 Scheicher, E., 'Die "Trionfi". Eine Tapisserienfolge des 239 Smith, W., 'Definitions of statua', AB (1968), 263-7.

240 Thode, H., Die Antiken in den Stichen Marcanton's, Agostino Veneziano's und Marco Dente's, Leipzig, 1881.

241 Zerner, H., 'A propos de faux Marcantoine. Notes sur les amateurs d'estampes a la Renaissance', Bibliotheque d'humanisme et de renaissance, XXIII (1961), 477-81.

What is a forgery?

Ashmole, B., Forgeries of ancient sculpture: creation and detection (J. L. Myres Memorial Lecture), Oxford, 1961. (Examples c. 1800, c. 1850 and c. 1920)

Bianchi Bandinelli, R., 'An "antique" reworking of an antique head', JWCI, IX (1946), 1-9. (Exercise after the antique by Nanni di Banco?)

Bruand, Y., 'La restauration des sculptures antiques du Cardinal Ludovisi', Melanges d'archeologie et d'histoire, LXVIII (1956), 397-418. (Differing attitudes to tampering with originals)

Cagiano de Azevedo, M., IIgusto del restauro delle opere d'arte antiche, Rome, 1948.

Hayward, J. F., 'Spurious antique vase designs of the 16th century', BM, CXIV (1972), 378-^86.

Oechslin, W., 'II Laocoonte—o dei restauri delle statue antichi', Paragone arte, CCLXXXVII (1974), 3-29.

Paul, J., 'Antikenerganzung und Ent-Restaurierung', Kunstchronik, XXV (1972), 85-112. (Account of 1972 symposium)

Pope-Hennessy, J., 'Michelangelo's Cupid: the end of a chapter', BM, XCVIII (1956), 403-11. (Roman with sixteenth-century head)

Revue de I'Art 'Copies, repliques, faux', RA, XXI (1973), 5-31. (Survey from Antiquity onwards)

Shapiro, M., 'Renaissance or Neo-Classic? A forgery after the antique reconsidered', AB, XLIV (1962), 131-5.

Tietze, H., 'The psychology and aesthetics of forgery in art', Metropolitan Museum Studies, V (1934), 1-19.

Wolters, W., 'Eine Antikenerganzung aus dem Kreis des Donatello', Pantheon, XXXIII (1974), 130-3. (An antique statue transformed into a saint)

242 Buitron, D. M., 'The Alexander Nelidow: A Renaissance bronze?', AB, LV (1973), 393-^100.

243 Courajod, L., Limitation et la contrefacon des objets d'art antiques au XlVe et XVe siecles, Paris, 1889. (The best survey)

244 Gorini, G., 'Appunti su Giovanni di Cavino', in La Meddglia d'Arte (Atti del primo convegno in-ternazionale di studi, Udine, 1970), Udine, 1973, 110-20. (The most notorious coin forger)

245 Greenhalgh, M., 'A Paduan medal of Queen Artemesia, of Caria', Numismatic Chronicle, XII (1972), 295-303. )

246 Kuhlenthal, M., 'The Alberini sarcophagusr^Re-naissance copy or antique?', AB, LVI (1974), 414-21. (Antique from Eastern Empire; much comparative material)

247 Williams, P. L., 'Two Roman reliefs in Renaissance disguise', JWCI, VI (1940/1), 47-66.

The use of antiquities by builders

248 Gloton, J., 'Transformation et reemploi des monuments du passe dans la Rome du XVIe siecle: les monuments antiques', Melanges d'archeologie et d'histoire, LXXIV (1962), 705-58.

249 Jestaz, B., 'L'exportation des marbres de Rome de 1535 a 1571', Melanges d'archeologie et d'histoire, LXXV (1963), 415-66. (Thorough)

250 Mahon, D., 'Nicolas Poussin and Venetian painting', BM, LXXXVIII (1946), 19, note 39.

251 Miintz, E., 'Les monuments antiques de Rome a 1'epoque de la Renaissance', Revue archeologique, III (1884), 296-313.

252 Pedretti, C., A chronology of Leonardo da Vinci's architectural studies after 1500, Geneva, 1962. (162-71 for Letter to Leo X)

253 Rodocanachi, E., 'Les anciens monuments de Rome, 15e-18e siecle. Attitude du Saint-Siege a leur egard', Revue archeologique, IV (1913), 171-83.

The use of antiquities by landowners

Coarelli, F., 'L'Ara di Domizio Enobarbo e la cultura artistica in Roma nel II secolo a.C.', Dialoghi di Archeo-logia, II (1968), 302-68. (See 318-25 for use of altar reliefs as decoration for Palazzo Santacroce, Piazza di Branca, Rome, during seventeenth and eighteenth centuries)

McKay, A. G., Houses, villas and palaces in the Roman world, London, 1975.

254 Bianchini, P., // Palazzo dei Cesari, Verona, 1738.

255 Boni, G., 'L'Arcadia sul Palatino', Bollettino d'Arte, VIII (1914), 369-80.

256 Carettoni, G., 'II Foro Romano nel medio evo e nel Rinascimento', Studi Romani, XI (1963), 406-16.

257 Carettoni, G., 'II Palatino nel medio evo', Studi Romani, IX (1961), 508-18.

258 Carini, I., L 'Arcadia dal 1690 al 1890, Rome, 1891.

259 Eaton, C. A., Rome in the 19th century, ed. cit., London, 1892. (II, 276, for quotation)

260 Giess, H., 'Studien zur Farnese-Villa am Palatin', Ro-misches Jahrbuch fur Kunstgeschichte, XIII (1971), 179-230.

261 Hiilsen, C., 'Septizonium', Zeitschrift fur Geschichte der Architektur, V (1912), 1-24.

262 Lanciani, R., '11 "Palazzo Maggiore" nei secoli XVI-XVIII', Mitt.DAI, IX (1894), 3-36.

263 Levin, H., The myth of the golden age during the Renaissance, Bloomington and London, 1969.

264 Lugli, G., Roma antica. II centra monumentale, Rome, 1946. (414jff: Horti Farnesiani)

265 Romanelli, P., 'Horti Palatini Farnesiorum', Studi Romani, VIII (1960), 661-72.

The use of antiquities by architects: the Renaissance villa

*Dickinson, G., Du Bellay in Rome, Leiden, 1960. (Best-referenced description in English of sixteenth-century Rome, with very good bibliography, especially of source books)

Frommel, C., Die Farnesina und Peruzzis architekton-isches Friihwerk, Berlin, 1961.

Giamatti, A. B., The earthly paradise and the Renaissance epic, Princeton, 1966. (Survey with commented bibliographies)

Heydenreich, L. H., 'Entstehung der Villa und land-lichen Residenz im 15. Jahrhundert', Acta historiae

artium academiae scientiarum Hungaricae, XIII (1967), 9-12. (Typology)

Rupprecht, B., 'Villa. Zur Geschichte eines Ideals', in Probleme der Kunstwissenschaft, II: Wandlungen des paradiesischen und utopischen. Studium zum Bild eines Ideals, Berlin, 1966, 210-50.

Smith, G., 'The stucco decoration of the Casino of Pius IV, Zf.KG, 1974, 116-56. (Totally pagan)

266 Ackerman, J., 'The Belvedere as a classical villa', JWCI, XIV (1951), 70-91.

267 Ackerman, J., The Cortile del Belvedere, Vatican City, 1954.

268 *Ackerman, J., 'Sources of the Renaissance villa', in Acts, II, 6-18. (Emphasizes un-antique appearance of early villas)

269 Ashby, T., 'The Villa d'Este at Tivoli and the collection of classical sculptures which it contained', Archeologia, LXI (1908), 219-56.

270 Beck, L, 'H capitello composite a volute invertite. Saggio su una forma antica nella struttura borrominiana', Analecta Romana Instituti Danici, V (1969), 225-33.

271 Beck, I., 'Ut ars natura—ut natura ars. Le ville di Plinio e il concetto del giardino nel Rinascimento', Analecta Romana Instituti Danici, VII (1971), 109-56.

272 Bentmann, R., and Miiller, M., 'Materialen zur italien-ischen Villa der Renaissance', Architectura, II (1972), 167-91. (Thematic extracts from antique and Renaissance authors, with index)

273 Billig, R., 'Die Kirchenplane al modo antico von Sebas-tiano Serlio', Opuscula Romana, I (1954), 21-38.

274 Blunt, A., Introduction to The Renaissance and Mannerism Acts, III, 3-11. (Quotation, 11)

275 Bonelli, R. (ed.), Bramante tra umanesimo e manierismo, exhibition catalogue, Rome, 1970. (Reconstructions in model form of the Belvedere: plates XIX-XXVII)

276 Bruschi, A., 'Orientamenti di gusto e indicazioni di teoria in alcuni disegni architettonici del Quattrocento', Quaderni dell'Istituto di storia dell'architettura, XIV (1967), 41-52. (Problems of Renaissance reconstructions)

277 Carunchio, T., Origini della villa rinascimentale, Rome, 1974.

278 Coffin, D. R., 'Pirro Ligorio on the nobility of the arts', JWCI, XXVII (1964), 191-210.

279 Coffin, D. R., The Villa d'Este at Tivoli, Princeton, 1960.

280 Contini, F., Pianta della Villa Tiburtina di Adriano Cesaregia da Pirro Ligorio, Rome, 1751. (With additions to Pirro's plan)

281 Dacos, N., La decouvertede la domus aurea et la formation des grotesques a la Renaissance, London, 1969.

282 Ehrle, P., Roma al tempo di Giulio III. Lapianta di Roma di L. Bufalini del 1551, Rome, 1911. (Summarizes previous plans, 7-13)

283 Fancelli, P., Palladia e Praeneste. Archeologia, modelli, projettazione, Rome, 1974.

284 Forster, K. W., 'Back to the farm. Vernacular architecture and the development of the Renaissance villa', Architectura, IV (1974), 1-12.

285 Franciscis, A. de, and Pane, R., Mausolei Romani in Campania, Naples, 1957. (On rich variety available to the Renaissance)

286 Frommel, C. L., 'La Villa Madama e la tipologia della villa romana nel Rinascimento', Palladia, XI (1969), 47-64. (Survey of antique influences; N.B. this issue of the periodical devoted to the subject of the villa, with survey articles and detailed studies)

287 Gombrich, E. H., 'Hypnerotomachiana', JWCI, XIV (1951), 119-25. (Bramante's classical garden in the Vatican)

288 Gould, C., 'Sebastiano Serlio and Venetian painting', JWCI, XXV (1962), 56-64. (Painted 'reconstructions' of-the antique)

289 Heydenreich, L. H., 'Der Palazzo Baronale der Colonna in Palestrina', in G. Kauffmann and W, Sauerlander (eds.), Walter Friedldnder zum 90. Geburtstag, Berlin, 1965, 85-91.

290 Hiilsen, C., 'Bramante und Palestrina', in Festschrift fur Hermann Egger, Graz, 1933, 57'ff.

291 Hunt, J. D., 'Gardening, and poetry and Pope', AQ, XXXVII (1974), 1-30. (19-23 for Castelli's reconstructions)

292 Kahler, H., Hadrian und seine Villa bei Tivoli, Berlin, 1950. (Plates 15 and 16 for the reconstruction of the Piazza d'Oro)

293 Kretzulesco Quaranta, E., 'L'itinerario archeologico di Polifilo: L. B. Alberti come teorico della Magna Porta', Atti dell'accademia nazionale dei Lined. Rendiconti, classi di scienze morali, storiche e filologiche, XXV (1970), 175-201. (Especially I86ff.)

294 Lehmann, K., 'The ship fountain from The Victory of Samothrace to the Galeria', in P. W. and K. Lehmann, Samothracian reflections. Aspects of the revival of the antique, Princeton, 1973, 180-259.

295 Lightbown, R. W., 'Nicholas Audebert and the Villa d'Este', JWCI, XXVII (1964), 164-90. (Quotation, 175)

296 Lugli, G., La Villa d'Orazio, Rome, 1930. (Iff. for early interest in antique villas)

297 *Mandowsky, E., and Mitchell, C., Pirro Ligorio's Roman

antiquities, London, 1963. (7-20 for summary of archaeology to the mid-century)

298 Michailova, M., 'Mausolei romani nei disegni di un architetto italiano del Rinascimento all'Ermitage di Leningrado', Palladio, XIX (1969), 3-13. (Fra Giocondo)

299 Neuerberg, N., L'architettura delle fontane e dei ninfei nell'Italia antica, Naples, 1965.

300 Neuerberg, N., 'Raphael at Tivoli and the Villa Madama', in L. F. Sandier (ed.), Essays in honour of Karl Lehmann, New York, 1964, 227-^11.

301 Redig de Campos, D., Ipalazzi vaticani, Bologna, 1967. (Belvedere on 124f., 134jff., 147jff., and 167jff.)

302 Saccomani, E., 'Le "grottesche" venete del '500', Atti dell'istituto veneto di scienze, lettere ed arti, CXXIX (1970-1), 293-343.

303 Schiilz, J., 'Pinturicchio and the revival of antiquity', JWCI, XXV (1962), 35-55.

304 Tanzer, H. H., The villas of Pliny the Younger, New York, 1924. (List of reconstructions: 45-135)

305 Zander, G., 'Le invenzioni architettoniche di G. B. Montano Milanese', Quaderni dell'istituto di storia dell'architettura, XXX (1958), 1-21; XLIX (1962), 1-32.

306 Zorzi, G., / disegni delle antichitd di Andrea Palladio, Venice, 1959. (Cat. 23 for Temple of Fortuna)

307 Zorzi, G., 'Progetti giovanili di Andrea Palladio per villini e case di campagna', Palladia, IV (1954), 59-76. (Circular staircase idea)

308 Zorzi, G., 'Il Tempio della Fortuna Primigenia di Pales-trina nei disegni di Andrea Palladio', Palladio, I (1951), 145-52.

309 Zorzi, G., 'La "Villa di Mecenate" e il Tempio di Ercole Vincitore a Tivoli nei disegni di Andrea Palladio', Palladio, VII (1957), 149-71.

4 Nicola Pisano and Giotto, Founders of Renaissance Classicism

Nicola Pisano

Coletti, L., 'II problema di Nicola Pisano', Belle arti, I (1946), 9-18, 65-75.

Crichton, G. H., and E. R., Nicola Pisano and the revival of sculpture in Italy, Cambridge, 1938.

