- Kemp, M., Behind the Picture, Yale University Press, New Haven (1997).
- Wackernagel, M., The World of the Florentine Artist (1938), tr. A. Luchs, Princeton University Press (1981).
- Summers, D., Michelangelo and the Language of Art, Princeton University Press (1981).
- Ames-Lewis, E, The Intellectual Lye of the Early Renaissance Artist, Yale University Press, New Haven (2000).
- Skaug,E., ‘Eine einfiihrung in das leben und die kunst Cennino Cenninis', its Tantasie und Handwerk': Cennino Cennini rind die tradition der toskanischen Malerei von Giotto bis Lorenzo Monaco, ed. W-D. Löhr and S. Weppelmann, Hirmer, Berlin (2008) 45–55.
- Ayala Valva, M., ‘Gli “scopi practici moderni” del Libro dell'arte di Cennino Cennini', Paragone d'Arte 56 (2005) 71–91.
- Cennini, C., The Craftsman's Handbook, tr. av.Thompson, Yale University Press, New Haven (1933).
- Boskovits, M., ‘Cennino Cennini - pittore nonconformista', Mitteilungen des Kunsthistorischen Institutes in Florenz 17 (1973) 174–194.
- Cennini, C., Le livre de l'art, tr. C. Deroche, Berger-Levrault, Paris (1991).
- Cennini, C., A Treatise on Painting, tr. M.P. Merrifield, Edward Lumley, London (1844).
- Cennini, C., II libro dell'arte, ed. G. and C. Milanesi, LeMonnier, Florence (1859).
- Benci,A.,Cennino Cennini, trattato della pittura', Antologia 2 (1821) 367–394.
- Cennini, C., II libro dell'arte, ed. F. Frezzato, Neri Pozza, Vicenza (2003).
- Sartori, A., ‘La cappella di S. Giacomo al Santo’, Il Santo 6 (1966) 267–359.
- Dini, E, ‘Cennino di Drea Cennini da Guile di Valdelsa', Miscellanea Storica della Valdelsa 3 (1905) 76–87.
- Vasari, G., Le Vite (1568) Vol. 1, Instituto Geographico de Agostini, Novara (1967).
- Mellini, G., ‘Studi su Cennino Cennini', Critica d'Arte 75 (1965) 48–68.
- Baroni, S., ‘Riducendoti al triare de'colori', Annali della Facolta di Lettere e Filosofia dell' Università degli Studi di Milano (ACME) 51 (1998) 53–64.
- Maginnis, H., Painting in the Age of Giotto, Penn State University Press (1997).
- Cennini, C., Di Cennino Cennini trattato della pittura, ed. G. Tambroni, Paolo Salviucci Rome (1821).
- Borghini, R., II Riposo (1584), tr. L.H. Ellis, University of Toronto Press (2007).
- Borghini, R., II Riposo (1584), ed. M. Rosci, Edizione Labor, Milan (1967).
- Burns, T., The Silver Trace: Drawing and Writing in Metalpoint (in preparation).
- Costa, S., 'Ii libro dell'arte de Cennino Cennini dans les traites du XVI' siecle', 'Dills est lapis in structura's Melanges offerts a Léon Pressouyre, Comite des travaux historiques et scientifiques, Paris (2000) 395–402.
- Baldinucci, E, Notizie dei professori del disegno (1681) Vol. 1, Batelli, Florence (1845).
- Cochrane, E.W., ‘The settecento medievalists’, Journal of the History of Ideas 19 (1958) 35–61.
- Von Klenze, C., ‘The growth of interest in the early Italian masters', Modern Philology 4 (1906) 207–274.
- Bottari, G., Vite de' pin eccellenti pittori, scultori e architetti, Vol. 2, Pazzani Carli, Siena (1791).
- Gossman, L., Unwilling Moderns: The Nazarene Painters of the Nineteenth Century (2003) www.19thc-artworldwide.org (accessed 26 November 2010).
- Kessler, H-U., ‘John Flaxman and the Renaissance’, in John Flaxtnan and the Renaissance, ed. S. Tritz and H-U. Kessler, Staatliche Museen, Berlin (2009) 24–35.
- Lanzi, L., The History of Painting in Italy (1792), ed. T. Roscoe, George Bell, London (1882).
- Chapron, E., ‘Le Metier de bibliothecaire au XVIIIe siècle: Angelo Maria Bandini a Florence (1726-1803)', Les mondes savants 1-2 (2004) 58–87.
- Cennini, C., Das Birch von der Kunst odor Traktat der Malerei des Cennino Cennini da Colle di Valdelsa, ed. A. Ilg, Braumilller, Vienna (1871).
