References

Ackerman, James, ‘Marcus Aurelius on the Capitoline Hill’, Renaissance News 10:2 (1957), 69–75).

—— The Architecture of Michelangelo (Chicago 1970)).

Adami da Bolsena, Andrea, Osservazioni per ben regolare il coro de i cantori della Cappella pontificia—Tanto nelle funzioni ordinarie, che stradornarie (Venice 1711).

Adorno, Theodor W., ‘The Essay as Form’, Notes to Literature, tr. Sherry Weber Nicholsen, i (New York 1991 [1958]), 3–23.

Agee, Richard J., ‘Costanzo Festa’s Gradus ad Parnassum’, Early Music History 15 (1996), 1–58.

Alberti, Leon Battista, On Painting and On Sculpture: The Latin Texts of De Pictura and De Statua, ed. Cecil Grayson (London 1972).

Albertini, Francesco, Opusculum de mirabilibus noue et veteris urbis Rome (Rome 1520).

Aldrovandi, Ulisse, Delle Statue Antiche, che per tutta Roma, in diversi luoghi & case si veggono (Rome 1556).

Alighieri, Dante, The Divine Comedy, tr. John D. Sinclair, 2 vols (New York 1939).

Allen, Michael J. B., Synoptic Art: Marsilio Ficino and the History of Platonic Interpretation (Florence 1998).

—— ‘Life as a Dead Platonist’, in Michael J. B. Allen, Valery Rees & Martin Davies (eds.), Marsilio Ficino: His Theology, His Philosophy, His Legacy (Leiden 2002), 159–78.

—— ‘At Variance: Marsilio Ficino, Platonism and Heresy’, in Douglas Hedley & Sarah Hutton (eds.), Platonism at the Origins of Modernity: Studies on Platonism and Early Modern Philosophy (Dordrecht 2008), 31–44.

Amann, Julius, Allegris Miserere und die Aufführungspraxis in der Sixtina nach Reiseberichten und Musikhandschriften (Regensburg 1935).

Annas, Julia, ‘The Sage in Ancient Philosophy’, in F. Alesse et al. (eds.), Anthropine Sophia (Naples 2008), 11–27.

Antoniutti, Arianna, ‘Pio II e sant’Andrea: La regione della devosione’, in Enea Silvio Piccolomini: Arte, Storia e Cultura nell’Europa di Piu II (Rome 2006), 329–44.

d’Azevedo, Warren L., ‘A Structural Approach to Esthetics: Toward a Definition of Art in Anthropology’, American Anthropologist 60 (1958), 702–714.

Badiou, Alain, ‘Logic of the Site’, diacritics 33:3–4 (2003), 141–50.

Baini, Giuseppe, Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, ii (Rome 1828).

Bal, Mieke, Louise Bourgeois’ Spider: The Architecture of Art-Writing (Chicago 2001).

Bambach, Carmen C., Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600 (Cambridge 1999).

Barkan, Leonard, ‘The Beholder’s Tale: Ancient Sculpture, Renaissance Narratives’, Representations 44 (1993), 133–66.

—— Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture (New Haven 1999).

—— Michelangelo: A Life on Paper (Princeton 2011).

Barnes, Bernardine, Michelangelo’s Last Judgment: The Renaissance Response (Berkeley & Los Angeles 1998).

—— Michelangelo in Print: Reproductions as Response in the Sixteenth Century (Farnham 2010).

—— Michelangelo and the Viewer in his Time (London, in press).

Barolsky, Paul, Michelangelo’s Nose: A Myth and its Maker (Philadelphia 1997 [1990]).

Battisti, Eugenio, L’antirinascimento (Milan 1962).

—— Michelangelo: Fortuna di un mito: Cinquecento anni di critica letteraria e artistica, ed. Giuseppa Saccaro del Buffa (Florence 2012).

Beck, James, Antonio Paolucci & Bruni Santi, Michelangelo: The Medici Chapel (London 1994).

Benay, Erine E. & Lisa M. Rafanelli, ‘Touch Me, Touch Me Not: Senses, Faith and Performativity in Early Modernity’, Open Arts Journal 4 (2014–15), 1–7.

Benjamin, Walter, Ursprung des deutschen Trauerspiels (Frankfurt am Main 1963 [1928]).

—— The Origin of German Tragic Drama, tr. John Osborne (London 1990 [1928]).

Bergman, Gösta M., Lightning in the Theatre (Stockholm 1977).

Bergman, Robert B., Roger S. Wieck & Eric Zafran, Splendour of the Popes: Treasures from the Sistine Chapel and the Vatican Museums and Library (Baltimore 1989).

Bergstein, Mary, ‘Art Enlightening the World’, in Maureen C. O’Brien & Mary Bergstein (eds.), Image and Enterprise: The Photographs of Adolphe Braun (London 1999), 121–39.

—— ‘Freud’s Moses of Michelangelo: Vasari, Photography, and Art Historical Practice’, Art Bulletin 88:1 (2006), 158–76.

—— Mirrors of Memory: Freud, Photography and the History of Art (Ithaca, NY 2010).

Blum, Gerd, ‘Vasari on the Jews: Christian Canon, Conversion and the Moses of Michelangelo’, Art Bulletin 95:4 (2013), 557–77.

Blunt, Anthony, Artistic Theory in Italy, 1450–1600 (Oxford 1940).

Bocchi, Francesco, Le Belezze della città di Firenze (Florence 1677 [1591]).

—— The Beauties of the City of Florence: A guidebook of 1591, tr. Thomas Frangenberg & Robert Williams (London 2006).

Boissard, Jean Jacques, Romanae Urbis Topographiae & Antiquitarum, i (Frankfurt 1597).

Borghini, Raffaello, Il Riposo (Florence 1584).

Boursy, Richard, ‘The Mystique of the Sistine Chapel Choir in the Romantic Era’, Journal of Musicology 11:3 (1993), 277–329.

Bradshaw, Murray C., The Falsobordone: A Study in Renaissance and Baroque Music (Stuttgart 1978).

Brandt, Kathleen Weil-Garris, ‘Michelangelo’s Pietà for the Cappella del Re di Francia’, in Il se rendit en Italie: Études offertes à André Chastel (Rome 1987), 77–108.

Braun, Joseph, Der Christliche Altar in seiner geschichtlicher Entwicklung (Munich 1924).

Broniski, Karl, Rätsel Michelangelos: Michelangelo und Dante (Munich 1908).

Brummer, Hans Henrik, The Statue Court in the Vatican Belvedere (Stockholm 1970).

Brunius, Teddy, ‘Michelangelo’s “non-finito”’, in Contributions to the History and Theory of Art (Uppsala 1967), 29–67.

Brydone, Patrick, A Tour through Sicily and Malta (Paris 1780).