Jullian, R., L'eveil de la sculpture italienne. La sculpture romane dans VItalic du nord, Paris, 1949.

*Pope-Hennessy, J., Italian gothic sculpture, London, 1955.

Swarzenski, G., Nicola Pisano, Frankfurt-am-Main, 1926. (Nicola and the Antique Master at Rheims)

Valentiner, W. R., 'Studies on Nicola Pisano', AQ, XV (1952), 9-36.

310 Bottari, S., 'Commentari capuani per Nicola Pisano', Cronache di archeologia e di storia dell'arte, 1963, 84-122.

311 Bottari, S., 'Nicola Pisano e la cultura meridionale', in his Saggi su Nicola Pisano, Bologna, 1969, 1-13. (Comparative plates)

312 Paatz, W., 'Italien und die kiinstlerichen Bewegungen der Gotik und Renaissance', Romisches Jahrbuch fur Kunstgeschichte, V (1941), 165-222. (I73jf. for Nicola Pisano)

313 Papini, R., 'Pro-memoria sulla classicita di Giovanni Pisano', in Miscellanea di storia dell'arte in onore di Igino Benvenuto Supino, Florence, 1933, 113-23. (Giovanni and a Roman battle sarcophagus in the Termi)

314 Pistoia: Conference, II gotico a Pistoia nei suoi rapporti con I'arte gotica italiana (Atti del 2 convegno in-ternazionale di studi, Pistoia, 1966), Rome, 1972. (With text of a lecture on the Pistoia Pulpit, 165-79)

315 Sanpaolesi, P., 'Ispirazioni da un modello di scultura classica in Pisa nei XII e XIII secolo', Mitt.KHIF, VII (1953/6), 280-2. (Sarcophagus from the portal of S. Paolo a Ripa d'Arno)

316 Seidel, M., 'Studien zur Antikenrezeption Nicola Pisa-nos', Mitt.KHIF, XIX (1975), 307-92. (98 illustrations and many exact comparisons)

317 Weinberger, M., 'Nicola Pisano and the tradition of the Tuscan pulpits', GBA, LV (1960), 129-46.

318 Weise, G., L'ltalia e il mondo gotico, Florence, 1956. (Gothic strain, thirteenth to fifteenth centuries)


Baxandall, M., Giotto and the orators: humanist observers of painting in Italy and the discovery of pictorial

composition, 1340-1450, London and New York, 1971. ('. . . the grammar and rhetoric of a language may substantially affect our manner of describing and, then, of attending to pictures . . .')

319 Alpatoff, M., 'The parallelism of Giotto's Paduan frescoes', AB, XXIX (1947), 149-54. (Reprinted in Stub-blebine (no. 326 below)

320 Cole, B., 'Old in new in the early Trecento', Mitt.KHIF, XVII (1973), 229-^18. ('Passionate nostalgia' for earlier styles)

321 Denny, D., 'Some symbols in the Arena Chapel frescoes', AB, LV (1973), 205-12.

322 Offner, R., 'Giotto, non-Giotto', BM, LXXIV (1939), 259-68. (Reprinted in Stubblebine, no. 326 below)

323 Paeseler, W., 'Giottos Navicella und ihr Spatantikes Vorbild', Romisches Jahrbuch fur Kunstgeschichte, V (1941), 50-162.

324 Smart, A., The Assist problem and the art of Giotto, Oxford, 1971. (83-106 for summary of borrowings from Antiquity)

325 Stubblebine, J. H., 'Byzantine influence on 13th century Italian panel painting', Dumbarton Oaks Papers, XX (1966), 87-101.

326 *Stubblebine, J. H., Giotto: the Arena Chapel frescoes, London, 1969. (Includes various reprinted articles)

327 Telpaz, A. M., 'Some antique motifs in Trecento art', AB, XLVI (1964), 372-6.

328 White, J., Art and architecture in Italy, 1250-1400, Harmondsworth, 1966. (94-107 for Cavallini)

329 White, J., 'Cavallini and the lost frescoes of S. Paolo', JWCI, XIX (1956), 84-95.

330 White, J., 'Giotto's use of architecture in The Expulsion of Joachim and The Entry into Jerusalem at Padua', BM, CXV (1973), 439-47. (On Giotto's 'sense of history')

5 The Early Renaissance

Sculpture and civic pride

Becker, M. B., Florence in transition, 2 vols, Baltimore, 1968, (II, 25-98: 'Florentine polis and culture at the advent of civic humanism')

Chastel, A., Art et humanisme au temps de Laurent le Magnifique, Paris, 1961. (Best introduction to Early and High Renaissance)

Meyer-Weinschel, A., Renaissance und Antike. Beobachtungen uber das Aufkommen der antikisierenden Gewandgebung in der Kunst der italienischen Renaissance, Reutlingen, 1933. (244 illustrations)

331 Baron, H., 'Cicero and the Roman civic spirit in the middle ages and the early Renaissance', Bulletin of the John Rylands Library, XXII (1937), 72-97.

332 Baron, H., The Crisis of the Early Italian Renaissance. Civic Humanism and Republican Liberty in an Age of Classicism and Tyranny, rev. edn, Princeton, 1966.

333 Fiocco, G., 'I Lamberti a Venezia—II: Pietro di Niccolo Lamberti', Dedalo, VIII (1927/8), 343-76.

334 Gordon, D. J., 'Giannotti, Michelangelo and the cult of Brutus' in D. J. Gordon (ed.), Fritz Saxl. . . A volume of memorial essays . . ., London, 1957, 281-96. (For a later example of politics and art)

335 Hartt, F., 'Art and freedom in Quattrocento Florence', in L. F. Sandier (ed.), Essays in memory of Karl Lehmann, New York, 1964, 114-31. (Quotation, 117)

336 Manson, H. W., 'The revival of antiquity in early Renaissance sculpture', in Mediaeval and Renaissance Studies (Proceedings of the Southeastern Institute of Mediaeval and Renaissance Studies, summer 1969), Chapel Hill (1971), 80-102.

337 Martines, L., The social world of the Florentine humanists, 1390-1460, London, 1963. (271-86: 'The genesis of civic humanism')

338 Seymour, C., 'The younger masters of the first campaign of the Porta della Mandorla', AB, XLI (1959), 1-17.


339 *Krautheimer, R., Lorenzo Ghiberti, Princeton, 1956. (56:

Hercules Master; Ch. XIX: Coluccio Salutati and artists)

340 Valentiner, W. R., 'Donatello and Ghiberti', in his Studies in Italian Renaissance sculpture, London, 1950,


Francovich, G. de, 'Appunti su Donatello e Jacopo della Quercia', Bollettino d'Arte, IX (1929), 145-71. (Donatello and Roman portraiture)

Manson, H. W., The sculpture of Donatello, 2nd edn, Princeton, 1963.

Picard, C., 'Donatello et 1'antique', Revue archeologique, XXVIII (1947), 77-8. (Classical Greek art)

Valentiner, W. R., 'Donatello and the mediaeval front plane relief, in his Studies in Italian Renaissance Sculpture, London, 1951, 1-21. (Donatello and the Middle Ages)

341 Barasch, M., 'Character and physiognomy: Bocchi on Donatello's St George. A Renaissance text on expression in art', JHI, XXXVI (1975), 413-30. (Text published 1584, written 1571)

342 Bovini, G., 'Le vicende del Regisole'', Felix Ravenna, XXVI (1963), 138-54. (Literature and influence)

343 Burger, F., 'Donatello und die Antike', Repertorium fur Kunstwissenschaft, XXX (1907), 1-13. (Trajan's Column and the Paduan reliefs)

344 Erffa, H. M. von, 'Judith-Virtus Virtutum-Maria', Mitt.KHIF, XIV (1970), 460-5. (Medieval and Marian connections of the Judith and Holofernes)

345 Forsyth, J. H., 'Magi and majesty: a study of Romanesque sculpture and liturgical drama', AB, L (1968), 215-22. \__^

346 Friis, H., Rytterstatuens Historic i Europa fra Oldtiden indtil Thorvaldsen, Copenhagen, 1933. (283 illustrations)

347 Heydenreich, L. H., 'Marc Aurel und Regisole' in W. Gramberg, et al. (eds.), Festschrift fur Erich Meyer zum Sechzigsten Geburtstag. Studien zu Werken in den Samm-lungen des Museums fur Kunst und Gewerbe Hamburg, Hamburg, 1959, 146-59.

348 Manson, H. W., 'Donatello and the antique', in Donatello e il suo tempo (Atti del VIII convegno internazionale di studi sul rinascimento), Florence, 1968, 77-96.

349 Janson, H. W., 'The equestrian monument from Can-grande della Scala to Peter the Great', in A. R. Lewis (ed.), Aspects of the Renaissance, Austin and London, 1967, 73-85.

350 Janson, H. W., 'Giovanni Chellini's libro and Donatello', in Studien zur toskanischen Kunst. Festschriften fur Ludwig Heydenreich, Munich, 1964, 131-8. (Terracotta Joshua and its fame)

351 Lavin, I., 'The sources of Donatello's pulpits in San Lorenzo', AB, XLI (1959), 19-38.

352 Lehmann, P. W., 'Theodosius or Justinian? A Renaissance drawing of a Byzantine rider', AB, XLI (1959), 39-57. (Donatello would have known of the Justinian in Constantinople)

353 Mariani, V., 'Donatello', in his Incontri con Roma nei Rinascimento, Rome, 1960, 25-36.

354 Martinelli, V., 'Donatello e Michelozzo a Roma', Commentari, VIII (1957), 167-94; IX (1958), 3-24.

355 Mormone, R., 'Donatello, Michelozzo e il Monumento Brancacci', Cronache di archeologia e di storia dell'arte (1966), 121-33.

356 Nicco, G., 'Jacopo della Quercia e il problema del classicismo', L'arte, XXXII (1929), 126-37.

357 Pope-Hennessy, J., Donatello's relief of The Ascension with Christ giving the keys to St. Peter, London, 1949.

358 Pope-Hennessy, J., 'The forgery of Italian Renaissance sculpture', Apollo, XCIX (1974), 242-67. (Lasting vogue for the 'sweet style')

359 Pope-Hennessy, J., The Virgin with the laughing Child, London, 1957.

360 Roques de Maumont, H. von, Antike Reiterstandbilder, Berlin, 1958.

361 Seymour, C., Sculpture in Italy, 1400-1500, Harmondsworth, 1966. (90, table 3 for comparative proportions)

362 Siren, O., 'The importance of the antique to Donatello', American Journal of Archeology, XVIII (1914), 438-61.

363 White, J., 'Donatello's High Altar in the Santo at Padua', AB, LI (1969), 1-14, 119-41.


Beck, J. H., 'Masaccio's early career as a sculptor', AB, LIII (1971), 177-95.

Sandstrom, S., Levels of unreality. Studies in structure and construction in Italian mural painting during the Renaissance, Uppsala, 1963.

364 Dempsey, C., 'Masaccio's Trinity: altarpiece or tomb?', AB, LIV (1972), 279-81. (Conversion from tomb to altar)

365 Meiss, M., 'Masaccio and the early Renaissance: the circular plan', in Acts, II, 123-45.

366 *Mesnil, J., 'Masaccio and the antique', BM, XLVIII

(1926), 91-8.

367 Polzer, J., 'Masaccio and the late antique', AB, LIII (1971), 36^10. (Origin of The Tribute Money in a lost fresco in S. Paolo, Rome)

Piero della Francesca

Battisti, E., Piero della Francesca, 2 vols, Milan, 1971. *Clark, K., Piero della Francesca, 2nd edn, London, 1969. Clough, C. H., 'Piero della Francesca: some problems of his art and chronology', Apollo, XCI (1970), 278-89.

Gilbert, C., Change in Piero della Francesca, New York, 1969.

White, J., The birth and rebirth of pictorial space, London, 1957.

368 Clark, K., 'Leon Battista Albert! on painting', Proceedings of the British Academy, XXX (1944), 283-302.

369 Salmi, M., Piero della Francesco, e il Palazzo Ducale di Urbino, Florence, 1945. (Piero's architectural knowledge)

370 Westfall, C. W., 'Painting and the liberal arts: Alberti's view', JHI, XXX (1969), 487-506.

371 Wittkower, R., and Carter, B. A. R., 'The perspective of Piero della Francesca's Flagellation', JWCI, XVI (1953), 292-303.


*Kristeller, P., Andrea Mantegna, London, 1901. (Fundamental)

Low, P., 'The knowledge and influence of classical sculpture in Venice and Padua c. 1460-1530', unpublished M.A. Report, University of London, Cour-tauld Institute, 1973. (I have not seen this item)

Paccagnini, G., and Mezzetti, A. (eds.), Andrea Mantegna, Exhibition catalogue, Venice, 1961.

Paccagnini, G., 'II Mantegna e la plastica dell'Italia settentrionale', Bollettino d'arte, XL VI (1961), 65-100.

Romanini, A. M., 'L'itinerario pittorico del Mantegna e il 'primo' rinascimento padano-veneto', in Arte in Europa. Scritti di storia deH'arte in onore di Edoardo Arslan, Milan, 1966, 437-64.

Sparrow, J., Visible words. A study of inscriptions in and as books and works of art, Cambridge, 1969. (See Ch. II for the Renaissance)

372 Archangeli, F., 'Un nodo problematico nei rapporti fra Leon Battista Alberti e il Mantegna ' , in // San t ' Andrea di Mantova e Leon Battista Alberti (Conference, Mantua, 1972), Mantua, 1974, 189-203.

373 Battisti, E., 'Il Mantegna e la letteratura classica', in Arte, pensiero e cultura a Mantova nel primo rinascimento (VI convegno internazionale di studi sul rinascimento, 1961), Florence, 1965, 23-56.

374 Chirol, E., 'L'influence de Mantegna sur la Renaissance en Normandie', in Actes du XIXe congres international d'histoire de I'art, Paris, 1959, 240-7.

375 Fasolo, V., 'L'ispirazione romana negli sfondi architet-tonici del Mantegna', Palladia, XIII (1963), 79-84.

376 Fiocco, G., 'Il museo imaginario di Francesco Squar-cione', Atti e memorie dell'Accademiapatavina di scienze, lettere ed arti, LXXI (1958/9), 59-72.

