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1

Olson, Roberta J. M. The Florentine tondo. Oxford University Press, 2000.

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2

Francesco, Solinas, Bartoli Roberta, and Contini Roberto, eds. The Frescobaldi: A Florentine family. Le lettere, 2004.

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3

Franco, Borsi. Firenze del Cinquecento. 2nd ed. Editalia, 1993.

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4

Licia, Bertani, ed. The Horne museum: A Florentine house of the Renaissance. Edizioni della Meridiana, 2001.

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5

David, Alexander, and Sakıp Sabancı Müzesi, eds. From the Medicis to the Savoias: Ottoman splendour in Florentine collections. Sabanci University, Sakip Sabanci Müzesi, 2003.

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6

Ladislav, Daniel, Valdštejnská jízdárna, Muzeum umění Olomouc, and Galerie výtvarného umění v Chebu., eds. The Florentines: Art from the time of the Medici grand dukes. Národní galerie v Praze, 2002.

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7

Library, Bridgeman Art, ed. The art of Florentine drawings: A compilation of works from the Bridgeman Art Library. Parragon, 1996.

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8

Licia, Bertani, and Museo Horne (Florence Italy), eds. The Horne Museum: A Florentine house of the renaissance. Meridiana, 2001.

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9

Florentine, Mütherich, Bierbrauer Katharina, Klein Peter K, and Sauerländer Willibald, eds. Studien zur mittelalterlichen Kunst 800-1250: Festschrift für Florentine Mütherich zum 70. Geburtstag. Prestel-Verlag, 1985.

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10

Dow, Douglas N. Bernardino Poccetti and the Art of Religious Painting at the End of the Florentine Renaissance. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729529.

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By almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked. This study situates representative examples of his religious painting within their respective contexts to demonstrate how Poccetti and his patrons negotiated the increasingly fraught terrain of sacred painting in the period of religious reform. These case studies demonstrate how patrons ranging from the Dominicans to the Carthusians to prominent Florentine patricians relied on Poccetti’s skill in creating com
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11

Library, Berenson, ed. The Drawings of the Florentine painters by Bernard Berenson: An online catalogue. Villa i Tatti, 2017.

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12

Kent, D. V. Cosimo de' Medici and the Florentine Renaissance: The patron's oeuvre. Yale University Press, 2000.

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13

Antal, Frederick. Florentine painting andits social background: The bourgeois republic before Cosimo de' Medici's advent to power, XIV and early XV centuries. Belknap Press of Harvard University Press, 1986.

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14

Linda, Pellecchia, and Pellecchia Linda, eds. Gondi: Una dinastia fiorentina e il suo palazzo = a Florentine dynasty and its palazzo. Edizioini Polistampa, 2013.

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15

Belli, Eleonora. Madonne Bardini: I rilievi mariani del secondo Quattrocento fiorentino = Madonna reliefs from the Second Half of the Florentine Quattrocento. Centro Di, 2017.

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16

Sanders, Elma Barnes. Realism in Florentine painting, 1400 to 1465 [microform]: Practice and theory. University Microfilms International, 1985.

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17

1442-1497, Benedetto da Maiano, ed. Benedetto da Maiano: A Florentine sculptor at the threshold of the high Renaissance. Brepols, 2006.

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18

New York. Italian paintings: A catalogue of the collection of the Metropolitan Museum of Art, North Italian school. The Museum, 1986.

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19

David, Skipsey, ed. Fra Angelico: Fra Angelico and early Florentine Renaissance painting in the John G. Johnson Collection at the Philadelphia Museum of Art. Philadelphia Museum of Art, 1993.

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20

Prajda, Katalin. Network and Migration in Early Renaissance Florence, 1378-1433. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462988682.

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This book explores the co-development of political, social, economic, and artistic networks of Florentines in the Kingdom of Hungary during the reign of Sigismund of Luxembourg. Analyzing the social network of these politicians, merchants, artisans, royal officers, dignitaries of the Church, and noblemen is the primary objective of this book. The study addresses both descriptively the patterns of connectivity and causally the impacts of this complex network on cultural exchanges of various types, among these migration, commerce, diplomacy, and artistic exchange. In the setting of a case study,
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21

Zintzen, Clemens. Grundlagen und Eigenarten des Florentiner Humanismus. Akademie der Wissenschaften und der Literatur, 1989.