- Tambroni, G., ‘Lettere al sig.A. Benci autore delle osservazione intorno al trattato della pittura’, Antologia 7 (1821) 271–280.
- Quatremere de Quincy, 'Review of G. Tambroni (ed.), C. Cennini, “Trattato della Pittura”, Journal des Savans (1821) 546–552.
- McVaugh, R., ‘A revised reconstruction of the Casa Bartholdy fresco cycle’, Art Bulletin 66 (3) (1984) 442–452.
- Curran, K., The Romantic Revival: Religion, Politics and Tiansnational Exchange, Penn State University Press (2003).
- Eastlake, C.L., ‘The advantages and disadvantages of Rome as a school of art', London Magazine 1 (1) (1820) 42–48.
- Eastlake, C.L., Contributions to the Literature of the Fine Artsjohn Murray, London (1870).
- Royal Commissioners on the Fine Arts, First Report, HMSO, London (1842).
- Winter, E.L., ‘German fresco painting and the new Houses of Parliament at Westminster, 1834-1851’, The Historical Journal 47 (2) 291–329.
- Eastlake, C.L., Methods and Materials of Painting (1847), Vol.1, Dover, NewYork (1960).
- Eastlake, C.L., Contributions to the Literature of the Fine Arts, John Murray, London (1848).
- Mitchell, R., ‘Merrifield (nee Watkins)’, Dictionary of National Biography, Oxford University Press (2004).
- Ernstrom, A., ‘Merrifield..., Mary Philadelphia’, Grove Dictionary of Art, NewYork (1996).
- Shearman, C., and Holcomb, A. (eds.), Women as Interpreters of the Visual Arts 1820-1979, Greenwood Press, Westport, CN (1981).
- Rosenthal, L., Du romantisme au réalisme (1914), ed. M. Marrinan, Macula, Paris (1989).
- Foucart, B., Le renouveau de la peinture religieuse en France (1800-1860), Arthena, Paris (1987).
- Giard, R., Le peintre Victor Mottez d'après sa correspondence, 1809-1897, Lille (1934).
- Cennini, C., Le Livre de Part ou traité de la peinture par Cennino, tr. V. Mottez, Renouard, Paris (1858); De Nobele, Paris (1911).
- Springer, E., ‘Biographische Skizze zu Albert Ilg (1847-1898)’, ed. E Polleross, Fischer von Erlach und die Barocktradition, Böhlau, Vienna (1995) 319–344.
- Biographical Dictionary of Art Historians, www.dictionaryofarthistorians.org/eitelbergerrItm (accessed 27 November 2010).
- Rampley, M., ‘Art history and the politics of empire: rethinking theVienna School’, Art Bulletin 91 (2009) 446–462.
- Cennini, C., The Book of Art of Cennino Cennini, tr. C. Herringham, George Allen, London (1899).
- Fry, R., ‘Tempera Painting’, Burlington Magazine 7 (1905) 175–176.
- Lago, M., Christiana Herringham and the Edwardian Art Scene, University of Missouri Press, Columbia (1996).
- Elam, C., Roger Fry's Journey, National Galleries of Scotland, Edinburgh (2008).
- Herbert, R., Nature's Workshop: Renoir's Writings on the Decorative Arts, Yale University Press, New Haven (2000).
- Norum, T., Boka om konsten, Oslo (1942).
- Pieri, G., The Influence of Pre-Raphaelitism on ‘Fin de siècle’ Italy, Maney, Leeds (2007).
- Cennini, C., II Libro dell'Arte, ed. R. Simi, Carrabba, Lanciano (1913).
- Boyle-Turner, C., ‘Jan Verkade 1868-1946', in Nabis 1888-1900, ed. C. Freches-Thory and U. Perucchi-Petri, Prestel-Verlag, Munich (1993) 298–302.
- Verkade, Dom.W., Yesterdays of an Artist-Monk, tr. J.L. Stoddard, Kenedy, New York (1930).
- Chasse, C., The Nabis and their Period, tr. M. Bullock, Praeger, NewYork (1969).
- Kehrbaum, A., Die Nabis und die Beuroner Kunst, Georg Olms Verlag, Hildesheim (2006).
- Cennini, C., Des Cennino Gemini Handbiichlein der Kunst, tr. Dom. W. Verkade, Heitz, Strasbourg (1916).
- Kantor, S.G., Alfred H. Barr, Jr., and the Intellectual Origins of the Museum of Modern Art, MIT Press, Cambridge (2003).
- Thompson, D.V., typescript of a talk for the Courtauld Institute entided ‘Sources for the History of Medieval Craftsmanship’, 14 May 1934, The Berenson Archive, The Harvard University Center for Italian Renaissance Studies,Villa I Tatti, courtesy of the President and Fellows of Harvard College.