377 Hartt, F., 'The earliest works of Andrea del Castagno', AB, XLI (1959), 159-81, 225-36.

382 Levi, A., 'Rilievi di sarcophagi del Palazzo Ducale di Mantova', Dedalo, VII (1926/7), 205-30.

383 Luzio, A., La galleria dei Gonzaga . . . documenti degli archivi di Mantova e Londra, Milan, 1913.

384 Mariani, V., 'Andrea Mantegna', in his Incontri con Roma nel Rinascimento, Rome, 1961, 39-49.

385 Meiss, M., Andrea Mantegna as illuminator, New York, 1947. (68-77 for Feliciano)

386 Meiss, M., 'Toward a more comprehensive Renaissance palaeography', AB XLII (1960), 97-112. (Mantegna as reviver of Imperial Roman majuscule)

387 Moschetti, A., 'Le iscrizioni lapidarie romane negli affreschi del Mantegna agli Eremitani', Atti del reale istituto veneto di scienze, lettere ed arti, LXXXIX (1929/30), 227-39.

388 Muraro, A., 'Mantegna e Alberti', in Arte, pensiero e cultura a Mantova nel primo Rinascimento (Atti del VI congresso internazionale di studi sul rinascimento, 1961) Florence, 1965, 103-32.

389 Pogany-Balas, E., 'On the problems of an antique archetype of Mantegna's and Diirer's', Acta historiae artium, XVII (1971), 77-89. (Influence of Mantegna's prints)

390 Pogany-Balas, E., 'Problems of Mantegna's destroyed fresco in Rome, representing The Baptism of Christ', Acta historiae artium, XVIII (1972), 107-24. (Fame, connections with the antique)

391 Salmi, M., 'Andrea Mantegna e 1'umanesimo', Rinascimento, I (1961), 95-103.

392 *Saxl, F., 'Jacopo Bellini and Mantegna as antiquarians',

in his Lectures, 2 vols, London, 1957, 150-60.

393 Schmitt, A., 'Francesco Squarcione als Zeichner und Stecher', Miinchner Jahrbuch, XXV (1974), 205-13.

394 Scott-Elliot, A. H., 'The statues from Mantua in the collection of King Charles I', BM, CI (1959), 218-27.

395 Tamassia, A. M., 'Visioni di antichita nell'opera del Mantegna', Atti della pontifica accademia romana di archeologia: rendiconti, XXVIII (1954/5), 213-49. (Squarcione as teacher of Mantegna)

396 Vermeule, C., 'A Greek theme and its survivals: the ruler's shield (tondo image) in tomb and temple', Proceedings of the American philosophical society, CIX (1965), 361-97.

6 The High Renaissance

Mantegna's Trial of St. James', AB, XLI (1959), 59-73.

Lehmann, P. W., 'An antique ornament set in a Renaissance tower: Cyriacus of Ancona's Samothracian nymphs and muses', Revue archeologique (1968), 197-214.

Lehmann, P. W., 'The sources and meaning of Mantegna's Parnassus' in P. and K. Lehmann, Samothracian reflections. Aspects of the revival of the antique, Princeton, 1973, 58-178. (Mantegna's knowledge of Ciriaco's drawings)

Levenson, J. A., Oberhiiber, K., and Sheenan, J. L., Early Italian engravings from the National Gallery of Art, Washington, 1973. (165jff. for survey of Mantegna's influence)

Leonardo da Vinci

Allison, A. H., 'Antique sources of Leonardo's Leda', AB, LVI (1974), 375-84.

* Freedberg, S. J., Painting in Italy, 1500-1600, Harmonds-worth, 1971.

Freedberg, S. J., Painting of the High Renaissance in Rome and Florence, 2 vols, Cambridge, Mass., 1961. (Sensitive; good corpus of plates)

Chastel, A., 'Les capitaines affrontes dans I'art du 15e siecle', Memoires de la societe nationale des antiquaires de France, IX (1954), 279-89.

Clark, K., Leonardo da Vinci, London, 1939. (Quotation, 41, from Penguin edn, 1959)

399 *Clark, K., 'Leonardo and the antique', in C. D. O'Malley

(ed.), Leonardo's Legacy, Berkeley and Los Angeles, 1969, 1-34.

400 Gould, C., 'Leonardo's great battle-piece: a conjectural reconstruction', AB, XXXVI (1954), 117-29.

401 Isermeyer, C. A., 'Die Arbeiten Leonardos und Michel-angelos fur den grossen Ratsaal in Florenz', in Studien zur toskanischen Kunst. Festschrift fur Ludwig Heyden-reich, Munich, 1964, 83-130. (With bibliography)

402 Pogany-Balas, E., 'Remarques sur les tetes de guerriers de Leonard de Vinci et le portrait colossal en bronze de Constantin', Bulletin du musee hongrois des beaux-arts, XLII (1974), 41-54.

403 Posner, K. W. G., Leonardo and Central Italian art: 1515-1550, New York, 1974. (17ff: 'Leonardo's dark manner and the challenge of antique painting')

404 Richter, I. A. (ed.), Selections from the notebooks of Leonardo da Vinci, London, 1952. (Quotations 176, 195, 225)

405 Shearman, J., 'Leonardo's colour and chiaroscuro', Zf.KG, XXV (1962), 13-47.

406 Soos, G., 'Antichi modelli delle statue equestri di Leonardo da Vinci', Acta historiae artium, IV (1956), 129-34.

407 Spencer, J. R., 'Sources of Leonardo da Vinci's Sforza Monument', in Actes du XXIIe congres international d'histoire de I'art, Budapest, 1969, Budapest, 1972, II, 735-42.

408 Steinberg, L., 'Leonardo's Last Supper', AQ, XXXVI (1973), 297^10. (Full account with bibliography)

409 Steinitz, K. T., 'Leonardo da Vinci's concept of the antique', in Proceedings of the fourth international congress of aesthetics, Athens, 1960, 114-18.

410 Zoubov, V. P., 'Leon-Battista Alberti et Leonard da Vinci', Raccola Vinciana, XVIII (1962), 1-14.


Dussler, L., Raphael. A critical catalogue of his pictures, wall-paintings and tapestries, English translation, London, 1971.

Hartt, F., 'Raphael and Giulio Romano, with notes on the Raphael school', AB, XXVI (1944), 67-94.

Huemer, F., 'Raphael and the Villa Madama', in Essays in honour of Walter Friedldnder, New York, 1965, 92-9. (A supplementary volume to Marsyas)

*Pope-Hennessy, J., Raphael, London, 1970.

411 Alpatow, M., 'La Madonna di S. Sisto', L'Arte, LVI (1957), 25-50. (Originality and fame)

412 Arasse, D., 'Extases et visions beatifiques a 1'apogee de la Renaissance: quatre images de Raphael', Melanges d'archeologie et d'histoire, LXXXIV (1972), 403-92. (Development of gesture and expression)

413 Badt, K., 'Raphael's Incendio del Borgo', JWCI, XXII (1959), 35-59.

414 Berstrom, I., The revival of antique illusionistic wall-painting in Renaissance art, Stockholm, 1957. (45-53 for Farnesina)

415 Blunt, A., 'The legend of Raphael in Italy and France', Italian studies, XIII (1958), 2-20.

416 Bottari, S., 'Raffaello alia Farnesina e la prima 'maniera' italiana', Studi urbinati, XXXVI (1962), 167-86.

Couprie, L. D., 'Rafael's Sposalizio. Een mathematische Analyse van de Compositie', Simiolus, II (1967-8), 134-44. (English summary)

Dacos, N., La decouverte de la 'domus aurea' et la formation des grotesques a la Renaissance, London, 1969.

Dollmayr, H., 'Lo stanzino da bagno del Cardinal Bibbiena', Archivio storico deH'arte, III (1890), 272-80.

Euboeus, T. (pseudonym of Baron de Lepel), Catalogue des estampes graves d'apres Rafael, Frankfurt-am-Main, 1819.

Goldberg, V. L., 'The School of Athens and Donatello', AQ, XXXIV (1971), 229-36.

Golzio, V., Raffaello nei documenti e nelle testimonianze dei contemporanei e nella letteratura del suo secolo, Vatican City, 1936.

Gombrich, E. H., 'Raphael's Segnatura and the nature of its symbolism', in his Symbolic images, London, 1972, 85-101. (Refutes intricate and extravagant explanations)

Habig, I., 'Die Kirchenlehrer und die Eucharistie. Bin Beitrag zur Disputa Raffaels und zu einem Bildthema in ihrer Nachfolge', Romische Quartalschrift fur christliche Altertumskunde und Kirchengeschichte, LXVIII (1973), 35-49.

Hoogewerff, G. J., 'Leonardo e Raffaello', Commentari, III (1952), 173-83. (Trivulzio projects and the Helio-dorus)

Hoogewerff, G. J., 'Raphael en Leonardo da Vinci', Med-edelingen van het Nederlands Historisch Instituut te Rome, IV (1947), 27^0.

Hoogewerff, G. J., 'Raffaello nella Villa Farnesina: affreschi ed arazzi', Mededelingen van het Nederlands Historisch Instituut te Rome, XXXI (1963), 5-19.

Hiibner, P. G., 'Studien iiber die Benutzung der Antike in der Renaissance', Monatshefte fur Kunstwissenschaft, II (1909), 273-80.

Hiilsen, C., 'Die Halle in Raffaels Schule von Athen', Mitt.KHIF, IV (1911), 229-36.

Jenkins, M., The state portrait : its origin and evolution, York, 1947.

Levey, M., 'Raphael revisited', Apollo, LXXVI (1962), 678-83. (Raphael as the 'most notorious victim of art history's embalming')

Loewy, E., 'Di alcune composizione di Raffaello ispirate a monumenti antichi', Archivio storico deH'arte, II (1896), 241-5 1 . (In particular The Judgement of Paris and the Ezechiel)

Lotz, W., 'Raffaels Sixtinische Madonna im Urteil der Kunstgeschichte', Jahrbuch der Max Planck Gesellschaft der Wissenschaften, 1963. (I have not seen this item)

Mariani, V., 'Raffaello e il mondo classico'. Studi romani, VII (1959), 162-72.

Mazzini, F., 'Fortuna storica di Raffaello nel Cin-quecento', Rinascimento, IV (1953), 67-78.

Miintz, E., Les historiens et les critiques de Raphael, 1483-1883, Paris, 1883.

Oberhuber, K., 'Die Fresken der Stanza dell'Incendio im Werk Raffaells', JKHS, LVIII (1962), 23-72.

Oberhuber, K., 'Vorzeichnungen zu Raffaels Transfiguration', Jahrbuch der Berliner Museen, IV (1962), 116-49.

439 Piel, F., Die Ornamente-Grotteske in der italienischen Renaissance zu ihrer kategorialen Struktur und Ent-stehung, Berlin, 1962.

440 Posner, K., 'Raphael's Transfiguration and the legacy of Leonardo', AQ, XXXV (1972), 343-72.

441 Putscher, M., Raphaels Sixtinische Madonna. Das Werk und seine Wirkung, Tubingen, 1955.

442 Richter, I., 'The drawings for Raphael's Entombment: a contribution to the understanding of Raphael's art', GBA, XXVIII (1945), 335-56. (Contemporary Florentine milieu)

443 Salis, A. von, Antike und Renaissance . . . Erlenbach and Zurich, 1947. (190-223: antique precedents for the Farnesina)

444 Saxl, F., 'The Villa Farnesina', in his Lectures, 2 vols, London, 1957, 189-99.

445 Scheicher, E., 'Die Groteskenmonate eine Tapisserien-serie des Kunsthistorisches Museum in Wien', JKHS, LXIX (1973), 55-84.

446 Shearman, J., 'Die Loggia der Psyche in der Villa Farnesina und die Probleme der letzen Phase von Raffaels graphischen Stil', JKHS, LX (1964), 59-100.

447 Shearman, J., Raphael's Cartoons . . . and the tapestries for the Sistine Chapel, London, 1972.

448 Sommer, C., 'A new interpretation of Raphael's Dis-puta', GBA, XXVIII (1945), 289-96. (As a glorification of the rebuilding of St Peter's)

449 Standen, E. A., 'Some sixteenth century Flemish tapestries related to Raphael's workshop', Metropolitan Museum Journal, IV (1971), 109-21.

450 *Stridbeck, C. G., Raphael and tradition, Stockholm,

1963. (Mainly concerning Early Christian influence on Raphael)

451 Traeger, J., 'Raffaels Stanza d'Eliodoro und ihr Bildprog-ram', Romisches Jahrbuch fur Kunstgeschichte, XIII (1971), 30-99. (On the meaning of the frescoes)

452 Venturi, A., 'II gruppo del Laocoonte e Raffaello', Archivio storico dell'arte, II (1889), 97-112.

453 Vito Battaglia, S. de, 'La stufetta del Cardinal Bibbiena', L'arte, XXIX (1926), 203-12.

454 Voge, W., Raffael und Donatella, Strasburg, 1896.

455 Weizsacker, H., 'Raphaels Galatea im Lichte der antiken Uberlieferung', Die Antike, XIV (1938), 231-42. (Suggests the Aphrodite of Capua as a model)

456 White, J., and Shearman, J., 'Raphael's tapestries and their cartoons', AB, XL (1958), 193-221, 299-323.


Gilbert, C., 'Texts and contexts of the Medici Chapel', AQ, XXXIV (1971), 391^108. (Survey of interpretations, with bibliography)

*Hibbard, H., Michelangelo, London, 1975. Tolnay, C. de, Michelangelo, 5 vols, Princeton, 1943-60.

Tolnay, C. de, Michelangelo, New Jersey, 1975. (Reduction of the above)

Wilde, J., 'The decoration of the Sistine Chapel', Proceedings of the British Academy, XLIV (1958), 61-81.

457 Barocchi, P., 'Schizzo di una storia della critica cin-quecentesca sulla Sistina', Atti e memorie dell'accademia toscana di scienze e lettere, XX-XXI (1956), 175-212.

458 *Battisti, E., 'The meaning of classical models in the

sculpture of Michelangelo', in Akten, II, 73-8. (Survey)

459 Battisti, E., 'Storia della critica su Michelangelo', in G. Gronchi (ed.), Atti del convegno di studi michelangio-leschi, Rome, 1966, 177-200.

460 Bottari, S., 'Michelangelo anticlassico', II Verri, XVII (1964), 16-31.

461 Brugnoli, M. V., 'Note sul rapporto Leonardo-Michelangelo', Bollettino d'arte, XL (1955), 124-40.

462 Chastel, A., 'Michel-Ange en France', in G. Gronchi (ed.), Atti del convegno di studi michelangioleschi, Rome, 1966, 261-78.