Buddensieg, Tilmann, ‘Zum Statuenprogramm im Kapitolsplan Paulus III’, Zeitschrift für Kunstgeschichte 32:3/4 (1969), 177–228.

Bull, Michael, & Les Back (eds.), The Auditory Culture Reader (Oxford 2003).

Burckhardi, Johannis [Johann Burchard], Liber Notarum: Ab anno MCCCCLXXXIII usque ad annum MDVI (Vatican 1906).

Burney, Charles, The Present State of Music in France and Italy (London 1959 [1773]).

Burroughs, Charles, ‘Michelangelo at the Campidoglio: Artistic Identity, Patronage, and Manufacture’, Artibus et Historiae 15:28 (1993), 85–111.

Busiri-Vici, Andrea, Il carnovale romano all’epoca bella (Rome 1896).

Byram-Wigfield, Ben, Miserere Mei, Deus: Gregorio Allegri: A Quest for the Holy Grail? ([London] 2002 [1996]).

Cage, John, ‘Experimental Music’, in Silence (Middletown, CT 1961 [1955]), 7–13.

Cailler, Pierre (ed.), Ingres raconté par lui-même et par ses amis: Pensées et écrits du peintre (Geneva 1947).

Calcagnini, Coelius, ‘Super imitatione commentatio’, in Bernard Weinberg (ed.), Trattati di poetica e retorica del cinquecento, i. (Bari 1972), 205–220.

Cambon, Glauco, Michelangelo’s Poetry. Fury of Form (Princeton 1985).

Careri, Giovanni, ‘Time of History and Time Out of History: The Sistine Chapel as “Theoretical Object”’, Art History 30:3 (2007), 326–48.

—— ‘Performativity in Michelangelo’s Last Judgment’, in Peter Gillgren & Mårten Snickare (eds.), Performativity and Performance in Baroque Rome (Farnham 2012), 201–16.

—— La torpeur des ancêtres: Juifs et chrétiens dans la chapelle Sixtine (Paris 2014).

Carman, Charles H., Leon Battista Alberti and Nicholas Cusanus (Farnham 2014).

Catterson, Lynn, ‘Michelangelo’s Laocoön,’ Artibus et Historiae 26:52 (2005), 29–56.

Cavalcanti, Guido, The Complete Poems, tr. Marc Cirigliani (New York 1992).

Cellini, Benvenuto, The Autobiography of Benvenuto Cellini, tr. John Addington Symonds (New York 1910).

—— La vita di Benvenuto Cellini, ed. Enrico Carrara (Turin 1953).

Cennini, Cennino, The Book of the Art of Cennino Cennini: A Contemporary Practical Treatise on Quattrocento Painting (Charleston, SC 2009).

Certeau, Michel de, The Practice of Everyday Life, tr. Steven Rendell (Berkeley & Los Angeles 1984).

Chapman, Hugh, Michelangelo Drawings: Closer to the Master (London 2005).

Chastel, André, Marcel Ficin et l’Art (Geneva 1954).

Chidester, David, Word and Light: Seeing, Hearing and Religious Experience (Urbana 1992).

Cicero, ‘De Natura Deorum’, De Natura Deorum, Academica, tr. H. Rackham (Loeb Classical Library 268; Cambridge, MA 1967).

—— On Divination, tr. W. A. Falconer (Loeb Classical Library 23; Cambridge, MA 1923).

—— Tusculan Disputations, tr. J. E. King (Loeb Classical Library 141; Cambridge, MA 1927).

Clark, Stephen R. L., ‘Going Naked into the Shrine: Herbert, Plotinus and the Constructive Metaphor’, in Platonism and the Origins of Modernity (Springer 2008), 45–61.

Clements, Robert J., ‘Michelangelo and the Doctrine of Imitation’, Italica 23:2 (1946), 90–9.

—— Michelangelo’s Theory of Art (New York 1961).

Coffin, David R., The Villa in the Life of Renaissance Rome (Princeton 1979).

Cole, Michael, Cellini and the Principles of Sculpture (Cambridge 2002).

Collins, Ardis B., The Secular is Sacred: Platonism and Thomism in Marsilio Ficino’s Platonic Theology (The Hague 1974).

Colonna, Vittoria, Sonnets for Michelangelo, tr. Abgail Brundin (Chicago 2005).

Condivi, Ascanio, Vita di Michelagnolo Buonarroti (Pisa 1823 [1553]).

—— ‘Life of Michelangelo Buonarroti’, in Michelangelo: Life, Letters, and Poetry, tr. George Bull (Oxford 1987 [1553]), 1–73.

Connor, James A., The Last Judgment: Michelangelo and the Death of the Renaissance (New York 2009).

Connor, Steven, Dumbstruck: A Cultural History of Ventriloquism (Oxford 2000).

—— ‘The Help of Your Hands: Reports on Clapping’, in Bull & Back 2003, 67–76.

Corbin, Alain, Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (New York 1998).

Cresswell, Tim, Place: A Short Introduction (Oxford 2004).

Crimp, Donald, ‘Redefining Site Specificity’, in On the Museum’s Ruins (Cambridge 1993), 150–86.

Curran, Brian, The Egyptian Renaissance: The Afterlife of Ancient Egypt in Early Modern Italy (Chicago 2007).

Cusanus, Nicolas, Of Learned Ignorance (London 1954 [1440]).

Damascius, Problems & Solutions Concerning First Principles, tr. Sara Ahbel-Rappe (Oxford 2010).

Danius, Sara, The Senses of Modernism: Technology, Perception, and Modernist Aesthetics (Ithaca, NY 2002 [1998]).

Davies, J. G., Holy Week: A Short History (London 1963).

De Grassis, Paris, Il Diario di Leono X (Rome 1884).

De Vecchi, Pierluigi (ed.), The Sistine Chapel: A Glorious Restoration (New York 1994).

Dean, Jeffrey, ‘Listening to Sacred Polyphony c.1500’, Early Music 25:4 (1997), 611–36.

Dempsey, Charles, The Early Renaissance and Vernacular Culture (Cambridge, MA 2012).

Derrida, Jacques, ‘Khora’, in Poikilia: Études offertes à Jean-Pierre Vernant (Paris 1987), 265–96.

—— ‘Khora’, in On the Name, tr. Ian Mc Leod (Stanford 1995), 89–127.

—— & Peter Eisenman, Chora L Works (New York 1997).

Deswarte-Rosa, Sylvie, ‘Francisco de Holanda et le Cortile di Belvedere’, in Il cortile delle statue: Der Statuenhof des Belvedere im Vatikan (Mainz 1998), 389–410.

