Bette, Talvacchia, ‘Terms of Renaissance Discourse about the Erotic: Onesto and Disonesto’, in Taking Positions: On the Erotic in Renaissance Culture (Princeton, N.J: Princeton University Press, 1999), pp. 101–24 <https://contentstore.cla.co.uk/secure/link?id=6e7b5cc0-90f7-e711-80cd-005056af4099>
Bronwen, Wilson, ‘The Renaissance Portrait: From Resemblance to Representation’, in The Renaissance World (New York: Routledge, 2007), pp. 452–80 <https://www.routledgehandbooks.com/doi/10.4324/9780203401163.chTwenty-Three>
Burke, Jill, ‘Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude’, Art History, 36.4 (2013), 714–39 <https://doi.org/10.1111/1467-8365.12029>
Bynum, Caroline Walker, ‘The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg’, Renaissance Quarterly, 39.3 (1986), 399–439 <http://www.jstor.org/stable/2862038>
Daniela, Bohde, ‘Skin and the Search for the Interior: The Representation of Flaying in the Art and Anatomy of the Cinquecento’, in Bodily Extremities: Preoccupations with the Human Body in Early Modern European Culture (Aldershot: Ashgate, 2003), pp. 10–47 <https://contentstore.cla.co.uk/secure/link?id=70e1ee37-6449-e811-80cd-005056af4099>
Elizabeth A. Honig, ‘Exchanges: Pieter Aertsen and the Aesthetic of the Market’, in Painting and the Market in Early Modern Antwerp (New Haven, Conn: Yale University Press, 1998), pp. 19–52 <https://contentstore.cla.co.uk/secure/link?id=bca725ed-a0fa-e711-80cd-005056af4099>
Frances Gage, ‘For Beautiful, Healthy Children’, in Painting as Medicine in Early Modern Rome: Giulio Mancini and the Efficacy of Art (University Park, Pennsylvania: The Pennsylvania State University Press, 2016), pp. 87–119 <https://contentstore.cla.co.uk/secure/link?id=709327b3-f75f-e811-80cd-005056af4099>
Fredrika H. Jacobs, ‘(Pro)Creativity’, in Defining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism (Cambridge: Cambridge University Press, 1997), pp. 27–63 <https://contentstore.cla.co.uk/secure/link?id=f21258aa-8df7-e711-80cd-005056af4099>
Ghadessi, Touba, ‘Lords and Monsters: Visible Emblems of Rule’, I Tatti Studies in the Italian Renaissance, 16.1/2 (2013), 491–523 <https://doi.org/10.1086/673410>
Hans Belting, ‘Religion and Art: The Crisis of the Image at the Beginning of the Modern Age’, in Likeness and Presence: A History of the Image before the Era of Art (Chicago: University of Chicago Press, 1994), pp. 458–90 <https://contentstore.cla.co.uk/secure/link?id=324d0883-88f7-e711-80cd-005056af4099>
Harcourt, Glenn, ‘Andreas Vesalius and the Anatomy of Antique Sculpture’, Representations, 17, 1987, 28–61 <http://www.jstor.org/stable/3043792?seq=1#page_scan_tab_contents>
Jacqueline Marie Musacchio, ‘Lambs, Coral, Teeth, and the Intimate Intersection of Religion and Magic in Renaissance Italy’, in Images, Relics, and Devotional Practices in Medieval and Renaissance Italy (Tempe, Ariz: Arizona Center for Medieval and Renaissance Studies, 2006), v. 296, 139–56
Jill Burke, ‘Sex and Spirituality in 1500s Rome: Sebastiano Del Piombo’s “Martyrdom of Saint Agatha”’, The Art Bulletin, 88.3 (2006), 482–95 <http://www.jstor.org/stable/25067263?seq=1#page_scan_tab_contents>
Johnson, Geraldine A., ‘Touch, Tactility, and the Reception of Sculpture in Early Modern Italy’, in A Companion to Art Theory, ed. by Paul Smith and Carolyn Wilde (Oxford, UK: Blackwell Publishing Ltd, 2002), pp. 61–74 <https://doi.org/10.1002/9780470998434.ch6>