463 Chatelet Lange, L., 'Michelangelos Herkules im Fontaine-bleau', Pantheon, XXX (1972), 455-68.

464 Eisler, C., 'The Madonna of the Steps: problems of date and style', in Akten 1964, Berlin (1967), II, 115-21 (Seen as a Donatellesque pastiche)

465 Ettlinger, L., 'Hercules Florentinus', Mitt.KHIF, XVI (1972), 119^2.

466 Frazer, A., 'A numismatic source for Michelangelo's First Design for the Tomb of Julius II', AB, LVII (1975), 53-7.

467 Gombrich, E. H., 'A classical quotation in Michelangelo's Sacrifice of Noah', JWCI, I (1937/8), 69. (Meleager sarcophagus)

468 Hartt, F., 'Lignum vitae in medio paradisi: The Stanza della Segnatura and The Sistine Ceiling', AB, XXXII (1950), 115-45, 181-218. (Ceiling as Tree of Jesse of the Pope; High Renaissance as result of Pope's personality and programme)

469 Heye, E., Michelangelo im Urteil franzosischer Kunst des XVII und XVIII Jahrhunderts, Strasburg, 1932.

470 Keutner, H., 'Uber die Entstehung und die Formen des Standbildes im Cinquecento', Munchner Jahrbuch, VII (1956), 138-68.

471 Kleiner, G., Die Begegnungen Michelangelos mit der Antike, Berlin, 1949.

472 Kriegbaum, F., 'Michelangelo und die Antike', Munchner Jahrbuch, II/IV (1952/3), 10-36. (Concentrates on the Medici Chapel)

473 Levine, S., 'The location of Michelangelo's David and the meeting of January 25th 1504', AB, LVI (1974), 31^9. (Cf. answer by N. R. Parks in AB, LVII (1975), 560-70)

474 Lisner, M., 'Das Quattrocento und Michelangelo', Akten, 1964, II, 78-89.

475 Melchiori, G., Michelangelo nel Settecento Inglese. Un capitolo del gusto in Inghilterra, Rome, 1950.

476 Norton, P.P.,' The lost Sleeping Cupid of Michelangelo', AB, XXXIX (1957), 251-7. (History prior to disappearance)

477 Panofsky, E., 'The Neoplatonic movement and Michelangelo', in Studies in Iconology, New York, 1962, 171-230.

478 Parronchi, A., 'The language of Humanism and the language of sculpture: Bertoldo as illustrator of the Apologi of Bartolommeo Scala', JWCI, XXVII (1964), 108-36.

479 Parronchi, A., 'Sul probabile tipo del Cupido dormiente di Michelangelo', Arte antica e moderna, XXVII (1964), 281-94. (Prototype seen as sleeping hermaphrodite)

480 Seymour, C., 'Homo magnus et albus. The Quattrocento

background for Michelangelo's David of 1501—4', Akten 1964, II, 96-105.

481 *Seymour, C., Michelangelo's David. A search for identity,

Pittsburgh, 1967. (Antecedents, 21-66)

482 Tolnay, C. de, 'Donatello e Michelangelo', Donatella e il suo tempo, Florence, 1968, 259-75. (49 plates of comparisons)

483 Tolnay, C. de, 'Le madonne di Michelangelo. A pro-posito di due disegni della Vergine col Bambino al Louvre', Mitt. KHIF, XIII (1968), 343-66. (Antique elements)

484 Walton, F. R., 'Adam's ancestor', Archaeology, XIII (1960), 253-8.

485 Weizsacker, H., 'Der David des Michelangelo in seinen Beziehungen zur Antike', Jahrbuch der Preussischen Kunstsammlungen, LXI (1940), 163-72.

486 Wilde, J., 'Michelangelo and Leonardo', EM, XCV (1953), 65-77.

487 Wilde, J., 'Eine Studie Michelangelos nach der Antike', Mitt.KHIF, IV (1932/4), 41-64. (Antiquity and Florentine forebears)

Titian and Roman classicism

* Kennedy, R. W., Novelty and tradition in Titian's art, Northampton, Mass., 1963.

Kennedy, R. W., 'Tiziano in Roma', in // mondo antico nel rinascimento (Atti del V convegno internazionale di studi sul rinascimento, Florence, 1956), Florence, 1958, 237-43.

Rosand, D., 'Titian in the Frari', AB, LIII (1971), 196-213. (Paintings in their setting)

Roskill, M. W., Dolce's Aretino and Venetian art theory of the Cinquecento, New York, 1968. (75-82 on relations between Venice and Central Italy, 1500-57)

488 Brendel, O. J., 'Borrowings from ancient art in Titian', AB, XXXVII (1955), 113-25.

489 Caldwell, M. P., 'The public display of sculpture in Venice, 1200-1600', unpublished Ph.D. thesis, London University, 1975. (Chapters on 'Legend and history' and on the Grimani Collection)

490 Candida, B., I calchi rinascimentali della collezione Man-tova Benavides nel Museo del Liviano a Padova, Padua, 1967. (Cf. review by N. Dacos in Archeologia classica, XXI (1969), 101-4)

491 Fletcher, J., 'Marcantonio Michiel's collection', JWCI, XXXVI (1973), 382-5.

492 Fubini, G., and Held, J. S., 'Padre Resta's Rubens draw-Ings after antique sculpture', Master drawings, II (1964), 123-41. (Unusual viewpoints)

493 Gould, C., 'Correggio and Rome', Apollo, LXXXIII (1966), 328-37.

494 Meiss, M., 'Sleep in Venice. Ancient myths and renaissance proclivities', Proceedings of the American Philosophical Society, CX (1966), 348-82. (Locus classicus of sleeping figure, 'as Florence was of the figure that struggles and aspires . . . expressive of their concepts of love, of life, and of the power of natural generation')

495 Perry, M., 'A Greek bronze in renaissance Venice', BM, CXVII (1975), 204-11.

496 Rosand, D., 'Titian and the Bed of Polycletes', BM, CXVII (1975), 242-5.

497 Smart, A., 'Titian and the Toro Farnese', Apollo, LXXXV (1967), 420-31.

Classicism and mannerism: the growth of academies

Clark, K., A failure of nerve, H. R. Bickley Memorial Lecture, Oxford, 1967.

Dumont, C., 'Le manierisme. Etat de la question', Bibliotheque d'humanisme et de renaissance, XXVIII (1966), 439-57.

Friedlander, W., Mannerism and anti-mannerism in Italian painting, New York, 1957.

Gombrich, E. H., 'Introduction: the historiographic background', Acts, II, 163-73. (Survey with texts)

Ivanoff, N., 'Stile e maniera', Saggi e memorie, I (1957), 109-63. (Use of terms from 16th century)

Shearman, J., 'Maniera as an aesthetic ideal', in Acts, II, 200-21.

*Shearman, J., Mannerism, Harmondsworth, 1967.

498 Barocchi, P., 'Michelangelo e il manierismo', Arte antica e moderna, XXVII (1964), 260-80.

499 Curtius, E. R., European literature and the latin middle ages, English translation, London, 1953, 273jff.

500 Freedberg, S. J., 'Observations on the painting of the maniera', AB, XLVII (1965), 187-97. (Good straightforward account)

501 Goldstein, C., 'Towards a definition of academic art', AB, LVI (1974), 102-9.

502 Goldstein, C., 'Vasari and the Florentine Accademia del disegno', Zf.KG, XXXVIII (1975). 145-72.

503 Labrot, M. G., 'Conservatisme'plastique et expression rhetorique. Reflexions sur le developpement de racademisme en Italic centrale', Melanges d'archeologie et d'histoire, LXXVI (1964), 555-624.

504 Pevsner, N., Academies of art, past and present, Cambridge, 1940.

505 Pevsner, N., 'The Counter-Reformation and mannerism', in his Studies in art, architecture and design, I, London, 1968, 11-33.

506 Summers, D., 'Maniera and movement: the figura ser-pentinata', AQ, XXXV (1972), 269-301. (Development of classicizing contrapposto)

507 Weise, G., // manierismo, Bilancio critico del problema stilistico e culturale, Florence, 1971. (Full survey of the problem; useful plates)

508 *W61fflin, H., Classic art, English translation, London,


7 Classicism in Italian Architecture


*Heydenreich, L. H., and Lotz, W., Architecture in Italy, 1400-1600, Harmondsworth, 1974.

Murray, P., 'The Italian Renaissance architect', Journal of the Royal Society of Arts (1966), 589-607. (Approach to, and use of, antiquity)

Pellati, F., 'Vitruvio e il Brunelleschi', La Rinascita, II (1939), 343-65. (I have not seen this item)

509 Argan, G. C., 'The architecture of Brunelleschi and the origins of perspective theory in the 15th century', JWCI, IX (1946), 96-121.

510 Bruschi, A., 'Considerazioni sulla "maniera matura" del Brunelleschi, con un'appendice sulla Rotonda degli Angeli', Palladia, XXII (1972), 89-126.

511 *Burns, H., 'Quattrocento architecture and the antique:

some problems', in R. R. Bolgar (ed.), Classical influences on European culture, A.D. 500-1500, Cambridge, 1971, 269-S7.

512 Cadei, A., 'Coscienza storica e architettura in Brunelleschi', Rivista dell'istituto nazionale d'archeologia e storia dell'arte, XVII (1971), 181-240.

513 Fontana, P., 'II Brunelleschi e 1'architettura classica', Archivio storico dell'arte, VI (1893), 256-67.

514 Hofmann, V., 'Brunelleschis Architektursystem', Ar-chitectura, I (1971), 54-71. (Plus sources and influence)

515 Klotz, H., Die Fruhwerk Brunelleschis und die mit-telalterliche Tradition, Berlin, 1970.

516 Prager, F. D., and Scaglia, G., Brunelleschi: studies of his technology, Cambridge, Mass., 1970. (On his interest in Roman masonry, cf. Prager in Osiris IX, 1950)

517 Saalman, H., 'Filippo Brunelleschi: capital studies', AB, XL (1958), 113-37.

518 Saalman, H. (ed.), The life of Brunelleschi by Antonio di Tuccio Manetti, University Park, Pennsylvania and London, 1970. (Quotation, 50-2)

519 Waddy, P., 'Brunelleschi's design for S. Maria degli Angeli in Florence', Marsyas, XV (1970/2) 36-45.

The centrally planned church: a Renaissance ideal>

Licht, K. de F., The Rotunda in Rome. A study of Hadrian's Pantheon, Copenhagen, 1968. (203-26, 249-51, for influence)

MacDonald, W. L., The Pantheon. Design, meaning, progeny, London, 1976. (94ff. for progeny)

520 Hautecoeur, L., Mystique et architecture: symbolisme du cercle et de la coupule, Paris, 1954.

521 Lotz, W., 'Notizien zum kirchlichen Zentralbau der Renaissance', in W. Lotz and L. L. Moller (eds.), Studien zur toskanischen Kunst. Festschrift fur L. Heydenreich, Munich, 1964, 157-65. (Especially 158-61).

522 *Meeks, C. V., 'Pantheon paradigm', JSAH, XIX (1960), 135-14.

523 Sinding-Larsen, S.,' Some functional and iconographical aspects of the centralised church in the Italian Renaissance', Acta ad archeologiam et artium historiam pertinentia, II (1965), 203-52. (204jff. for liturgical problems)

524 Stettler, M., 'Von romischen zum christlichen Rundbau. Eine raumgeschichtliche Skizze', Museum Helveticum, VIII (1951), 260-70.

525 Van Regteren Altena, I. Q., 'Hidden records of the Holy Sepulchre', in D. Fraser, et al. (eds.), Essays in the history of architecture presented to R. Wittkower, London, 1967, 17-21.

Alberti architect and scholar

(Alberti) 'Omaggio ad Alberti', Studi e document! di architettura, I (December 1972). (By various contributors; critical bibliography at 15-56)

Argan, G. C., 'Alberti' in Dizionario biografico degli Italiani, I, 1960.

Johnson, E. J., S. Andrea in Mantua: the building history,

University Park and London, 1975. (With much on sources)

Juren, V., 'Le projet de Giuliano da Sangallo pour le palais du roi de Naples', RA, XXV (1974), 66-70.

(Alberti and antiquity; summary of research)

Mantua: Conference, // Sant''Andrea di Mantova e Leon Battista Alberti (Conference on quincentenary of his death, Mantua, 1972), Mantua, 1974.

*Wittkower, R., Architectural principles in the age of humanism, 3rd edn, London, 1962. (3-13: 'Alberti's programme of the ideal church')

Zoubov, V. P., L.-B. Alberti et Leonard de Vinci', Raccolta Vinciana, XVIII (1961), 1-14. (Survey of influence)

526 Borsi, F., 'I cinque ordini architettonici e L. B. Alberti', in 'Omaggio ad Alberti' (cited above), 59-130.

527 Bulman, L. M., 'Artistic patronage at SS. Annunziata, 1440-c. 1520', unpublished Ph.D. thesis, London University, 1971. (Section III for the tribune; III, 27-36 for Alberti's hand in the design)

528 Ciapponi, L. A., 11 De Architectura di Vitruvio nel primo Rinascimento', IMU, III (1960), 59-99.

529 Fallico, R. S., 'L'Alberti e 1'antico nel De re aedificatoria', in // Sant'Andrea di Mantova e L. B. Alberti (Conference, Mantua, 1972), Mantua, 1974, 157-70.

530 Gilbert, C., 'Antique frameworks for Renaissance art theory: Alberti and Pino', Marsyas, III (1945), 87-98. (Alberti's treatise on painting)

531 Grayson, C., 'The composition of L. B. Alberti's De re aedificatoria', Munchner Jahrbuch, XI (1960), 152-61. (Quotation, 158)

532 Ham berg, P. G., 'Vitruvius, Fra Giocondo and the city plan of Naples. A commentary on some principles of ancient urbanism and their rediscovery in the Renaissance', Acta archaeologia, XXXVI (1965), 105-25.

533 Horster, M., 'Brunelleschi und Alberti in ihrer Stellung zur romischen Antike', Mitt.KHIF, XVII (1973), 29-64. (Including the temple as mausoleum)

534 Hubala, E., 'L. B. Albertis Langhaus von S. Andrea', in Festschrift fur Kurt Badt, Berlin, 1961, 83-120.

535 *Krautheimer, R., 'Alberti and Vitruvius', in Acts, II,

42-52. (50-1 for comparison of their books on architecture)

536 Krautheimer, R., 'Alberti's templum etruscum', Munchner Jahrbuch, XII (1961), 65-72.

537 Mardersteig, G., 'Leon Battista Alberti e la rinascita del carattere lapidario romano nel Quattrocento', IMU, II (1959), 285-307.