Di Bello, Patrizia, ‘Photography and Sculpture: A Light Touch’, in Patrizia Di Bello & Gabriel Koureas, Art, History and the Senses: 1830 to the Present (Farnham 2010), 19–34.

Di Sommi, Leone, ‘The Dialogues of Leone di Somi’, in The Development of the Theatre: A Study of Theatrical Art from the Beginnings to the Present Day (London 1958), 252–78.

—— Quattro dialoghi in materia di rappresentazioni sceniche (Milan 1968).

Didi-Huberman, George, Devant l’image: Question posée aux fins d’une histoire de l’art (Paris 1990).

—— Confronting Images: Questioning the Ends of a Certain History of Art, tr. John Goodman (Penn State 2005).

Domenichi, Lodovico, Facetie, motti et burle di diversi signori et persone private (Venice 1609 [1562]).

Doni, Anton Francesco, I Marmi, ii (Florence 1863 [1552]).

Dotson, Esther Gordon, ‘An Augustinian Interpretation of Michelangelo’s Sistine Ceiling’, Art Bulletin 61 (1979), 223–56 & 405–429.

Dundas, Judith, ‘The Paragone and the Art of Michelangelo’, Sixteenth Century Journal 21:1 (1990), 87–92.

Echinger-Maurach, Claudia, Studien zu Michelangelos Juliusgrabmal (Hildesheim 1991).

—— Michelangelos Grabmal für Papst Julius II (Munich 2009).

Einem, Herbert von, Michelangelo (Stuttgart 1959).

Elam, Carline, ‘Lorenzo de’Medici’s Sculpture Garden’, Mitteilungen des Kunsthistorisches Institut in Florenz 36:1–2 (1992), 41–84.

Ettlinger, Leopold David, The Sistine Chapel Before Michelangelo (Oxford 1965).

—— ‘The Liturgical Function of Michelangelo’s Medici Chapel’, Mitteilungen des Kunsthistorischen Institutes in Florenz 22 (1978), 287–304.

Fanti, Sigismondo, Triompho di Fortuna (Venice 1527).

Farabulini, David, L’arte degli arazzi e la nuova Galleria dei Gobelins al Vaticano (Rome 1884).

Ficino, Marsilio, De mystica theolgia et De divinis nominibus (Florence 1496).

—— Opera Omnia (Basel 1596).

—— Commentary on Plato’s Symposium, tr. Sears Reynolds Jayne (Columbia 1944).

—— Three Books on Life, tr. Carol V. Kaske & John R. Clark (Binghampton 1989).

—— Platonic Theology, tr. Michael J. B. Allen, v (The I Tatti Library; Cambridge, MA 2005 [1482]).

Filed, Arthur, The Origins of the Platonic Academy of Florence (Princeton 1988).

Forcellino, Antonio, Michelangelo: A Tormented Life (Cambridge 2011 [2005]).

Frangenberg, Thomas, ‘The Art of Talking about Sculpture: Vasari, Borghini and Bocchi’, Journal of the Warburg & Courtauld Institutes 58 (1995), 115–31.

Freedberg, S. J., Painting of the High Renaissance in Rome and Florence, 2 vols (Cambridge 1961).

Freedman, Luba, ‘Michelangelo’s Reflections on Bacchus’, Artibus et Historiae 24:47 (2003), 121–135).

Freud, Sigmund, ‘The Moses of Michelangelo’, in The Penguin Freud Library, tr. James Strachey, xiv (Harmondsworth 1990 [1914], 249–82.

—— ‘Der Moses des Michelangelo’, Imago: Zeitschrift für Anwendung der Psychoanalyse auf die Geistesschaften 3 (1914), 15–36.

Frey, Herman Walter, ‘Michelagniolo und die Komponisten seiner Madrigale: Bartolomeo Tromboncino, Jean Conseil, Costanzo Festa, Jakob Arcadelt’, Acta Musicologica 24 (1952), 157–60.

Frey, Karl, Der Literarische Nachlass Giorgio Vasaris, ii (Munich 1930).

Fried, Michael, ‘Art and Objecthood’, Art Forum 5:10 (1967), 2–23.

Friedlaender, Walter, ‘The Anticlassical Style’, in Mannerism and Anti-Mannerism in Italian Painting (New York 1957 [1925]), 1–43.

Frommel, Christoph L., ‘Antonio da Sangallos Cappella Paolina: Ein Beitrag zur Baugeschichte des Vatikanischen Palastes’, Zeitschrift für Kunstgeschichte 27 (1964), 1–42.

Gadol, Joan, Leon Battista Alberti: Universal Man of the Early Renaissance (Chicago 1969).

Galand-Hallyn, Parrin & Fernand Hallyn (eds.), Poétiques de la renaissance (Geneva 2001).

Gattoci, Gianbattista, Diaria caeremonialia, ii: De itineribus romanorum pontificium a Sixto IV ad Benedictam XIV (Rome 1753).

Gell, Alfred, Art and Agency: An Anthropological Theory (Oxford 1998).

Giannotti, Donato, Dialogi di Donato Gianotti, de’ giorni che dante consumò nel cercare l’Inferno e ‘l Purgatorio, ed. Deoclecio Redig de Campos (Florence 1939 [1546]).

Gilbert, Creighton, ‘Texts and Contexts of the Medici Chapel’, Art Quarterly 34 (1971), 391–410.

—— ‘What is Expressed in Michelangelo’s Non-Finito?’, Artibus et Historiae 24:48 (2003), 57–64.

Gillgren, Peter, ‘The Michelangelo Crescendo: Communicating the Sistine Chapel Ceiling’, Konsthistorisk tidskrift 71:4 (2001), 206–16.

—— ‘Performativa aspekter på Michelangelos gravmonument över Julius II’, in Det åskådliga och det bottenlösa (Stockholm 2010), 226–34.

—— Siting Federico Barocci and the Renaissance Aesthetic (Farnham 2011).

—— ‘Siting Michelangelo’s Last Judgment in a Multimedia Context: Art, Music and Ceremony in the Sistine Chapel’, Konsthistorisk tidskrift 82:2 (2012), 65–89.

Ginzburg, Carlo, ‘Morelli, Freud and Sherlock Holmes: Clues and Scientific Method’, History Workshop Journal 9 (1980), 5–36.

Girard, René, The Scapegoat, tr. Yvonne Freccero (Baltimore 1986 [1982]).

Goffen, Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian (New Haven 2002).

Goldschneider, Ludwig, Michelangelo: Paintings, Sculpture, Architecture (London 1996).

Goodchild, Karen Hope, ‘Bizarre Painters and Bohemian Poets. Poetic Imitation and Artistic Rivalry in Vasari’s Biography of Piero di Cosimo’, in David J. Cast (ed.), The Ashgate Research Companion to Giorgio Vasari (Farnham 2014), 129–44.