- Thompson, R.W. and Hamilton, G.H., De Arte Illuminandi, Yale University Press, New Haven (1933).
- Times Literary Supplement (20 October 1932).
- Thompson, D.V., Correspondence to E.W Forbes, Rome (26 February 1934) Harvard University Art Museum Archives, Cambridge, MA.
- Cennini, C., II libro dell'arte, ed. E Brunello, Neri Pozza, Vicenza (1971).
- Cennini, C., Ii libro dell'arte Cennino Cennini, ed. M. Serchi, LeMonnier, Florence (1991).
- Frezzato, E, Libro dell'arte di Cennino Cennini', Kermes 55 (2004) 39–44.
- Gramaccini, N., ‘Cennini Cennini e il suo Tinttato della Pittura', Res Publica Litterarum 10 (1987) 143–151.
- Ong,W., Orality and Literacy (1982), Roudedge, London (2005).
- Eamon,W., Science and the Secrets of Nature, Princeton University Press (1994).
- Cardon, D., ‘Ala decouverte d'un metier medieval’, Mélanges de l'Ecole francaise de Rome: Moyen-Age 3 (1999) 323–356.
- Baroni, S., ‘I ricettari medievale per le preparazione dei coloni e la lore trasmissione’, II Galore ne Medioevo, Istituto Storico Lucchese, Lucca (1996) 117–144.
- Najemy, J.,‘Guild republicanism in Trecento Florence', American History Review 84 (1979) 53–71.
- Schmidt, V.M., ‘Hypothesen zu Funktion und Publikum von Cenninis Libra dell'Arte’, 'Fantasie und Handwerk': Cennino Cennini und die tradition der toskanischen malerei von Giotto bis Lorenzo Monaco, ed. W-D. Löhr and S. Weppelmann, Hirmer, Berlin (2008) 147–151.
- Frezzato, F., ‘Wege der Forschung zu Cennino Cennini’, Pantasie und Handwerk': Cennino Cennini und die tradition der toskanischen malerei von Giotto bis Lorenzo Monaco, ed. W-D. Löhr and S. Weppelmann, Hirmer, Berlin (2008) 135–139.
- Tosatti, S., ‘Alcuni maestri sono che adesso’, Annali della Facoltà di Lettere e Filosofia dell' Universita degli Studi di Milano (ACME) 51 (1998) 65–72.
- Bolland, A., ‘Art and humanism in early Renaissance Padua’, Renaissance Quarterly 49 (1996) 469–487.
- Skaug, ES., 'More Cenniniana: technical notes on the origin and purpose of “11 libro dell'arte”, Arte Cristiana 98 (857) (2010) 81–88.
- Skaug, E., ‘Printers, punchers, gilders or goldbeaters? - A critical survey report of discussions in recent literature about early Italian painting’, Zeitschrift far Kunstgeschichte 71 (4) (2008) 571–582.
- Muller, N.E., ‘Three methods of modelling the Virgin's mantle in early Italian painting’, Journal of the American Institute of Conservation 17 (2) (1978) 10–18.
- Bomford, D., Dunkerton, J., Gordon D., Roy, A., and Kirby, J., Art in the Making: Italian painting before 1400, The National Gallery, London (1989).
- Bachmann, K-W., ‘The conservation and technique of the Herlin Altarpiece (1466)’, Studies in Conservation 15 (1970) 327–369.
- Weeks, C., The “Portail de la Mère Dieu” of Amiens Cathedral: its polychromy and conservation', Studies in Conservation 42 (1988) 101–108.
- Frezzato, E, personal communication.
- Kühn, H., ‘Lead-tin yellow’, in Artists Pigments. A Handbook of their History and Characteristics, Vol. 2, ed. A. Roy, Oxford University Press (1993) 83–111.
- Skaug, E., ‘Cenniniana: notes on Cennino Cennini and his treatise', Arte Cristiana 81 (1993) 15–22.
- Plesters, J., and Roy, A., ‘Materials and technique: Cennino Cennini's treatise illustrated’, in Gordon, D., Bomford, D., Plesters, J., and Roy, A., Nardi:, di Cione's ‘Altarpiece: Three Saints’, National Gallery Technical Bulletin 9 (1985) 21–37.
Reprints and Corporate Permissions
Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?
To request a reprint or corporate permissions for this article, please click on the relevant link below:
Academic Permissions
Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?
Obtain permissions instantly via Rightslink by clicking on the button below:
If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.
Related research
People also read lists articles that other readers of this article have read.
Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine.
Cited by lists all citing articles based on Crossref citations.
Articles with the Crossref icon will open in a new tab.