538 Mariani, V., 'Roma in L. B. Alberti', Studi romani, VII (1959), 635—46. (Reprinted in his Incontri con Roma nel rinascimento, Rome, 1960, 11-22)

539 Mitchell, C., 'The imagery of the Tempio Malatestiano', Studi romagnoli, II (1952), 77-90. (Quotation, 82)

540 Onians, J. B., 'Style and decorum in 16th century Italian architecture', unpublished Ph.D. thesis, London University, 1968. (Useful sections on: The Temple and Palace of Solomon and the Vatican, 205jff; Alberti and Cicero, 289ff; The Hypnerotomachia and influence of Alberti, 405j[f; and 'The Orders in Practice, Alberti to Serlio', 486jff.)

541 Ricci, C., // Tempio Malatestiano, Milan and Rome, 1924. (2lOff. and 280jff. for Alberti and Early Christian architecture)

542 Rimini (Palazzo dell'Arengo), Sigismondo Pandolfo Mal-atesta e il suo tempo (Exhibition, Rimini, 1970), Vicenza, 1970. (125-75 for Tempio Malatestiano)

543 Saxl, F., 'The classical inscription in Renaissance art and polities', JWCI, IV (1941), 19-46. (Greek influence on sculpture of the Tempio: 32-7)

544 Scaglia, G., 'The Renaissance drawings of church facades', AB, XLVII (1965), 173-35.

545 Simoncini, G., Citta e societa nel Rinascimento, 2 vols, Turin, 1974. (With good bibliography; profusely illustrated)

546 Westfall, C. W., In this most perfect paradise. Alberti, Nicholas V and the invention of conscious urban planning in Rome, 1447-1455, University Park, Pennsylvania and London, 1974. (Does not fulfill the promise of its title)

Leonardo and Bramante: the High Renaissance in architecture

Bramante: Conference, Studi Bramanteschi (Atti del congresso internazionale, Milan, Urbino and Rome, 1970), Rome, 1974. (Includes papers on Bramante and Leonardo in Milan, Bramante's reputation and his knowledge of Antiquity)

Bruschi, A., Bramante architetto, Bari, 1969.

Geymiiller, H. von, Les projets primitifs pour Saint-Pierre, Paris, 1875-80.

547 Fienga, D. D., 'The Antiquarie prospetiche romane composte per Prospectivo Melanese Depictore. A document for the study of the relationship between Bramante and Leonardo da Vinci', unpublished Ph.D. thesis, University of California, 1970. (114jff. for Alberti and Leonardo, resume in Studi Bramanteschi fcited above),

548 Heydenreich, L. H., 'Leonardo and Bramante: genius in architecture', in C. D. O'Malley (ed.), Leonardo's legacy, Berkeley and Los Angeles, 1969, 125-^48.

549 Lang, S., 'Leonardo's architectural designs and the Sforza Mausoleum', JWCI, XXXI (1968), 218-33.

550 *Murray, P., Bramante's Tempietto, Newcastle upon

Tyne, 1972.

551 Murray, P., 'Leonardo and Bramante', Architectural review, CXXXIV (1963), 346-51. (Bramante as transmitter of Brunelleschi's ideas)

552 Murray, P., 'Observations on Bramante's St. Peter's' in D. Fraser et al. (eds.), Essays in the history of architecture presented to R. Wittkower, London, 1967, 53-9.

553 Pedretti, C., A chronology of Leonardo da Vinci's architectural drawings after 1500, Geneva, 1962.

554 Pedretti, C., 'Newly discovered evidence of Leonardo's association with Bramante', JSAH, XXXII (1973), 223-7.

555 Pedretti, C., 'The original project for S. Maria delle Grazie', JSAH, XXXII (1973), 30-42.

556 Rosenthal, E., 'The antecedents of Bramante's tem-pietto', JSAH, XXIII (1964), 55-74.


Ackerman, J. S., The architecture of Michelangelo, Har-mondsworth, 1970, with catalogue by J. Newman.

Hartt, F., Giulio Romano, 2 vols, New Haven, 1958. Paccagnini, G., // Palazzo Te, Milan, 1957.


*Ackerman, J. S., Palladio, Harmondsworth, 1966. (Best short account; good bibliography)

Puppi, L., Andrea Palladio, English translation, London, 1975. (The fullest and latest summary and bibliography of this most studied of all architects)

557 Argan, G. C., 'Andrea Palladio e la critica neoclassica', L'Arte, I (1930), 327-46.

558 Sinding-Larsen, S., 'Palladio's Redentore, a compromise in composition', AB, XLVII (1965), 419-37. (For the suggestion that Palladio intended a central plan)

559 Wittkower, R., 'Palladio and Bernini', in his Palladio and English Palladianism, London, 1974, 25-38.

560 Zorzi, G., / disegni delle antichita di Andrea Palladio, Venice, 1959.

8 The Classical Revival in Seventeenth-Century Italy

The Carracci

Posner, D., Annibale Carracci, 2 vols, London, 1971.

*Waterhouse, E., Italian baroque painting, London, 1962. (Best survey of all seventeenth-century work)

561 Bodmer, H., 'Le note marginali di Agostino Carracci nell'edizione del Vasari del 1568', // Vasari, X (1939), 89-127. (Transcription)

562 Dempsey, C., 'Et nos cedamus amori: observations on the Farnese Gallery', AB, L (1968), 363-74.

563 Fokker, T. H., 'The origin of Baroque painting', AB, XV (1933), 299-308. (Farnese Gallery)

564 Jaffe, M., 'The interest of Rubens in Annibale and Agostino Carracci: further notes', BM, XCIX (1957), 375-9.

565 Martin, J. R., The Farnese Gallery, Princeton, 1965.

566 Martin, J. R., 'Immagini della virtu: the paintings of the Camerino Farnese', AB, XXXVIII (1956), 91-112.

567 Mazzini, F., 'Fortuna storica di Raffaello nel sei e settecento', Rinascimento, VI (1955), 145-62.

568 Pepper, D. S., 'Augustin Carrache, maitre et des-sinateur', RA, XIV (1971), 39-44.

569 Puyvelde, L. van, 'Les sources du style de Rubens. I: le contacte avec 1'art antique et 1'art italien', Revue beige d'archeologie et d'histoire de 1'art, XXI (1952), 23-44.

570 Sulzberger, S., 'Rubens et la peinture antique', Revue beige d'archeologie et d'histoire de 1'art, XI (1941), 59-65.

571 Vaes, M., 'Le sejour de Van Dyck en Italic (mi-novembre 1621-automne 1627)', Bulletin de I'institut historique beige de Rome, IV (1924), 163-234.

572 Vita, A. del, 'L'animosita di Agostino Carracci contro il Vasari', // Vasari, XVI (1958), 64-78.

Classicism and Baroque

Borea, E., Domenichino, Florence, 1965.

Bottari, S. (ed.), // mito del classicismo nel Seicento,

Florence, 1964.

Briganti, G., Pietro da Cortona o della pittura barocca,

Florence, 1962.

Marabottini, A. (ed.), Pietro da Cortona (catalogue of

exhibition), Rome, 1950.

573 Giongo, G., 'La critica su Guido Reni e la fortuna della sua fama', Rivista dell'istituto nazionale d'archeologia e storia dell'arte, II (1953), 353-72.

574 Jacob, S., 'Pietro da Cortona et la decoration de la Galerie d'Alexandre VII au Quirinal', RA, XI (1971), 42-54. (Modified quadratura painting)

575 Pepper, D. S., 'Caravaggio and Guido Reni: contrasts in attitudes', AQ, XXXIV (1971), 325-44. (Reni's Caravag-gesque phase)

576 Pepper, D. S., 'Guido Reni's early drawing style', Master Drawings, VI (1968), 364-82. (Influence of teaching of Agostino Carracci)

577 Posner, D., 'Domenichino and Lanfranco: the early development of Baroque painting in Rome', in W. Cahn et al. (eds.), Essays in honour of Walter Friedldnder, New York, 1965, 135-46.


Labrot, G., 'Conservatisme plastique et expression rhetorique. Reflexions sur le developpement de I'academisme en Italic Centrale (Rome et Florence), 1550 env.-1620 env.', Melanges d'archeologie et d'histoire, LXXVI (1964), 555-624. (Jaundiced view of the classical renovatio)

*Lee, R. W., Ut pictura poesis: the humanistic theory of painting, New York, 1967.

Pevsner, N., Academies of art past and present, Cambridge, 1940.

578 Lee, R. W., Review of Mahon's Studies in seicento art and theory, AB, XXXIII (1951), 204-12. (Affirmation of eclecticism of Carracci)

579 Mahon, D., 'Art theory and artistic practice in the early seicento: some clarifications', AB, XXXV (1953), 226-32. (Reply to Lee's review above; Mahon refutes eclecticism theory)

580 Mahon, D., 'The construction of a legend: the origin of the classic and eclectic misinterpretations of the Carracci', in his Studies in seicento art and theory, London, 1947, 195-229.

581 *Mahon, D., 'Eclecticism and the Carracci: further re-

flections on the validity of a label', JWCI, XVI (1953), 303-41.

582 Panofsky, E., Idea, a concept in art theory, English translation, New York, 1968. (See Section 6: 'Classicism'; quotation, 107)


*Friedlander, W., Caravaggio studies, Princeton, 1955.

Moir, A., The Italian followers of Caravaggio, Harvard, 1967.

Nicolson, B., 'Caravaggio and the caravaggesques: some recent research', BM, CXVI (1974), 586-93.

583 Argan, G. C., 'Caravaggio e Raffaello', in Caravaggio e i Caravaggeschi (Quaderno 205 of the Accademia nazionale dei lincei), Rome, 1974, 19-28.

584 Graeve, M. A., 'The stone of unction in Caravaggio's painting for the Chiesa Nuova', AB, XL (1958), 223-38. (Includes prototypes)

585 Lavin, I., 'Divine inspiration in Caravaggio's two St. Matthews', AB, LVI (1974), 59-81.

586 Rottgen, H., 'Caravaggio-Probleme', Munchner Jahr-buch, XX (1969), 143-70. (155ff. for Caravaggio and the High Renaissance)

587 *Wittkower, R., Art and architecture in Italy 1600-1750,

2nd edn, Harmondsworth, 1965. (Quotation, 21)

Carlo Maratta

Mezzetti, A., 'Contribute a Carlo Maratti', Rivista dell'istituto d'archeologia e storia dell'arte, Rome, IV (1955), 253-354.

9 Art in Seventeenth-Century France

*Blunt, A., Art and architecture in France, 1500-1700, Rev. edn, Harmondsworth, 1973.

Brody, J. (ed.), French classicism. A critical miscellany, Englewood Cliffs, New Jersey, 1966. (Extracts on seventeenth to twentieth centuries, with commentaries)

Hautecoeur, L., Litterature etpeinture en France du XVIIe au XXe siecle, 2nd edn, Paris, 1963.

Peyre, H., Le classicisme francais, New York, 1942.

Peyre, H., Qu'est-ce que le classicisme? rev. edn, Paris, 1965. (Chapter on the visual arts in seventeenth century, and a large bibliography)

Rocheblave, S., L'age classique de I'art francais, Paris, 1932. (Survey of period from Henry IV to Napoleon)


Crelly, W. R., The painting of Simon Vouet, New Haven and London, 1962.

588 Dargent, G., and Thuillier, J., 'Vouet en Italic', Saggi e memorie, IV (1965), 27-63.

589 Goldstein, C., 'Forms and formulas: attitudes towards Caravaggio in seventeenth-century France', AQ, XXXIV (1971), 345-55.

Philippe de Champaigne

590 Dorival, B., Philippe de Champaigne et Port-Royal (catalogue of exhibition at the Musee National des Granges de Port-Royal), Paris, 1957.


Blunt, A., Nicolas Poussin, 3 vols, London, 1966/7. (Exhaustive bibliography)

Bray, R., La formation de la doctrine classique en France, Paris, 1961.

Fontaine, A., Les doctrines d'art en France. Peintres, amateurs, critiques de Poussin a Diderot, Paris, 1909.

*Friedlander, W., Nicolas Poussin: a new approach, London, 1966.

Poussin, N., Correspondance, ed. C. Jouanny, in Archives
k, K., Landscape into art, London, 1949

Schnapper, A., 'La question Poussin', IHA, VI (1961), 82-90. (Etat de la question)

Thuillier, J., 'L'annee Poussin', Art de France, I (1961), 336-48. (I.e. the year of the Paris Exhibition of his work)

591 Adelson, C., 'Nicolas Poussin et les tableaux du Studiolo d'Isabelle d'Este', Revue du Louvre et des musees de France, XXV (1975), 237-41. (For his work for Richelieu)

592 Barnwell, H. T., 'Some notes on Poussin, Corneille and Racine', Australian Journal of French Studies, IV (1967), 149-61.

593 Blunt, A., 'The heroic and the ideal landscape in the work of Poussin', JWCI, VII (1944), 154-68.

594 Brejon de Lavergnee, A., 'Tableaux de Poussin et d'autres artistes francais dans la collection Dal Pozzo: deux inventaires inedits', RA, XIX (1973), 79-96.

595 Chastel, A. (ed.), Actes du colloque Poussin, 2 vols, Paris, 1960. (Some important work, including a section, 265j[f., on Poussin's fame)

596 Costello, J., 'Poussin's drawings for Marino and the new classicism', JWCI, XVIII (1955), 296-317.

597 Dempsey, C., 'The classical perception of nature in Poussin's earlier works', JWCI, XXIX (1966), 219-49. (1626-38)

598 Dempsey, C., 'Poussin and Egypt', AB, XLV (1963), 109-19. (Poussin's scholarship)

599 Mahon, D., 'Poussin and Venetian painting', BM, LXXXVIII (1946), 15-20, 37^2.

600 Mahon, D., Poussiniana: afterthoughts arising from the exhibition, special number of GBA, also published separately, Paris, 1962.

601 Mahon, D., 'Reflexions sur les paysages de Poussin', Art de France, I (1961), 119-32.

602 Marin, L., 'La lecture du tableau d'apres Poussin', Cahiers de I'association Internationale des etudes francaises, XXIV (1972), 251-66.