Göttert, Karl-Heinz, Geschichte der Stimme (Munich 1998).

Gombrich, E. H., ‘Freud’s Aesthetics’, The Encounter 26:1 (1969), 30–4.

Gregory of Nyssa, The Life of Moses (New York 1978).

Gregory the Great, ‘Epistle V. To Theocista, Sister of the Emperor’, in Philip Schaff & Henry Wace (eds.), A Selected Library of the Nicene and Post-Nicene Fathers (Series 2:12; Grand Rapids 1964), 74–6.

Gregory, Sharon, ‘Vasari on Imitation’, in David J. Cast (ed.), The Ashgate Research Companion to Giorgio Vasari (Farnham 2014), 223–43.

Grenier, Albert, ‘Une Pietà inconnue de Michel-Ange à Palestrina’, Gazette des beaux-arts 37 (1907), 177–94.

Grimaldi, Giacamo, Descrizione della Basilica Antica di S. Pietro in Vaticano: Codice Barberini Latino 2733, ed. Reto Niggl (Vatican 1972).

Grimm, Herman, The Life of Michelangelo Buonarroti (London 1865 [1860–63]).

Grisebach, Lucius, ‘Baugeschichtliche Notiz zum Statuenhof Julius II im vatikanischen Belvedere’, Zeitschrift für Kunstgeschichte 39 (1976), 209–20.

Gumbrecht, Hans Ulrich, Production of Presence: What Meaning Cannot Convey (Stanford 2004).

Guthrie, W. K. C., Orpheus and Greek Religion (Princeton 1993 [1952]).

Hall, Marcia B., Michelangelo: The Frescoes of the Sistine Chapel (New York 2002).

—— Michelangelo’s Last Judgment (Cambridge 2005).

Haskell, Francis & Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture 1500–1900 (New Haven 1981).

Haydn, Hiram, The Counter-Renaissance (New York 1950).

Heidegger, Martin, ‘Der Ursprung des Kunstwerkes’, in Holzwege (Frankfurt am Main 1960 [1950]), 7–68.

—— ‘The Origin of the Work of Art’, in Poetry, Language, Thought, tr. Albert Hofstadter (New York 1971 [1950], 15–86).

—— Being and Time, tr. Joan Stambaugh (New York 1996 [1926]).

Heikamp, Detlef, ‘Die Arazzeria Medicea im 16. Jahrhundert: Neue Studien’, Münchner Jahrbuch der Bildenden Kunst (1969), 33–74.

Heraclitus, The Art and Thought of Heraclitus: A New Arrangement and Translation of the Fragments with Literary and Philosophical Commentary, ed. Charles H. Kahn (Cambridge 2010).

Hermans, Lex, ‘Consorting with Stone: The Figure of the Speaking and Moving Statue in Early Modern Italian Writing’, in Sarah Blick & Laura D. Gelfand (eds.), Push Me, Pull You: Imaginative and Emotional Interaction in Late Medieval and Renaissance Art, ii (Leiden 2011), 117–46.

Hesiod, ‘The Theogony’, The Homeric Hymns and Homerica, tr. Hugh G. Evelyn-White (Loeb Classical Library; London 1914), 78–154.

Hettner, Hermann, Italienische Studien zur Geschichte der Renaissance (Braunschweig 1879).

Hildebrandt, Adolf von, Das Problem der Form in der bildenden Kunst (Strassburg 1893).

Hirst, Michael, Michelangelo and His Drawings (New Haven 1988).

—— ‘Struggling, Self-Pitying and Short of Money’, Times Literary Supplement April 5 1996, 7.

—— ‘Michelangelo in Florence: “David” in 1503 and “Hercules” in 1506’, Burlington Magazine 142:1169 (2000), 487–92.

Hoff, Michael, ‘Epiphanie im non-finito: Nichtvolleundung als Strategie der Frömmigkeit und Auslöser von Sinnzuschreibungen in der Kunst der Florentiner Renaissance’, in Friedrich von Weltzien & Amrei Volkmann (eds.), Modelle künstlerischer Produktion (Berlin 2003), 39–56.

Holly, Michael Ann, ‘Interventions: The Melancholy Art’, Art Bulletin 89:1 (2007), 7–17.

Hughes, Anthony, ‘Michelangelo: Painting: Sistine Ceiling, 1508–1512’, The Dictionary of Art, ed. Jane Turner (London 1996), xxi. 443–5.

Husserl, Edmund, Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy, tr. F. Kersten, i (The Hague 1983 [1913]).

Idel, Moshe, ‘Prisca Theologia in Marsilio Ficino and in some Jewish Treatments’, in Michael J. B. Allen, Valery Rees & Martin Davies (eds.), Marsilio Ficino: His Theology, His Philosophy, His Legacy (Leiden 2002), 137–58.

Jacobus de Voragine, The Golden Legend: Readings on the Saints, tr. William Granger Ryan, i (Princeton 1993).

Joannides, Paul, ‘A Newly Unveiled Drawing by Michelangelo and the Early Iconography of the Magnifici Tomb’, Master Drawings 29:3 (1991), 255–62.

Johnson, Geraldine A., ‘Touch, Tactility, and the Reception of Sculpture in Early Modern Italy’, in P. Smith & C. Wilde (eds.), A Companion to Art Theory (Oxford 2002), 61–74.

—— ‘“(Un)richtige Aufnahme”: Renaissance Sculpture and the Visual Historiography of Art History’, Art History 13 (2013), 12–51.

Jones, Roger & Nicholas Penny, Raphael (New Haven 1987).

Jonietz, Fabian, ‘Die Scuole delle arti als Orte der aemulatio: Der Fall der Cappella Brancacci’, in Jan-Dirk Müller et al. (eds.), Aemulatio: Kulturen des Wettstreits in Text und Bild (1450–1620) (Berlin 2011), 769–811.

Jüren, Vladimir, ‘Fecit-Faciebat’, Revue de l’art 26 (1974), 106–109.

Jurkowlaniec, Grazyna, ‘A Miracle of Art and Therefore a Miraculous Image: A Neglected Aspect of the Reception of Michelangelo’s Vatican Pietà’, Artibus et Historiae 36:72 (2015), 175–98.

Justi, Carlo, Michelangelo: Beiträge zur Erklärung der Werke und des Menschen (Leipzig 1900).

Kandinsky, Wassily, On the Spiritual in Art, tr. Hilla Rebay (New York 1946 [1912]).

Kane, Eileen, The Church of San Silvestro in Capite in Rome (Rome 2005).

Karlholm, Dan, Handböckernas konsthistoria: Om skapandet av ‘allmän konsthistoria’ i Tyskland under 1800–talet (Stehag 1996).

