1
Katherine Park. Was There a Renaissance Body? The Italian Renaissance in the twentieth century: acts of an international conference, Florence, Villa I Tatti, June 9-11, 1999. Florence: Olschki 2002:321–5.
2
Julia L. Hairston, Walter Stephens. Introduction. The body in early modern Italy. Baltimore: Johns Hopkins University Press 2010:vii-x.
3
Hans Belting. Religion and Art: The Crisis of the Image at the Beginning of the Modern Age. Likeness and presence: a history of the image before the era of art. Chicago: University of Chicago Press 1994:458–90.
4
Megan, Holmes. Ex-Votos: Materiality, Memory, and Cult. The idol in the age of art: objects, devotions and the early modern world. Farnham: Ashgate 2009:159–81.
5
Daniela, Bohde. Skin and the Search for the Interior: The Representation of Flaying in the Art and Anatomy of the Cinquecento. Bodily extremities: preoccupations with the human body in early modern European culture. Aldershot: Ashgate 2003:10–47.
6
Katherine, Park. Holy Autopsies. The body in early modern Italy. Baltimore: Johns Hopkins University Press 2010:61–73.
7
Lorraine Daston, Katharine Park. Monsters: A Case Study. Wonders and the order of nature, 1150-1750. New York: Zone Books 1998:173–314.
8
Harcourt G. Andreas Vesalius and the Anatomy of Antique Sculpture. Representations. 1987;28–61.
9
Lorraine Daston, Katharine Park. The Topography of Wonder. Wonders and the order of nature, 1150-1750. New York: Zone Books 1998:21–60.
10
Ghadessi T. Lords and Monsters: Visible Emblems of Rule. I Tatti Studies in the Italian Renaissance. 2013;16:491–523. doi: 10.1086/673410
11
Bronwen, Wilson. The Renaissance Portrait: from resemblance to representation. The Renaissance world. New York: Routledge 2007:452–80.
12
Patricia, Simons. Portraiture portrayal and Idealization: Ambiguous Individualism in Representations of Renaissance Women. Language and images of Renaissance Italy. Oxford: Clarendon Press 1995:263–311.
13
Elizabeth A. Honig. Exchanges: Pieter Aertsen and the aesthetic of the market. Painting and the market in early modern Antwerp. New Haven, Conn: Yale University Press 1998:19–52.
14
McTighe S. Foods and the Body in Italian Genre Paintings, about 1580: Campi, Passarotti, Carracci. The Art Bulletin. 2004;86. doi: 10.2307/3177419
15
Frances Gage. For beautiful, healthy children. Painting as medicine in early modern Rome: Giulio Mancini and the efficacy of art. University Park, Pennsylvania: The Pennsylvania State University Press 2016:87–119.
16
Johnson GA. Touch, Tactility, and the Reception of Sculpture in Early Modern Italy. In: Smith P, Wilde C, eds. A Companion to Art Theory. Oxford, UK: Blackwell Publishing Ltd 2002:61–74.
17
Jacqueline Marie Musacchio. Lambs, Coral, Teeth, and the Intimate Intersection of Religion and Magic in Renaissance Italy. Images, relics, and devotional practices in medieval and Renaissance Italy. Tempe, Ariz: Arizona Center for Medieval and Renaissance Studies 2006:139–56.
18
O’Malley JW. The Sexuality of Christ in Renaissance Art and in Modern Obilivion: Postscript. October. 1983;25. doi: 10.2307/778638
19
Bette, Talvacchia,. Terms of Renaissance Discourse about the Erotic: Onesto and Disonesto. Taking positions: on the erotic in Renaissance culture. Princeton, N.J: Princeton University Press 1999:101–24.
20
Thomas, Laqueur. New Science, One Flesh. Making sex: body and gender from the Greeks to Freud. Cambridge, Mass: Harvard University Press 1990:63–113.
21
Bynum CW. The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg. Renaissance Quarterly. 1986;39:399–439.
22
Jill Burke. Sex and Spirituality in 1500s Rome: Sebastiano del Piombo’s ‘Martyrdom of Saint Agatha’. The Art Bulletin. 2006;88:482–95.
23
Burke J. Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude. Art History. 2013;36:714–39. doi: 10.1111/1467-8365.12029
24
Patrizia, Bettella. The Marked Body as Otherness in Renaissance Italian Culture. In: Kalof L, Bynum WF, eds. A Cultural History of the Human Body: In the Renaissance. London: Bloomsbury Academic 2014:149–81.
25
Victor Ieronim, Stoichiță. Two Images: The Painter/The Act of Painting. The self-aware image: an insight into early modern meta-painting. Cambridge: Cambridge University Press 1997:198–267.
26
Victor Ieronim, Stoichiță. Two images: the painter/the act of painting. In: Pericolo L, ed. The self-aware image: an insight into early modern metapainting. London: Harvey Miller Publishers 2015:228–89.
27
Pamela H. Smith. The Body of the Artisan. The body of the artisan: art and experience in the scientific revolution. University of Chicago Press 2004:95–128.
28
Fredrika H. Jacobs. (Pro)Creativity. Defining the Renaissance virtuosa: women artists and the language of art history and criticism. Cambridge: Cambridge University Press 1997:27–63.