603 Vermeule, C., 'Aspects of scientific archaeology in the 17th century. Marble reliefs, Greek vases, manuscripts and minor objects in the Dal Pozzo-Albani drawings of classical antiquity', Proceedings of the American philosophical society, CII (1958), 193-214.

604 Vermeule, C., 'The Dal Pozzo-Albani drawings of classical antiquities in the British Museum', Philadelphia, 1960 (Transactions of the American Philosophical Society, N.S. 50, 5).

605 Vermeule, C., 'The Dal Pozzo-Albani drawings of classical antiquities in the Royal Library at Windsor Castle', Philadelphia, 1966 (Transactions of the American Philosophical Society, N.S. 56). (Cf. severe review by N. Dacos in Revue beige de philologie et d'histoire, XLVII (1969), 502-9)

606 Wildenstein, G., 'Les graveurs de Poussin au XVIIe siecle', GBA, XLVI (1955), 75-371 (also separately published, Paris, 1958). (Corrections by M. Davies and A. Blunt in GBA, LX (1962), 205-22)


Bologna: Palazzo deH'Archiginnasio, L'ideale classico del Seicento in Italia e la pittura di paesaggio, 2nd edn, Bologna, 1962. (With essays by various authors)

*Kitson, M., The art of Claude Lorrain (exhibition, Hayward Gallery, London), London, 1969.

Knab, E., 'Die Anfange des Claude Lorrain', JKHS, LVI (1960), 63-164.

Rothlisberger, M., Claude Lorrain: the paintings, 2 vols, Newhaven, 1961.

607 Howard, D., 'Some 18th century English followers of Claude', BM, CXI (1969), 726-33.

608 Kennedy, I. G., 'Claude and architecture', JWCI, XXXV (1972), 260-83.

609 Kitson, M., 'The Altieri Claudes and Virgil', BM, CII (1960), 312-18.

610 Manwaring, E. H., Italian landscape in 18th century England, New York, 1925.

611 Rothlisberger, M., 'The subjects of Claude's paintings', GBA, LV (1960), 209-24. (Subjects 'the only key to the full understanding of his landscapes')

Gaspard Dughet

Sutton, D., 'Gaspard Dughet: some aspects of his art', GBA, LX (1962), 269-312.

Waddingham, M., 'The Dughet problem', Paravane, XIV (1963), 37-54.

Waterhouse, E., Baroque painting in Rome. The seventeenth century, London, 1937. (61-3 for Dughet)

The rise of Paris as the artistic capital of Europe

Haskell, F., Patrons and painters. A study of the relations between Italian art and society in the age of the Baroque, London, 1963. (146j[f. on decline of Rome)

Lebrun and academic classicism in France

Fontaine, A., Academiciens d'autrefois, Paris, 1914.

Fontaine, A., Les collections de I'Academie Royale de Peinture et de Sculpture, Paris, 1910.

*Goldstein, C., 'Studies in 17th century French art theory and ceiling painting', AB, XLVII (1965), 231-56. (Italian origins of French theory)

Keller, U., Reitermonumente absolutischer Fiirsten. Staatstheoretische Voraussetzungen und politische Funk-tionen, Munich and Zurich, 1971. (47jff. for Girardon's Louis XIV)

Lille: Palais des Beaux-Arts, Au temps du Roi Soleil. Les peintres de Louis XIV (1660-1715) (exhibition), Lille, 1968.

Picard, R., 'Le Brun-Corneille et Mignard-Racine', Revue des sciences humaines, CVI (1962), 175-82.

Picard, R., 'Racine and Chauveau', JWCI, XIV (1951), 259-74. (Problems of classicism in France, and its extent)

Turner, N., 'An attack on the Accademia di S. Luca: Ludovico David's L'Amore dell'Arte', in The Classical Tradition (British Museum Yearbook, No. 1), London, 1976, 157-86. (David, in 'one of the earliest critical investigations of the institutionalisation of art education', blames the classical tradition for the state of contemporary art)

Versailles: Chateau, Charles Le Brun, 1619-1690. Peintre et dessinateur (exhibition), Paris, 1963.

Wildenstein, D., 'Les oeuvres de Le Brun d'apres les gravures de son temps', GBA, LXVI (1965), 1-58. (With 303 illustrations)

612 Auzas, P.-M., 'I/influence du Guide sur la peinture francaise au XVIIe siecle', Actes du XIXe congres international d'histoire de I'art, Paris, 1959, 356-67.

613 *Blunt, A., 'The early work of Le Brun', EM, LXXXV

(1944), 165-73, 186-94.

614 Blunt, A., 'Jacques Stella, the de Masso family and falsifications of Poussin', BM, CXVI (1974), 745-51.

615 Montagu, J., 'Charles Le Brun's use of a figure from Raphael', GBA, LI (1958), 91-6.

616 Montagu, J., 'The early ceiling decorations of Charles Le Brun', BM, CV (1963), 395-408.

617 Posner, D., 'Charles Le Brun's Triumphs of Alexander' , AB, XLI (1959), 237^18. (As a 'didactic example of the Academic style')

618 Thuillier, J., 'Academisme et classicisme en France: les debuts de I'Academie Royale de Peinture et de Sculpture', in S. Bottari (ed.), II mito del classicismo nel seicento, Florence, 1964, 181-209.

619 Thuillier, J., 'Le Brun et Rubens', Bulletin des musees royaux des beaux-arts de Belgique, XVI (1967), 247-68.

The Quarrel of the Ancients and the Moderns

Baron, H., 'The quarrel of the ancients and moderns as a problem in Renaissance scholarship', 3-22.

620 Becq, A., 'Rhetorique et litterature d'art en France a la fin du XVIIe siecle : le concept de couleur', Cahiers de V association international des etudes francaises, XXIV (1972), 215-32. (Colour is to painting what rhetoric is to speech)

621 Goldstein, C., 'Observations on the role of Rome in the formation of the French Rococo', AQ, XXXIII (1970), 227^5. (With remarks on Rome's decline; useful references)

622 Schnapper, A., Tableaux pour le Trianon de Marbre 1688-1714, Paris and The Hague, 1967. (Stylistic changes in the course of 160 orders for paintings)

623 Seznec, J. (presiding), Section on 'La litterature et les arts au XVIIe siecle', in Cahiers de I'association in-ternationale des etudes francaises, XXIV (1972), 187jff. (Including 'colour' in literature and art at the end of the seventeenth century)

624 Teyssedre, B., L'histoire de I'art vue du Grand Siecle: recherches sur L'Abrege de la vie des peintres par Roger de Piles (1699) et ses sources, Paris, 1964.

625 Teyssedre, R., Roger de Piles et les debats sur le colons au siecle de Louis XIV, Paris, 1965.

10 Architecture in France: Renaissance to Neoclassicism

The sixteenth century and Italy

*Blunt, A., Art and architecture in France, 1500-1700, 2nd edn, Harmondsworth, 1970.

Hautecoeur, L., Histoire de I'architecture classique en France, 8 vols, Paris, 1943-7. (Fundamental)

Polidori, M. L., Monumenti e mecenati francesi in Roma (1492-1527), Viterbo, 1969.

626 Chatelet-Lange, L., 'Le "Museo de Vanves" (1560). Collections de sculptures et musees au XVIe siecle en France', Zf.KG, XXXVIII (1975), 266-85.

627 Comito, T., 'Renaissance gardens and the discovery of paradise', JHI, XXXII (1971), 483-506. (With section on Charles VIII's reactions to Italy)

628 Favier, S., 'Les collections de marbres antiques sous Francois ler', Revue du Louvre et des musees de France, XXIV (1974), 153-6.

629 Guillaume, J., 'Leonard de Vinci et 1'architecture francaise. 1. Le probleme de Chambord. 2. La villa de Charles d'Amboise et le Chateau de Romorontin. Reflexions sur un livre de Carlo Pedretti', RA, XXV (1974), 81-4, 85-91. (Pedretti's book is entitled Leonardo da Vinci: The royal palace at Romorontin, Cambridge, Mass., 1972)

630 Kelley, D. R., Foundations of modern historical scholarship. Language, law and history in the French Renaissance, New York and London, 1970.

631 Monnier, G., and McAllister-Johnson, W., 'Caron anti-quaire. A propos de quelques dessins du Louvre', RA, XIV (1971), 23-30.

632 Yates, F. A., The French academies of the sixteenth century, London, 1947.

Philibert de 1'Orme

633 *Blunt, A., Philibert de I'Orme, London, 1958. (11-13 for


634 Chatelet-Lange, L., 'Philibert de I'Orme a Montceaux-en-Brie: le Pavilion de la Grotte', Architectura, III (1973), 153-70. (Currency in France of Bramante's Howse of Raphael type; and of the Giant Order, as at Montceaux)

635 Hoffmann, V., 'Philibert de I'Orme und das Schloss Anet', Architectura, III (1973), 131-52. (Sources in Antiquity and High Renaissance)

Salomon de Brosse

Coope, R., Salomon de Brosse and the development of the classical style in French architecture from 1565 to 1630, London, 1972. (With valuable survey and references)

Francois Mansart

Blunt, A., Francois Mansart and the origins of French classical architecture, London, 1947.

Braham, A., and Smith, P., Francois Mansart, 2 vols, London, 1973. (Introduction plus superbly illustrated catalogue raisonne)

*Braham, A., and Smith, P., Francois Mansart 1598-1666, an exhibition of drawings and photographs, Hayward Gallery, London, 1971. (In effect a resume of the above)

Hautecoeur, L., L'histoire du Louvre, Paris, 1928.

636 Herrmann, W., The theory of Claude Perrault, London, 1973. (115jff. for the Louvre peristyle; 70ff. for Vitruvius)

Eighteenth-century Neoclassicism

Kaufmann, E., Architecture in the age of reason. Baroque and post-baroque in England, Italy and France, Cambridge, Mass., 1955.

637 *Kalnein, Graf W., and Levey, M., Art and architecture of

the 18th century in France, Harmondsworth, 1972. (Quotation, 335-6)

638 Nyberg, D., 'La sainte antiquite. Focus on an 18th century architectural debate', in D. Fraser et al. (eds.), Essays in the history of architecture presented to R. Wittkower, London, 1967, 159-69.

Primitivism in architecture

Kaufmann, E., 'Three revolutionary architects: Boullee, Ledoux and Lequeu', Transactions of the American Philosophical Society, 42, Philadelphia, 1952.

McCarthy, M., 'Documents on the Greek Revival in architecture', BM, CXIV (1972), 760-9.

Perouse de Montclos, J., Etienne-Louis Boullee, Paris, 1969.

Rome, Villa Medici, Piranese et les Francais 1740-90, exhibition May-November 1976, also shown at Dijon and Paris. (Large bibliography)

Rosenau, H., 'The engravings of the Grands Prix of the French Academy of Architecture', Architectural History, III (1960).

Wiebenson, D., Sources of Greek Revival architecture, London, 1969.

639 Harris, J., 'Le Geay, Piranesi and international neoclass-icism in Rome, 1740-50', in D. Fraser et al. (eds.), Essays in the history of architecture presented to R. Wittkower, London, 1967, 189-96.

640 Herrmann, W., Laugier and 18th century French theory, London, 1962.

641 Lang, S., 'The early publication of the temples at Paestum', JWCI, XIII (1950), 48-64.

642 Middleton, R. D., 'The Abbe de Cordemoy and the graeco-gothic ideal: a prelude to romantic classicism', JWCI, XXV (1962), 278-320; XXVI (1963), 90-123.

643 Petzet, M., Soufflots Sainte-Genevieve und der franzos-ische Kirchenbau des 18. Jahrhunderts, Berlin, 1961.

644 Pevsner, N., and Lang, S., 'Apollo or Baboon?', Architectural review, CIV (1948), 271-9.

645 *Pevsner, N., and Lang, S., 'The Doric revival', in

Pevsner's Studies in art, architecture and design, London, 1968, I, 197-211.

646 Rykwert, J., On Adam's house in paradise. The idea of the primitive hut in architectural theory, New York, 1972.

647 Wittkower, R., 'Piranesi's Parere su I'architettura', JWCI, I (1938/9), 147-58.

11 Neoclassicism in Painting and Sculpture

Dobai, J., Die Kunstliteratur des Klassizismus und der Romantik in England, 2 vols, Bern, 1974 and 1975. (Encyclopaedic; Vol. 3 will take the work to 1850)

Gerlach, P., Antikenstudium im Zeichnungen klassizisti-scher Bildhauer, Munich, 1973.

* Honour, H., Neoclassicism, Harmondsworth, 1968.

Pariset, F. G., L'art neoclassique, Paris, 1974. (Covers Central Europe, Russia and U.S.A.; short bibliography by country)

Zeitler, R., Klassizismus und Utopia, Uppsala, 1954. (Chapters on individual artists)

647a London: Royal Academy, etc., The age of neoclassicism, 14th exhibition of the Council of Europe, London, 1972. (A mine of information. Quotation, xxxiv)

The Grand Tour

Hautecoeur, L., Rome et la renaissance de I'antiquite a la fin du XVIIle siecle, Paris, 1912.

Lewis, L. Connoisseurs and secret agents in 18th century Rome, London, 1961. (With much on Albani)

Michaelis, A., Ancient marbles in Great Britain, Cambridge, 1882. (Still the best account of collecting)

Rome: Museo di Roma, II settecento a Roma, exhibition, Rome, 1959.

Schudt, L., Italienreisen im 17. und 18. Jahrhundert, Vienna and Munich, 1959.

648 Bainbridge, T., 'English ideas about Greek and Roman art and their place in contemporary critical theory, 1740-1790', unpublished Ph.D. thesis, Cambridge University, 1973. (With chapter on travelling in Italy and Greece)

649 Breeder, F. den (cataloguer), The academy of Europe: Rome in the 18th century, exhibition at the William Benton Museum of Art, University of Connecticut, 1973.

650 Crook, J. M., The Greek Revival, London, 1972. (Part I: 'The rediscovery of Greece')

651 Saxl, F., and Wittkower, R., British art and the Mediterranean, London, 1948. (Picture book to be supplemented by J. Marie's large Arts Council pamphlet, Neo-classical England, London, 1972)

652 Waterhouse, E. K., 'Painting in Rome in the 18th century', Museum Studies, VI (1971), 6-21. ('the seminal center of artistic ideas in Italy in the 18th century . . . remained Rome')

Scholarship and Neoclassicism

653 Hausmann, V. (ed.), Allgemeine Grundlagen der Archdo-logie, Munich, 1969. (11-22 for the period to Winckel-mann)

654 Howard, S., 'An antiquarian handlist and the beginnings of the Pio Clementine', Eighteenth century studies, VII (1973), 40-61. (Well-referenced account of anti-quarianism)

655 Leppmann, W., Pompeii in fact and fiction, English translation, London, 1968.

656 Michels, A. K. (cataloguer), Pompeiana. Exhibition of Pompeian art and its influence in the 18th and early 19th centuries . . ., Smith College Museum, Northampton, Mass., 1948.