Kauffmann, Hans, ‘Bewegungsformen an Michelangelostatuen’, in Festschrift für Hanz Jantzen (Berlin 1951), 141–51.

Kaye, Nick, Site-Specific Art: Performance, Place and Documentation (London 2000).

Keizer, Joost, ‘Site-Specificity’, in Michelangelo in the New Millennium: Conversations About Artistic Practices, Patronage and Christianity (Boston 2016), 25–46.

Kemp, Wolfgang (ed.), Der Betrachter ist im Bild: Kunstwissenschaft und Rezeptionsästhetik (Berlin 1992).

Kleiner, Gerhard, Die Begegnungen Michelangelos mit der Antike (Berlin 1950).

Koch, Linda A., ‘Michelangelo’s Bacchus and the Art of Self-Formation’, Art History 29:3 (2006), 345–86.

Köhler, Rafael, Die Cappella Sistina unter dem Medici-Päpsten 1513–1534: Musikpflege und Repertoire am päpstlichen Hof (Kiel 2001).

Krauss, Rosalind, ‘Sculpture in the Expanded Field’, in Donald Preziosi (ed.), The Art of Art History (Oxford 1998 [1979]), 281–98.

Kristeller, Paul Oskar, Il pensiero filosofico (Florence 1953).

—— Renaissance Thought and its Sources (New York 1979).

Kristeva, Julia, ‘Le mot, le dialogue et le roman’, Sēmeiōtikē: Recherches pour une sémanalyse (Paris 1969), 143–73.

—— La révolution de langage poétique (Paris 1974).

—— ‘Le sujet en procès’, Polylogue (Paris 1977), 55–106.

—— Desire in Language: A Semiotic Approach to Literature and Art (New York 1980 [1969]).

—— Revolution in Poetic Language, tr. Margaret Waller (New York 1984 [1974]).

—— ‘Word, Dialogue and Novel’, in The Kristeva Reader (New York 1986 [1969]), 34–61.

—— ‘The Subject in Process’, in Patrick ffrench & Roland-François Lack (ed.), The Tel Quel Reader (New York 1998 [1977]), 133–78.

Kugler, Franz, Handbuch der Geschichte der Malerei, 2 vols (Berlin 1837).

Kuntz, Margaret, ‘Designed for Ceremony: The Cappella Paolina at the Vatican Palace’, Journal of the Society of Architectural Historians 62:2 (2003), 228–55.

Kwon, Miwon, One Place after Another: Site-Specific Art and Local Identity (Cambridge, MA 2004 [1997]).

Laertius, Diogenes, Lives of Eminent Philosophers, tr. R. D. Hicks, ii (Loeb Classical Library 185, Cambridge, MA 2005).

Langedijk, Karla, ‘Baccio Bandinelli’s Orpheus: A Political Message’, Mitteilungen des Kunsthistorischen Institutes in Florenz 20:1 (1976), 33–52.

Lavin, Irving, Bernini and the Crossing of Saint Peter’s (New York 1968).

—— ‘Ex Uno Lapide: The Renaissance Sculpture’s Tour de Force’, in Il cortile delle statue: Der Statuenhof des Belvedere im Vatikan (Mainz 1998), 191–210.

Lecourt, Edith, Freud et le sonne: Le tic-tac du désir (Paris 1992).

Lewan, Bengt, Drömmen om Italien: Italien i svenska resenärers skildringar från Atterbom till Snoilsky (Stockholm 1966).

Lidov, Axelei, ‘Creating Sacred Space: Hierotopy as a New Field of Cultural History’, in Laura Carnevale & Chiara Cremonesi (eds.), Spazi e percorsi sacri: I santuari, le vie, i corpi (Padua 2014), 61–89.

Liedman, Sven-Eric, ‘Om form och materia hos Aristoteles’, Lychnos (1999), 9–23.

Lippard, Lucy R., Eva Hesse (New York 1976).

Llorens, Josephus M. (ed.), Cappellae Sixtinae Codices (Studi e testi 202; Vatican 1960).

Longinus, ‘Longinus On the Sublime’, tr. W. H. Fyfe, rev. Donald Russell, in Aristotle Poetics, Longinus On the Sublime & Demetrius On Style (Loeb Classical Library 199; Cambridge, MA 2005), 143–307.

Macchiarella, Ignazio, Il falsobordone fra tradizione orale e tradizione scritta (Lucca 1994).

Macey, Patrick. ‘Savonarola and The Sixteenth-Century Motet’, Journal of the American Musicological Society 36:3 (1983), 422–52.

Mallin, Samuel B., Merleau-Ponty’s Philosophy (New Haven 1979).

—— Art Line Thought (Dordrecht 1998).

Mancinelli, F., The Vatican Collections: The Papacy and Art (New York 1983).

Marchenkov, Vladimir, The Orpheus Myth and the Powers of Music (New York 2009).

Marder, T. A., Bernini’s Scala Regia and the Vatican Palace: Architecture, Sculpture, and Ritual (Cambridge 1997).

Marin, Louis, Détruire la Peinture (Paris 1977).

—— To Destroy Painting, tr. Mette Hjort (Chicago 1995 [1977]).

Martinelli, Fioravante, Roma ricercata nel suo sito (Rome 1687 [1644]).

Marx-Weber, Magda, ‘Die Tradition der Miserere-Vertonungen in der Cappella Pontifica’, in Collectanae, ii: Studien zur Geschichte der päpstlichen Kapelle (Vatican 1994), 265–88.

Mastrocola, Paola (ed.), Rime e lettere di Michelangelo (Turin 1992).

Melchionne, Kevin, ‘Rethinking Site-Specificity: Some Critical and Philosophical Problems’, Art Criticism 12:2 (1998), 36–49.

Merleau-Ponty, Maurice, Le visible et l’invisible (Paris 1964).

—— The Visible and the Invisible, tr. Alphonse Lingis (Evanston, IL 1968 [1964]).

—— ‘Eye and the Mind’, in Galen A. Johnson (ed.), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting, tr. Michael B. Smith (Evanston, IL 1993 [1961]), 121–60.

Milanesi, Gaetano, Le lettere di Michelangelo Buonarotti (Florence 1875).

—— Les Correspondants de Michel-Ange, i: Sebastiano del Piombo, tr. A. Le Pileur (Paris 1890).

Millon, Henry A., ‘Michelangelo to Marchionni, 1546–1784’, in William Tronzo (ed.), St. Peter’s in the Vatican (Cambridge 2005), 93–110.

Monfasani, John, ‘Pseudo-Dionysius the Areopagite in Mid-Quattrocento Rome’, in Language and Learning in Renaissance Italy (Aldershot 1994), 189–219.