Julia L. Hairston, Walter Stephens, ‘Introduction’, in The Body in Early Modern Italy (Baltimore: Johns Hopkins University Press, 2010), p. vii-x. <https://contentstore.cla.co.uk/secure/link?id=da357147-a5fa-e711-80cd-005056af4099>
Katherine, Park, ‘Holy Autopsies’, in The Body in Early Modern Italy (Baltimore: Johns Hopkins University Press, 2010), pp. 61–73 <https://contentstore.cla.co.uk/secure/link?id=0bb503d7-ea4d-e811-80cd-005056af4099>
Katherine Park, ‘Was There a Renaissance Body?’, in The Italian Renaissance in the Twentieth Century: Acts of an International Conference, Florence, Villa I Tatti, June 9-11, 1999 (Florence: Olschki, 2002), xix, 321–25
Lorraine Daston and Katharine Park, ‘Monsters: A Case Study’, in Wonders and the Order of Nature, 1150-1750 (New York: Zone Books, 1998), pp. 173–314 <https://hdl.handle.net/2027/heb05324>
Lorraine Daston, Katharine Park, ‘The Topography of Wonder.’, in Wonders and the Order of Nature, 1150-1750 (New York: Zone Books, 1998), pp. 21–60 <https://hdl.handle.net/2027/heb05324>
McTighe, Sheila, ‘Foods and the Body in Italian Genre Paintings, about 1580: Campi, Passarotti, Carracci’, The Art Bulletin, 86.2 (2004) <https://doi.org/10.2307/3177419>
Megan, Holmes, ‘Ex-Votos: Materiality, Memory, and Cult’, in The Idol in the Age of Art: Objects, Devotions and the Early Modern World (Farnham: Ashgate, 2009), pp. 159–81 <https://contentstore.cla.co.uk/secure/link?id=50fc4e1d-8af7-e711-80cd-005056af4099>
O’Malley, John W., ‘The Sexuality of Christ in Renaissance Art and in Modern Obilivion: Postscript’, October, 25 (1983) <https://doi.org/10.2307/778638>
Pamela H. Smith, ‘The Body of the Artisan’, in The Body of the Artisan: Art and Experience in the Scientific Revolution (University of Chicago Press, 2004), pp. 95–128 <https://quod.lib.umich.edu/cgi/t/text/pageviewer-idx?c=acls;cc=acls;rgn=full%20text;idno=heb06680.0001.001;didno=heb06680.0001.001;view=image;seq=00000105;node=heb06680.0001.001%3A5.2>
Patricia, Simons, ‘Portraiture Portrayal and Idealization: Ambiguous Individualism in Representations of Renaissance Women’, in Language and Images of Renaissance Italy (Oxford: Clarendon Press, 1995), pp. 263–311 <https://contentstore.cla.co.uk/secure/link?id=1ecb0428-7ff7-e711-80cd-005056af4099>
Patrizia, Bettella, ‘The Marked Body as Otherness in Renaissance Italian Culture’, in A Cultural History of the Human Body: In the Renaissance, ed. by Linda Kalof and W. F. Bynum, Paperback edition (London: Bloomsbury Academic, 2014), volume 3, 149–81 <https://contentstore.cla.co.uk/secure/link?id=600bca6b-7a02-e811-80cd-005056af4099>
Thomas, Laqueur, ‘New Science, One Flesh’, in Making Sex: Body and Gender from the Greeks to Freud (Cambridge, Mass: Harvard University Press, 1990), pp. 63–113 <https://contentstore.cla.co.uk/secure/link?id=f24cbc16-99f7-e711-80cd-005056af4099>
Victor Ieronim, Stoichiță, ‘Two Images: The Painter/The Act of Painting’, in The Self-Aware Image: An Insight into Early Modern Meta-Painting (Cambridge: Cambridge University Press, 1997), pp. 198–267 <https://contentstore.cla.co.uk/secure/link?id=a0b3a08f-bdfa-e711-80cd-005056af4099>
———, ‘Two Images: The Painter/the Act of Painting’, in The Self-Aware Image: An Insight into Early Modern Metapainting, ed. by Lorenzo Pericolo, New, improved, and updated edition (London: Harvey Miller Publishers, 2015), pp. 228–89