657 Pietrangeli, C., 'Archaeological excavations in Italy, 1750-1850', in The age of neoclassicism (cited above no. 647a), xlvi-lii.

658 Pietrangeli, C., Scavi e scoperte di antichitd sotto il pontificate di Pio VI, 2nd edn, Rome, 1958.

659 Praz, M., 'Herculaneum and European taste', Magazine of art, XXXII (1939), 684-93, 727.

660 Schneider, R., Quatremere de Quincy et son intervention dans les arts, Paris, 1910. (370ff. for Greek polychromy)

661 Seznec, J., 'Herculaneum and Pompeii in French literature of the 18th century', Archaeology, II (1949), 150-8.

662 Seznec, J., 'L'ombre de Tiresias', in his Essais sur Diderot et I'antiquite, Oxford, 1957, 43-57. (Quarrel of the Ancients and Moderns)

Historicism and the quest for the primitive

Gay, P., The Enlightenment: an interpretation. The rise of modern paganism, London, 1967. (With long bibliographical essay; see especially 505-34)

Lovejoy, A. O., Essays in the history of ideas, Baltimore, 1948. (Particularly 'The parallel of deism and classicism', 78-98)

Manuel, F. E., The 18th century confronts the gods, Cambridge, Mass., 1959.

663 Bloch, R., 'Le dix-huitieme siecle et 1'Etrurie', Latomus, XVI (1957), 128-39.

664 Cochrane, E. W., Tradition and enlightenment in the Tuscan academies, 1690-1800, Rome, 1961. (157-205 for antiquities, archaeology and history)

665 Cristea, S. N., 'Ossian v. Homer: an 18th century controversy. Melchior Cesarotti and the struggle for literary freedom', Italian studies, XXIV (1969), 93-111.

666 Hamburg: Kunsthalle, Ossian und die Kunst um 1800, exhibition, Hamburg, 1974. (or, similarly, the Paris 1975 version of the same exhibition)

667 Hatfield, H., Aesthetic paganism in German literature from Winckelmann to the death of Goethe, Cambridge, Mass., 1964. (Wide-ranging)

668 *Okun, H., 'Ossian in painting', JWCI, XXX (1967),


669 Rosenblum, R., Transformations in late 18th century art, Princeton, 1967. (50-106 for the exemplum virtutis)

670 Tieghem, P. van, Ossian en France, 2 vols, Paris, 1907. (In literature)

671 Venturi, L., // Gusto dei Primitivi, Turin, 1972.

672 Wiebenson, D., 'Subjects from Homer's Iliad in neoclassical art', AB, XLVI (1964), 23-37.

Gavin Hamilton: an early heoclassicist

* Irwin, D., English neoclassical art. Studies in inspiration and taste, London, 1966.

*Irwin, D., 'Gavin Hamilton: archaeologist, painter and dealer', AB, XLIV (1962), 87-102.

Locquin, L., 'Le retour a 1'antique dans 1'ecole anglaise et dans 1'ecole francaise avant David', La revue de I'art francais et des industries de luxe, VIII (1922), 473-81. (Statement of Hamilton's importance)

Previtali, G., La fortuna dei primitivi dal Vasari ai neoclassici, Turin, 1964. (218-48 for 18th century)

* Waterhouse, E., 'The British contribution to the neoclassical style in painting', Proceedings of the British Academy, XL (1954), 57-74.

*Wind, E., 'The revolution of history painting', JWCI, II (1938/9), 116-27. (Antique to modern dress)

673 Forster-Hahn, F.7 'After Guercino or after the Greeks? Gavin Hamilton's Hebe: tradition and change in the 1760s', BM, CXVII (1975), 365-71.

674 Forster-Hahn, P., 'The sources of true taste: Benjamin West's Instructions to a Young Painter for his Studies in

Italy', JWCI, XXX (1967), 367-82. (Interest in seventeenth-century classicism)

675 Rosenblum, R., 'Gavin Hamilton's Brutus and its aftermath', BM, CIII (1961), 8-16.

Winckelmann and Mengs: the scholar and the artist

Althaus, H., Laokoon. Stoff und Form, Bern, 1968.

Gerstenberg, K., J. J. Winckelmann und A. R. Mengs, Berlin, 1929.

Justi, C., Winckelmann und seine Zeitgenossen, 4th edn, introduction by L. Curtius, Leipzig, 1943. (A biography of the whole period)

Klenze, C. von, The interpretation of Italy during the past two centuries: a contribution to the study of Goethe's Italienische Reise, Chicago, 1907.

Leppmann, W., Winckelmann, London, 1971. (Only biography in English)

Trevelyan, H., Goethe and the Greeks, Cambridge, 1941. (Influence of Winckelmann)

Trevelyan, H., The popular background to Goethe's hellenism, London, 1934.

676 Cook, R. M., Greek painted pottery, London, 1960. (288-330: 'The history of the study of vase-painting')

677 Ebhardt, M., Die Deutung der Werke Raffaels in der deutschen Kunstliteratur von Klassizismus und Romantik, Baden-Baden, 1972.

678 Griefenhagen, A., Griechische Vasen auf Bildnissen der Zeit Winckelmanns und des Klassizismus, Gottingen, 1939.

679 * Hatfield, H., Winckelmann and his German critics, New

York, 1943. (6-20 for his ideas on Greek art)

680 Hornisch, D., Anton Rafael Mengs und die Bildform des Fruhklassizismus, Recklinghausen, 1965.

681 Irwin, D. (ed.), Winckelmann: writings on art, London, 1972. (53-7 for Winckelmann as the 'father of art history')

682 Lee, R. W., Review of Mahon's Studies in Seicento art and theory, AB, XXXIII (1951), 204-12. (208jff. for Winckelmann's views on Seicento eclecticism)

683 Nivelle, A., 'Winckelmann et le baroque', Revue beige de philologie et d'histoire, XXXVI (1958), 854-60.

684 Pelzel, T., 'Winckelmann, Mengs and Casanova: a reappraisal of a famous 18th century forgery', AB, LII (1972), 301-31.

Neoclassicism in France: the revival of the Academy

Badolle, M., L'abbe Barthelemy (1716-1795) et I'hellenisme en France dans la deuxieme moitie du 18e siecle, Paris, 1926.

685 Bardon, H., 'Les peintures a sujets antiques au XVIIIe siecle d'apres les livrets des Salons', GBA, LXI (1963), 217-50.

686 Caylus, Comte A.-M. de, Tableaux tires de Vlliade, de I'Odyssee d'Homere et de I'Eneide de Virgile . . ., Paris, 1757.

687 Engerand, F., Inventaire des tableaux commandes et achetes par la Direction des Batiments du Roi (1709-1792), Paris, 1900.

688 Furcy-Raynaud, M., 'Inventaire des sculptures exec-utees au 18e siecle pour la Direction des Batiments du Roi', Archives de I'art francais, XIV (1927), passim.

689 Gaehtgens, T. W., 'Diderot und Vien. Bin Beitrag zu Diderot's klassizistischer Asthetik', Zf.KG, XXXVI (1973), 51-82.

690 Gaehtgens, T. W., 'J. M. Vien et les peintures de la legende de sainte Marthe', RA, XXIII (1974), 64-9. (Hailed as 'une oeuvre maitresse')

691 Lapauze, H., Histoire de I'Academic de France a Rome, 2 vols, Paris, 1924. (I, 348-81, for Vien's directorship; quotation, II, 156-7)

692 Locquin, J., La peinture d'histoire en France de 1747 a 1785, Paris, 1912. (144, note I, for instances of interest in the grand siecle)

693 Miintz, E., 'L'art francais du XVIIIe siecle et 1'enseignement academique', RAAM (1897), 31^18.

694 Saint Yenne, La F. de, Reflexions sur quelques causes de I'etat present de la peinture en France, The Hague, 1747. (Quotation, 8)

695 Saint Yenne, La F. de, Sentiments sur quelques ouvrages de peinture, sculpture et gravure ecrits a un particulier en Province, Paris, 1754. (Quotation, 51)

696 Scott, B., Ten articles on 18th century French patrons and collectors, including Marigny and Angivillier, Apollo, XCVII (1973), 11-91.

Diderot and Greuze: the classicism of everyday life

Bertrand, L., La fin du classicisme et le retour a 1'antique, Paris, 1896. (Ch. Ill for Diderot and antique literature)

*Brookner, A., Greuze. The rise and fall of an 18th century phenomenon, London, 1972.

Munhall, E., 'Greuze and the Protestant spirit', AQ, XXVII (1964), 2-23. (Morality in Greuze and Diderot)

Seznec, J., 'Diderot et 1'affaire Greuze', GBA, LXVII (1966), 339-56.

Seznec, J., 'Le "musee" de Diderot', GBA, LV (1960), 343-56. (On his artistic education)

Weinshenker, A. B., Falconet: his writings and his friend Diderot, Geneva, 1966.

697 Dilckmann, H., and Seznec, J., 'The horse of Marcus Aurelius. A controversy between Diderot and Falconet', JWCI, XV (1952), 198-228.

698 Dowley, F. H., 'Falconet's attitude towards antiquity and his theory of reliefs', AQ, XXXI (1968), 185-204. (With review of opinions from Perrault onward)

699 Laugier, L'Abbe, Maniere de bien juger des ouvrages de peinture, Paris, 1771. (Quotation, 84)

700 Leith, J. A., The idea of art as propaganda in France, 1750-1799, Toronto, 1965.

701 Sauerlander, W., 'Pathosfiguren im Oeuvre des J-B Greuze', in G. Kauffmann and W. Sauerlander (eds.), Walter Friedldnder zum 90 Geburtstag, Berlin, 1965, 146-50.

702 Seznec, J., 'Diderot and historical painting', in E. R. Wassermann (ed.), Aspects of the 18th century, Baltimore and London, 1965, 129-42. (Quotation, 140)

703 Seznec, J., and Adhemar, J., Diderot: Salons, 4 vols, Oxford, 1957-67. (Quotation, II, 206-7)

704 Verdi, R., 'Poussin's Eudamidas: 18th century criticism and copies', BM, CXIII (1971), 513-24.

705 Wildenstein, G., 'Catalogue des graveurs de Poussin, par Andreson', abridged, with reproductions, in GBA, LX (1962), 139-202.

David: from Roman to Greek

Cantinelli, R., J.-L. David 1748-1825, Paris and Brussels, 1930. (Good plates) /

Caso, J. de, 'David and the style all'antiea', BM, CXFV (1972), 686-90. V___

Coche de la Ferte, E., and Guey, J., Analyse archeolog-ique et psychologique d'un tableau de David: Les amours de Paris et d'Helene', Revue archeologique, XL (1952), 129-61.

David, J.-L.-J., Le peintre J.-L. David, 1748-1825, souvenirs et documents inedits, Paris, 1880.

Delecluze, E. J., Louis David, son ecole et son temps, Paris, 1855.

Hautecoeur, L., Louis David, Paris, 1954. (Best modern account)

Levey, M., 'Reason and passion in J.-L. David', Apollo, LXXX( 1964), 206-11.

Pollak, B., 'De invloed can enige Monumenten der Oudheid op het Classicisme van David, Ingres en Delacroix', Nederlands Kunsthistorisch Jaarboek, II (1948/9), 287-315.

Sloane, J. C., 'David, Robespierre and the Death of Bora', GBA, LXXIV (1969), 143-60.

Verbraeken, R., J.-L. David juge par ses contemporains et par laposterite, Paris, 1973. (Interesting but unreliable)

Wildenstein, D., and G., Documents complementaires au catalogue de I'oeuvre de Louis David, Paris, 1973. (Chronological, as is exhaustive bibliography)

706 Boyer, F., 'Le Directoire et la creation des musees des Departements', BSHAF (1972), 325-30.

707 Boyer, F., 'Six statues de legislateurs antiques pour le palais Bourbon sous le Directoire', BSHAF (1958), 91-4.

708 Brookner, A., 'J.-L. David, A sentimental classicist', Akten 1964, I, 184-90. (Stresses Seicento sources)

709 Calvert, A., 'Unpublished drawings for The Oath of the Horatii by David', Master drawings, VI (1968), 37^12.

710 Coggins, C., 'Tracings in the work of J.-L. David', GBA, LXXII (1968), 259-64.

711 Crocker, L. G., 'The discussion of suicide in the 18th century', JHI, XIII (1952), 47-72.

712 David, J.-L.-J., Notice sur le Marat, Paris, 1867, 36.

713 Dowd, D. L., 'Art and theatre during the French Revolution', AQ, XXIII (1960), 3-22.

714 Dowd, D. L., '"Jacobinism" and the fine arts: the revolutionary careers of Bouqier, Sergent and David', AQ, XVI (1953), 195-214.

715 Dowd, D. L., Pageant-master of the Republic: J.-L. David and the French Revolution, Lincoln, Nebraska, 1948.

716 *Ettlinger, L., 'J.-L. David and Roman virtue', Journal of

the Royal Society of Arts, CXV (1967), 105-23. (Clears up basic misunderstandings about politics and art in David)

717 Griefenhagen, A., 'Nachlange griechischer Vasenfunde im Klassizismus (1790-1840)', Jahrbuch Berliner Museen, V (1963), 84-105.