Moran, Dermot, ‘Nicholas of Cusa (1401–1464): Platonism at the Dawn of Modernity’, in Douglas Hedley & Sarah Hutton (eds.), Platonism at the Origins of Modernity (Dordrecht 2008), 9–29.

Moreni, Domenico, Delle tre sontuose cappelle Medicee sitate nell’imp. basilica di S. Lorenzo (Florence 1813).

Moroni, Gaetano, Le cappelle ponteficie (Venice 1841).

Müller, Jan-Dirk, et al. (eds.), Aemulatio: Kulturen des Wettstreits in Text und Bild (1450–1620) (Berlin 2011).

Müntz, Eugène, ‘Les tapisseries de Raphael au Vatican d’après des documents nouveaux’, La Chronique des arts et la curiosité (1876), 246–278.

Musch, Hans, Costanzo Festa als Madrigalkomponist (Baden-Baden 1977).

Nagel, Alexander, Michelangelo and the Reform of Art (Cambridge 2000).

—— Medieval Modern: Art Out of Time (London 2012).

O’Malley, John W., Praise and Blame in Renaissance Rome: Rhetoric, Doctrine, and Reform in the Sacred Orators of the Papal Court, c.1450–1521 (Durham, NC 1979).

Orpheus, The Mystical Hymns of Orpheus, tr. Thomas Taylor (London 1896).

Paliard, ‘La Couronnement de la Vierge d’après un carton de Raphael: Tapisserie retrouvée au Vatican’, Gazette des Beaux-Arts 2:1 (1872), 82–8.

Panofsky, Erwin, Studies in Iconology: Humanistic Themes in the Art of the Renaissance (Oxford 1939).

Paoletti, John T., ‘The Rondanini Pieta: Ambiguity Maintained through Palimpsest’, Artibus et Historiae 21:42 (2000), 53–80.

Paradisi, Donatella, Il Campidoglio: Storie, personaggi e monumenti del mitico colle di Roma (Rome 2004).

Parker, Deborah, Michelangelo and the Art of Letter Writing (Cambridge 2010).

Parronchi, Alessandro, ‘Sul “Della Statua” Albertiano’, Paragone: Rivista di arte figurativa e letteratura 10:117 (1959), 3–29.

Partridge, Loren W., Michelangelo: The Last Judgment: A Glorious Restoration (New York 1997).

Patrizi, Agostino, Ritus eclesiastici (Venice 1516).

Paulsson, Gregor, Konstens världshistoria, iii. Nyare tiden (Stockholm 1952).

Pepe, Mario, ‘II “Paragone” tra pittura e scultura nella letteratura artistica rinascimentale’, Cultura e scuola 8:30 (1969), 120–31.

Petrarch, De Remediis Utriusque Fortunae: Remedies for Fortune Fair and Foul, tr. Conrad Rawski (Bloomington 1991).

—— De Remediis Utriusque Fortunae (Rotterdam 1649).

Pfisterer, Ulrich, La Cappella Sistina, tr. Giovanna Targia (Rome 2014 [2013]).

Philo of Alexandria, ‘On the Decalogue’, Philo, vii (Loeb Classical Library 320; Cambridge, MA 1937), 3–95.

Pigman III, G. W., ‘Versions of Imitation in the Renaissance’, Renaissance Quarterly 33:1 (1980), 1–32.

Plato, ‘Phaedrus’, in Euthyphro, Apology, Crito, Phaedo, Phaedrus, tr. H. N. Fowler (Loeb Classical Library 36, Cambridge, MA 1914, 405–579).

—— ‘Parmenides’, in Cratylus, Parmenides, Greater Hippias, Lesser Hippias, tr. H. N. Fowler (Loeb Classical Library 167; Cambridge, MA 1921), 193–331.

—— ‘Timaeus’, in Timaeus, Critias, Cleitophon, Menexenus, & Episteles (Loeb Classical Library 234, tr. R. G. Bury (Cambridge, MA 2005 [1929]), 1–253.

Pliny the Elder, The Elder Pliny’s Chapters on the History of Art, tr. K. Jex-Blake (Chicago 1968).

Plotinus, Ennead I, 1–9, tr. Arthur Hilary Armstrong (Loeb Classical Library 440; Cambridge, MA 1989).

Poggi, Giovanni, Il Duomo di Firenze (Berlin 1909).

Poliziano, Angelo, The Stanze, tr. David Quint (Amherst 1979).

—— Angelo Poliziano’s Lamia: Text, Translation and Introductory Studies, ed. Christopher Celenza (Brill Studies in Intellectual History 189; Leiden 2010 [1492]).

Pon, Lisa, ‘Michelangelo’s First Signature’, Source: Notes in the History of Art 15:4 (1996), 16–21.

—— ‘Raphael’s Acts of the Apostles Tapestries for Leo X: Sight, Sound, and Space in the Sistine Chapel’, Art Bulletin 97:4 (2015), 388–408.

Pope, Alexander, The Twickenham edition of the poems of Alexander Pope, vi: Minor Poems (London 1954).

Pseudo-Dionysius the Areopagite, ‘The Celestial Hierarchy’, in Pseudo-Dionysius: The Complete Works, tr. Colm Luibheid (New York 1987), 143–191.

—— ‘The Divine Names’, in Pseudo-Dionysius: The Complete Works, tr. Colm Luibheid (New York 1987), 47–131.

—— ‘The Mystical Theology’, in Pseudo-Dionysius: The Complete Works, tr. Colm Luibheid (New York 1987), 133–141.

—— Über die Mystische Theologie und Briefe, tr. Adolf Martin Ritter (Stuttgart 1994).

Quintilian, The Institutio Oratoria of Quintilian, tr. H. E. Butler, iv (Loeb Classical Library 127, Cambridge, MA 1936).

Rabelais, François, Œvres complètes (Paris 1973 [1532]).

Ragioneri, Pina, Michelangelo: The Man and the Myth (New York 2008).

Ramsden, E. H., The Letters of Michelangelo: Translated from the Original Tuscan (London 1963).

Redig de Campos, Deoclecio, ‘La Pietà di Michelangelo e il suo restauro’, Bolletino dei Monumenti, Musei e Gallerie Pontificie 1:1 (1977), 33–9.

Rendell, Jane, Site-Writing: The Architecture of Art Criticism (New York 2010).

Richter, Jean Paul, The Literary Works of Leonardo da Vinci: Compiled and Edited from the Original Manuscripts, i (Oxford 1970).

Rocca, Gregory P., Speaking the Incomprehensible God: Thomas Aquinas on the Interplay of Positive and Negative Theology (Washington, DC 2004).

Rodocanachi, E., Le Capitole Romain: Antique et Moderne (Paris 1904).

Rogers, Samuel, Italy: A Poem (London 1859 [1830]).

Rohlmann, Michael, ‘Raffaels “Bilderzeremoniell” im Vatikanpalast: Grenzüberschreitungen in der Sixtinischen Kapelle und den Stanzen’, in Tristan Weddigen, Sible de Blaauw & Bram Kempers (eds.), Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance (Vatican 2003), 95–113.

Rosenberg, Raphael, Beschreibungen und Nachzeichnungen der Skulpturen Michelangelos: Eine Geschichte der Kunstbetrachtung (Munich 2000).

—— ‘Le vedute della statua: Michelangelos Strategien zur Betrachterlenkung’, in Alessandro Nova & Anna Schreurs (eds.), Benvenuto Cellini: Kunst und Kunsttheorie im 16. Jahrhundert (Cologne 2003), 217–35.

Rovetta, Alessandro (ed.), L’ultimo Michelangelo: Disegni e rime attorno alla Pietà Rondanini (Milan 2011).

Ruschi, Pietro, ‘La Sagrestia Nuova, metamorfosi di un spazio’, in Michelangelo architetto a San Lorenzo (Florence 2007), 15–87.

Ryan, Christopher, The Poetry of Michelangelo: An Introduction (London 1998).

Salvini, Roberto (ed.), La Cappella Sistina in Vaticano (Milan 1965).

Sartre, Jean-Paul, Being and Nothingness, tr. Hazel E. Barnes (London 2003 [1943]).

Saslow, James E., The Poetry of Michelangelo: An Annotated Translation (New Haven 1991).

Savonarola, Girolamo, Edizione nazionale delle opere di Girolamo Savonarola: Operette spirituali, ed. Mario Ferrara, ii (Rome 1976 [1498]).

Schafer, R. Murray, The Tuning of the World (Toronto 1977).

Schimmelpfennig, B., ‘Die Funktion der Cappella Sistina im Zeremoniell der Renaissancepäpste’, in Collectanae II: Studien zur Geschichte der päpstlichen Kapelle (Vatican 1994), 123–74.

Schneider, Laurie, ‘Leon Battista Alberti: Some Biographical Implications of the Winged Eye’, Art Bulletin 72:2 (1990), 261–70.

Schulz, Jürgen, ‘Michelangelo’s Unfinished Works’, Art Bulletin 57:3 (1975), 366–73.

Scigliano, Eric, Michelangelo’s Mountain: The Quest for Perfection in the Marble Quarries of Carrara (New York 2005).

Scoti-Bertinelli, Ugo, Giorgio Vasari scrittore (Pisa 1905).

Scully, Vincent Joseph, Modern Architecture and Other Essays (Princeton 2003).

Seay, Albertus (ed.), Costanzo Festa: Opera Omnia: Motetti, iii (Corpus Mensurabilis Musicae 25; Rome 1979).

Sells, Michael A., Mystical Language of Unsaying (Chicago 1994).

Serra, Richard, ‘Statement in support of Tilted Arc’, in Weyergraf-Serra & Buskirk 1991, 65–110.

Seymour Jr., Charles, Sculpture in Italy 1400 to 1500 (Harmondsworth 1966).

—— Michelangelo’s David: A Search for Identity (Pittsburgh 1967).

Shearman, John, Only Connect: Art and the Spectator in the Italian Renaissance (Princeton 1992).

—— Raphael’s Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (London 1972).

Sherr, Richard, ‘The Singers of the Papal Chapel and Liturgical Ceremonies in the Early Sixteenth Century: Some Documentary Evidence’, in Paul A. Ramsey (ed.), Rome and the Renaissance: The City and the Myth (Binghamton 1982), 249–64.

Shrimplin-Evangelidis, Valerie, ‘Sun Symbolism and Cosmology in Michelangelo’s Last Judgment’, Sixteenth Century Journal 21 (1990), 607–44.

—— ‘Hell in Michelangelo’s Last Judgment’, Artibus et Historiae 15:29 (1994), 83–107.

Sisi, Carlo, ‘Il Compianto di Giacomo Cozzarelli: Note sulla commitenza e lo stile’, in Restauro di una terracotta del Quattrocento. Il Compianto di Giacomo Cozzarelli (Florence 1984), 91–113.

Smith, Graham, ‘Michelangelo’s Duke of Urbino, in Literature, Travel-Writing, and Photography of the Nineteenth Century’, in Strange Sisters: Literature and Aesthetics in the Nineteenth Century (Berne 2009), 155–75.

Smithers, Tamar, ‘Introduction. Michelangelo in the New Millennium’, in Michelangelo in the New Millennium: Conversations About Artistic Practices, Patronage and Christianity (Boston 2016), 1–24.

Springer, Anton, Rafael und Michelangelo (Leipzig 1878).

Staël, Madame de, Corinne or Italy, tr. Sylvia Raphael (Oxford 1998 [1807]).

Steinberg, Leo, ‘Observations on the Cerasi Chapel’, Art Bulletin 41 (1959), 183–90.

—— ‘The Last Judgment as Merciful Heresy’, Art in America 63 (1975), 48–63.

—— Michelangelo’s Last Paintings: The Conversion of St Paul and the Crucifixion of St Peter in the Cappella Paolina, Vatican Palace (New York 1975).

—— ‘A Corner of the Last Judgment’, Daedalus 109 (1980), 207–73.

—— ‘Who’s Who in Michelangelo’s Creation of Adam: A Chronology of the Picture’s Reluctant Self-Revelation’, Art Bulletin 74:4 (1992), 552–66.

Stendhal, Histoire de la painture en Italie (Paris 1854 [1817]).

—— Voyages en Italies (Paris 1973 [1830]).

Stowell, Steven F. H., The Spiritual Language of Art: Medieval Christian Themes in Writings on Art of the Italian Renaissance (Leiden 2015).

Strehlke, Carl Brandon, Pontormo, Bronzino and the Medici: Transformation of the Renaissance Portrait in Florence (Philadelphia 2014).

Suleiman, Susan R. & Inge Crosman (eds.), The Reader in the Text: Essays on Audience and Interpretation (New York 1980).

Summers, David, ‘Contrapposto: Style and Meaning in Renaissance Art’, Art Bulletin 59 (1977), 336–61.

—— Real Spaces: World Art History and the Rise of Western Modernism (London 2003).

Svensson, Sven G., Gunnar Wennerberg: En biografi(Stockholm 1986).

Sypher, Wylie, Four Stages of Renaissance Style: Transformations in Art and Literature 1400–1700 (New York 1955).

Taja, Agostin, Descrizzione del Palazzo Apostolico vaticano (Rome 1750).

Thurston, Herbert, ‘Tenebræ’, in The Catholic Encyclopedia, xiii (New York 1912), 819–20.

Tolnay, Charles de, Michelangelo, ii: The Sistine Ceiling (Princeton 1945).