718 Hazlehurst, F. H., 'The artistic evolution of David's Oath', AB, XLII (1960), 59-63.

719 Herbert, R. L., David, Voltaire, Brutus and the French Revolution: an essay in art and politics, London, 1972. (Critique by C. Sells in BM, CXVII (1975), 811-13)

720 Hinman, H. E., 'David and Madame Tussaud', GBA, XLVI (1965), 231-8.

721 Kagan, A. A., 'A classical source for David's Oath of the Tennis Court', BM, CXVI (1974), 395-6. (Exemplum virtutis from Plutarch)

722 Kemp. M., 'J.-L. David and the prelude to a moral victory for Sparta', AB, LI (1969), 178-83. (Leonidas and David's 'Greek' style)

723 Kemp, M., 'Some reflections on watery metaphors in Winckelmann, David and Ingres', BM, CX (1968), 266-70. (Quotation, 269)

724 Lankheit, K., J.-L. David: Marat, Stuttgart, 1962.

725 Parker, H. T., The cult of antiquity and the French Revolution, Chicago, 1937.

726 Renouvier, J., Histoire de I'art pendant la Revolution consideree principalement dans les estampes, 2 vols, Paris, 1863. (Quotation, 18; I, 1^14, for institutions of the period)

727 Rockwood, R. O., 'The legend of Voltaire and the cult of the Revolution, 1791', in Herr (ed.), Ideas in history. Essays presented to Louis Gottschalk, Durham, N. Carolina, 1965, 110-34.

728 Rosenblum, R., 'David's Funeral of Patroclus', BM, CXV (1973), 567-76.

729 Rosenblum, R., 'The origin of painting: a problem in the iconography of romantic classicism', AB, XXXIX (1957), 279-90.

730 Rosenblum, R., 'A source for David's Horatii', BM, CXII (1970), 269-73.

731 Salmon, A., 'Le Socrate de David et le Phedon de Platon', Revue beige dephilologie et d'histoire, XL (1962), 90-111.

732 Schnapper, A., 'Les academies peintes et le Christ en croix de David', Revue du Louvre et des musees de France, XXIV (1974), 381-92. (On his early work)

733 Symmons, S., 'French copies after Flaxman's Outlines', BM, CXV (1973), 591-9.

734 Vallery-Radot, J., 'Autour du portrait de Lepeletier de Saint-Fargeau sur son lit de mort, par David', AAF, XXII (1950-7), 354-61.

735 Whiteley, J. J. L., 'Light and shade in French neoclass-icism', BM, CXVII (1975), 768-73. (On Chiaroscuro)

736 Wind, E., 'A lost article on David by Reynolds', JWCI, VI (1943), 223-4.

737 Wind, E., 'The sources of David's Horaces', JWCI, IV (1940/1), 124-38.

Neoclassical sculpture: Canova

Hubert, G., La sculpture dans I'ltalie napoleonienne, Paris, 1964.

Hubert, G., 'La sculpture neoclassique et I'ltalie napoleonienne', IHA, X (1965), 108-19. (Condensation of the above)

Hubert, G., Les sculpteurs italiens en France sous la Revolution, VEmpire et la Restauration, 1790-1830, Paris, 1964.

738 Honour, H., 'Antonio Canova and the Anglo Romans: I: The first visit to Rome. II: The first years in Rome', The Connoisseur, CXLIII (1959), 241-5; CXLIV (1960), 225-31.

739 *Honour, H., 'Canova and David', Apollo, XCVI (1972), 312-17.

740 *Honour, H., 'Canova's statues of Venus', BM, CXIV (1972), 658-70.

741 Howard, S., 'Bartolommeo Cavaceppi and the origins of neoclassic sculpture', AQ, XXXIII (1970), 120-33.

742 Howard, S., 'Boy on a dolphin: Nollekins and Cavaceppi', AB, XLVI (1964), 177-^89.

743 Howard, S., 'Sculptures of Bartolommeo Cavaceppi and origins of neoclassicism: a Ceres series and sundries', in Actes du XXIIe congres international d'histoire de I'art, Budapest 1969, II, Budapest, 1972, 227-32.

744 Praz, M., On neoclassicism, English translation, London, 1969. (With section on Canova; quotation 142-3)

745 Rouches, G., 'Les rapports de Canova avec la France', BSHAF (1922), 63-74.

746 St. Clair, W., Lord Elgin and the marbles, London, 1967.

747 Schneider, R., 'L'art de Canova et la France imperiale', Revue des etudes napoleoniennes (1912), 36-57.

748 Schneider, R., L'esthetique classique chez Quatremere de Quincy, Paris, 1910.

749 Smith, A. H., 'Lord Elgin and his collection', Journal of Hellenic studies, XXXVI (1916), 163-372. (Basic account)

750 Watson, F. J. B., 'Canova and the English', Architectural review, CXXII (1960), 403-6.

751 Whinney, M., 'Flaxman and the 18th century', JWCI, XIX (1956), 269-82. (Classical sources; studies)

752 Will, F., 'Two critics of the Elgin Marbles: Hazlitt and Quatremere de Quincy', Journal of aesthetics and art criticism, XIV (1956), 462-74.

Painting in Napoleonic and Restoration France: classicism and modernity

Caubisens-Lasfargues, C., 'Peinture et preromantisme pendant la Revolution francaise', GBA, LVIII (1961) 367-76.

Caubisens-Lasfargues, C., 'Le salon de peinture pendant la Revolution', Annales historiques de la Revolution francaise, XXXIII (1961), 191-214.

Eitner, L., 'Gericault's Dying Paris and the meaning of his romantic classicism', Master drawings, I (1963), 21-34.

Pelles, G., Art, artists and society. Origins of a modern dilemma. Painting in England and France 1750-1850, New Jersey, 1963. (A 'social psychology of art') Webb, T. et al., 'Romantic Classicism', the summer 1976 issue of Studies in Romanticism (with articles on Mengs's English critics, Baudelaire and classical allusion).

753 Adhemar, J., 'L'enseignement academique en 1820. Girodet et son atelier', BSHAF (1933), 270-83.

754 Biver, M.-L., Le Paris de Napoleon, Paris, 1963.

755 Boyer, F., Le monde des beaux-arts en Italic et la France de la Revolution et de VEmpire, Turin, 1970.

756 Chatelain, J., D. V. Denon et le Louvre de Napoleon, Paris, 1973. (With his speech on the spoils from abroad)

757 *Friedlander, W., David to Delacroix, Cambridge, Mass., 1952.

758 Gerard, H., Correspondance de Francois Gerard, Paris, 1867. (Quotation, 59)

759 Gould, C., Trophy of conquest. The Musee Napoleon and the creation of the Louvre, London, 1965.

760 Guercio, A. del, 'Gericault e Caravaggio', Paragone, CXCI (1966), 70-6.

761 Herbert, R., 'Baron Gros' Napoleon and Voltaire's Henri IV, in F. Haskell et al. (eds.), The artist and the writer in France. Essays in honour of J. Seznec, Oxford, 1974, 52-71. (Gros's emphasis on the heroic forebear)

762 Jal, A., Esquisses, croquis ou tout ce qu'on voudra sur le Salon de 1827, Paris, 1828.

763 Lacambre, G., and J., 'La politique d'acquisition sous la Restauration: les tableaux d'histoire', BSHAF(1972), 331^44.

764 Lebel, R., 'Gericault, ses ambitions monumentales et 1'inspiration italienne', L'Arte, LIX (1960), 327-42.

765 Lelievre, P., Vivant Denon. Directeur des beaux-arts de Napoleon, Paris, 1942. (IV: 'Mecanisme des commandes imperiales')

766 Lelievre, P., 'Gros, peintre d'histoire', GBA, IX (1936), 289-304.

767 Lelievre, P., 'Napoleon sur le champ de bataille d'Eylau par A-J Gros. Precisions sur les conditions de la commande', BSHAF (1955), 51-5. (Realism demanded)

768 * Levey, M., 'A hero to his painters', in his Painting at

court, London, 1971, 153-80. (Napoleon)

769 McCoubrey, J., 'Gros' Battle of Eylau and Roman imperial art', AB, XLIII (1961), 135-9.

770 Madelin, L., La Rome de Napoleon, Paris, 1906. (Especially 148jff.; 'tour' of the City, 527-51)

771 Montargis: Museum, Girodet 1767-1824, exhibition, Montargis, 1967.

772 Paris: Grand palais, De David a Delacroix. La peinture francaise de 1774 a 1830, exhibition, Paris, 1974/5. (Introductory essays, bibliographies for each painting and general one at end; now the prime reading for the Neoclassical period)

773 Rocheblave, S., L'age classique de Van francais, Paris, 1932. (Quotation, 195)

774 Rubin, J. H., 'Oedipus, Antigone and exiles in post-Revolutionary French painting', AQ, XXXVI (1973), 141-71. (28 paintings on the theme, 1780-1817)

775 Schlenoff, N., 'Baron Gros and Napoleon's Egyptian campaign', in W. Cahn et al. (eds.), Essays in honour of W. Friedldnder, New York, 1965, 152-64. (For direction of Gros's art by Denon)

776 Schneider, R., 'L'art anacreontique et alexandrin sous 1'Empire', Revue des etudes napoleoniennes, IX (1916), 257-71. (Vogue for prettiness)

777 Spector, J., Delacroix: The Death of Sardanapalus, London, 1974.

778 Trahard, P., Le romantisme defini par Le Globe, Paris, 1924. (Quotation, 46)

12 Ingres and the Subversion of the Classical Tradition

Alazard, J., Ingres et I'lngrisme, Paris, 1950. (School and influence)

Amaury-Duval, E.-E., L'atelier d'Ingres, Paris, 1924.

Berger, K., 'Poussin's style and the 19th century', GBA, XLV (1955), 161-70.

Bertrand, L., La fin du classicisme et le retour a Vantique . . . en France, Paris, 1896. (Literature and art, late eighteenth and early nineteenth centuries)

Courthion, P., Ingres raconte par lui-meme et par ses amis, 2 vols, Geneva, 1947.

Haskell, P., 'The manufacture of the past in 19th century painting', Past and present, LIE (1971), 109-20.

Haskell, F., 'The old masters in 19th century French painting', AQ, XXXIV (1971), 55^85.

Haskell, F., Rediscoveries in art. Some aspects of taste, fashion and collecting in England and France, London, 1976. (Rich and subtle survey from eighteenth century to c. 1880) I

Hazard, P., European thought in the 18th century, English / translation, London, 1954. I

Lapauze, H., Ingres, Sa vie et son oeuvre 1780-1867 ^ d'apres des documents inedits, Paris, 1911.

Montauban: Museum, Ingres et ses maitres de Rocques a David, exhibition, Toulouse and Montauban, 1955. Montauban: Museum, Ingres et son temps, exhibition, 1967.

Paris: Petit palais, Ingres, exhibition, 1967/8. *Rosenblum, R., Ingres, London, 1967.

Ternois, D., 'Baudelaire et I'lngrisme', in U. Finke (ed.), French 19th century painting and literature (symposium), Manchester, 1972, 17-38.

Ternois, D., 'Ingres et I'lngrisme. Etat des travaux et bibliographic', IHA, XII (1967), 206-18.

779 Alazard, J., 'Ce que J. A. D. Ingres doit aux primitifs italiens', GBA, IX (1936), 167-75.

780 Auzas, P.-M., 'Observations iconographiques sur Le Voeu de Louis XIII', in the Colloque Ingres, Montauban, 1969, 1-11.

781 Auzas, P.-M., 'Les peintures de Girodet au Palais de Compiegne', BSHAF (1969), 93-106. (Decorations of 1811, similar in idea to Ingres's Apotheosis of Homer)

782 Barzun, J., Classic, romantic and modern, rev. edn., London, 1962. (Originally called Romanticism and the modern ego; useful survey of attitudes)

783 Blum, I. 'Ingres classicist and antiquarian', Art in America, XXIV (1936), 3-11.

784 *Boime, A., The academy and French painting in the 19th century, London, 1971. (1-21: 'The crystallisation of French official art'; large bibliography)

785 Bourg-en-Bresse: exhibition, Le style troubadour, exhibition at the Musee de 1'Ain, 1971.

786 Brendel, O. J., 'The classical style in modern art', in W. J, Gates (ed.), From Sophocles to Picasso: the present-day vitality of the classical tradition, Bloomington, 1962, 71-118. (Survey)

787 Canat, R., L'Hellenisme des romantiques, 3 vols, Paris, 1951-5.

788 Canat, R., La renaissance de la Grece antique, 1820-50, Paris, 1911. (This and 787 are superb)

789 Cassou, J., 'Ingres et ses contraditions', GBA, VI (1934), 146-64. (Quotation, 149)

790 Cogniet, R. (ed.), Ingres: ecrits sur I'art, Paris, 1947. (Quotation, 54)

791 Georgel, P., 'Les transformations de la peinture vers 1848, 1855, 1863', RA, XXVII (1975), 62-77. (Summary, with profuse references, of opinions on the origins of 'modern' art)

792 Kelley, D., 'Modernite in Baudelaire's art criticism', in F. Haskell et al. (eds.), The artist and the writer in France. Essays in honour of J. Seznec, Oxford, 1974, 138-52.

793 Lamy, M., 'La decouverte des primitifs italiens au XIXe siecle: Seroux d'Agincourt et son influence . . .', RAAM, XXXIX (1921), 169-81; XL (1921), 182-90.

794 Mongan, A., 'Ingres and the antique', JWCI, X (1947), 1-13.

795 Naef, H., 'Ingres et ses muses', L'Oeil, XXV (1957), 48-51,

796 Pach, W., The classical tradition in modern art, London, 1959.

797 Schlenoff, N., 'Ingres and the classical world', Archaeology, XII (1959), 16-25.

798 Schlenoff, N., Ingres: ses sources litteraires, Paris, 1956. (148-177 and 178-200; studies The Apotheosis of Homer as a classical and as a romantic document)

799 Ternois, D., 'Les collections d'Ingres', Art de France, II (1962), 207-21. (Catholicity of taste)

800 Ternois, D., 'Ingres et sa methode', La Revue du Louvre XVII (1967), 195-208.

801 Ternois, D., 'Les sources iconographiques de L'Apotheose d'Homere', Bulletin de la societe archeolog-ique de Tarn-et-Garonne, LXXXIV (1954-5), 26-45.

802 Ternois, M.-J., 'Ingres et Le Voeu de Louis XIII', Bulletin de la societe archeologique de Tarn-et-Garonne, LXXXVI (1958), 23-38. (Commissioning and critical reception)

803 Toussaint, H., Le Bain Turc d'Ingres, exhibition, Louvre, Paris, 1971. (Sources, reception, fame; quotation, 19)

804 * Wakefield, D., 'Stendhal and Delecluze at the Salon of

1824', in F. Haskell et al. (eds.), The artist and the writer in France. Essays in honour of J. Seznec, Oxford, 1974 76-85.

805 Whiteley, J. J. L., 'The revival in painting of themes inspired by Antiquity in mid-nineteenth century France', unpublished D.Phil, thesis, Oxford University, 1972. (With much on Ingres; quotation, 104)