—— Michelangelo, iii: The Medici Chapel (Princeton 1948).

—— Michelangelo, iv: The Tomb of Julius II (Princeton 1954).

—— Michelangelo, v: The Final Period (Princeton 1960).

—— Michelangelo: Sculptor, Painter, Architect (Princeton 1975).

Toop, David, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds (London 2001 [1995]).

—— Sinister Resonance: The Mediumship of the Listener (London 2010).

Truax, Barry, ‘Soundscape Studies: An Introduction to the World Soundscape Project’, Numus West 5 (1974), 36–9.

Uncini, Alessandra, ‘Una scultura del Belvedere ritrovata, la “Zitella”’, in Il cortile delle statue: Der Statuenhof des Belvedere im Vatikan (Mainz 1998), 339–44.

Vasari, Giorgio, La Vita di Michelangelo nelle redazioni del 1550 e del 1568, ed. Paola Barocchi, i (Milan 1962).

—— Le vite de’ più eccellenti pittori, scultori e architettettori nelle redazioni del 1550 e 1568, eds. Rosanna Bettarini & Paola Barocchi, 6 vols (Florence 1966–87).

—— Lives of the Painters, Sculptors and Architects, tr. Gaston du C. de Vere (New York 1996 [1568]).

Vasi, Mariano, Itinerario istruttivo di Roma antica e moderna, 2 vols (Rome 1819).

Venturi, Adolfo, Storia dell’arte Italiana (Milan 1911–1940).

Verspohl, Franz-Joachim, Michelangelo Buonarroti und Niccolò Machiavelli: Der David, die Piazza, die Republik (Vienna 2001).

Verstegen, Ian, ‘John White’s and John Shearman’s Viennese Art Historical Method’, Journal of Art Historiography 1 (2009), 1–16.

Vert, Xavier, ‘Force de conversion: Moïse à San Pietro in Vincoli’, in Luca Acquarelli (ed.), Au Prisme du figural: Le sens des images entre forme et force (Rennes 2015), 43–68.

Vigenère, Blaise de, Philostratus (Paris 1597).

Vinge, Louise, The Five Senses: Studies in a Literary Tradition (Lund 1975).

Voegelin, Salomé, Listening to Noise and Silence: Towards a Philosophy of Sound Art (New York 2011).

Walker, D. P., ‘Orpheus the Theologian and Renaissance Platonists’, Journal of the Warburg & Courtauld Institutes 16:1–2 (1953), 100–120.

—— ‘Ficino’s Spiritus and Music’, Annales musicologiques 1 (1953), 131–50, reprinted in P. M. Gouk (ed.), Music, Spirit and Language in the Renaissance (London 1985), 17–28.

Wallace, William E., ‘Narrative and Religious Expression in Michelangelo’s Pauline Chapel’, Artibus et Historiae 10:19 (1989), 107–21.

—— ‘Michelangelo’s Rome Pietà: Altarpiece or Grave Memorial?’, in Steven Bule, Alan Phipps Darr & Fiorella Superbi Gioffredi (eds.), Verrocchio and Late Quattrocento Italian Sculpture (Florence 1992), 243–55.

—— Michelangelo at San Lorenzo: The Genius as Entrepreneur (Cambridge 1995a).

—— (ed.), Michelangelo: Selected Scholarship in English, ii: The Sistine Chapel (New York 1995b).

—— ‘Michelangelo, Tiberio Calcagni, and the Florentine Pietà’, Artibus et Historiae 21:42 (2000), 81–99.

—— ‘Michelangelo’s Baby’, Master Drawings 44:3 (2006), 358–61.

–––– ‘Non ha l’ottimo artista alcun concetto’, in Clare Lapraik Guest (ed.), Rhetoric, Theatre and the Arts of Design: Essay Presented to Roy Eriksen (Oslo 2008), 19–29.

Wang, Aileen June, ‘Michelangelo’s Signature’, Sixteenth Century Journal 35:2 (2004), 447–73.

Wasserman, Jack, Michelangelo’s Florence Pietà (Princeton 2003).

Watkins, Renée Neu, ‘L. B. Alberti’s Emblem, the Winged Eye, and His Name, Leo’, Mitteilungen des kunsthistorischen Instituts in Florenz 9 (1960), 256–58.

Wazbinski, Zygmunt, L’accademia Medicea del disegno a Firenze nel cinquecento: Idea e istitutzione, i (Florence 1987).

Weil-Garris, Kathleen, ‘On Pedestals: Michelangelo’s David, Bandinelli’s Hercules and Cacus and the Sculpture of the Piazza della Signoria’, Römisches Jahrbuch für Kunstgeschichte 20 (1983), 377–416.

Wennerberg, Gunnar, Försök till en paralellism mellan de religiösa kulturernas och den bildande konstens utveckling (Uppsala 1846).

—— ‘Sopranen i Ara Coeli’, Romerska minnen (Stockholm 1881a), 41–7.

—— ‘Allegris Miserere’, Romerska minnen (Stockholm 1881b), 128–36.

Weyergraf-Serra, Clara & Martha Buskirk (eds.), The Destruction of Tilted Arc (Cambridge 1991).

White, John & John Shearman, ‘Raphael’s Tapestries and Their Cartoons’, Art Bulletin 40:3 (1958), 193–221.

Wilde, Johannes, Michelangelo (Oxford 1978).

Williamson, Beth, ‘Sensory Experience in Medieval Devotion: Sound and Vision, Invisibility and Silence’, Speculum 88:1 (2013), 1–43.

Winckelmann, Johann Joachim, Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst (Dresden 1756 [1755]).

—— Reflections on the Painting and Sculpture of the Greeks, tr. Henry Fuseli (London 1765 [1755]).

Wind, Edgar, Pagan Mysteries in the Renaissance (New York 1968 [1958]).

Wittkower, Margot & Rudolf Wittkower, Born under Saturn: The Character and Conduct of Artists (London 1963).

Wölfflin, Heinrich, ‘Die Sixtinische Decke Michelangelos’, Repertorium für Kunstwissenschaft 13 (1890), 264–72.

—— ‘Wie man Skulpturen Aufnehmen Soll’, Zeitschrift für Bildende Kunst 7 (1896), 224–28, 8 (1897), 294–97 & 26 (1914) 237–44.

—— Die Klassische Kunst: Eine Einführung in die Italienische Renaissance (Munich 1899).

—— Classic Art: An Introduction to the Italian Renaissance, tr. Peter & Linda Murray (New York 1952 [1899]).

Zellner, Frank & Christof Thoenes, Michelangelo 1475–1564 (Cologne 2007).

Ziegler, Joanna E., ‘Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art of Sculpture?’, Gesta 34:1 (1995), 28–36.