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22

Friedmann, Susanne. Ein Kuss für David: Florentiner Flirts. Picus, 1998.

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23

Betti, Marco, and Carlotta Paola Brovadan, eds. Donum. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.

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The essays collected in Donum discuss different aspects of Florentine art from the 16th to the 18th century, such as sculptures displayed in gardens and palaces, the collecting preferences and strategies of the Medici family and those of the Tuscan aristocracy, drawings and paintings by local and foreign artists, and baroque wall decoration: these topics are analyzed in light of newly discovered artworks or previously unpublished documents. The common thread binding the papers together is the research method based on the study of archival sources and historical contexts, and on the connoisseur
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24

1955-, Borchhardt-Birbaumer Brigitte, ed. Wiener Tanz: Skizzenblätter 1956-1964. [s.n.], 2007.

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25

Clemente, Edilberto Huertas. Vida y obra de Florentino Jiménez Toma. Centro de Desarrollo Agropecuario, 1987.

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26

Ballestracci, Sabrina, Claudia Buffagni, and Carolina Flinz. Das deutsche LBC-Korpus (Lessico dei Beni Culturali). Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0311-1.

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The lemma gathers the essential entries in the field of artistic goods and includes place names and personal names strictly connected to Italian and Florentine art. It is a reference work, of great interest also for researchers of specialized vocabulary and extremely useful for translators and cultural operators. The corpus used contains over a million words and constitutes, along with comparable corpora in French, German, Russian, English, and Spanish, the General LBC Corpus http://corpora.lessicobeniculturali.net. It is composed of texts of different types and genres from the Renaissance to
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27

Natali, Ilaria. The LBC (Lessico dei Beni Culturali) English Corpus. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0307-4.

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The lemma gathers the essential entries in the field of artistic goods and includes place names and personal names strictly connected to Italian and Florentine art. It is a reference work, of great interest also for researchers of specialized vocabulary and extremely useful for translators and cultural operators. The corpus used contains over a million words and constitutes, along with comparable corpora in French, German, Russian, English, and Spanish, the General LBC Corpus http://corpora.lessicobeniculturali.net. It is composed of texts of different types and genres from the Renaissance to
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28

Lanini, Ludovica. Corpus LBC (Lessico dei Beni Culturali) Italiano. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0305-0.

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The lemma gathers the essential entries in the field of artistic goods and includes place names and personal names strictly connected to Italian and Florentine art. It is a reference work, of great interest also for researchers of specialized vocabulary and extremely useful for translators and cultural operators. The corpus used contains over a million words and constitutes, along with comparable corpora in French, German, Russian, English, and Spanish, the General LBC Corpus http://corpora.lessicobeniculturali.net. It is composed of texts of different types and genres from the Renaissance to
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29

Carpi, Elena, and Ana Pano Alamán. Corpus LBC (Lessico dei Beni Culturali) Español. Firenze University Press, 2024. http://dx.doi.org/10.36253/978-88-5518-035-1.

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The lemma gathers the essential entries in the field of artistic goods and includes place names and personal names strictly connected to Italian and Florentine art. It is a reference work, of great interest also for researchers of specialized vocabulary and extremely useful for translators and cultural operators. The corpus used contains over a million words and constitutes, along with comparable corpora in French, German, Russian, English, and Spanish, the General LBC Corpus http://corpora.lessicobeniculturali.net. It is composed of texts of different types and genres from the Renaissance to
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30

Farina, Annick. Corpus LBC (Lessico dei Beni Culturali) Français. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0309-8.

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The lemma gathers the essential entries in the field of artistic goods and includes place names and personal names strictly connected to Italian and Florentine art. It is a reference work, of great interest also for researchers of specialized vocabulary and extremely useful for translators and cultural operators. The corpus used contains over a million words and constitutes, along with comparable corpora in French, German, Russian, English, and Spanish, the General LBC Corpus http://corpora.lessicobeniculturali.net. It is composed of texts of different types and genres from the Renaissance to
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31

Rossi, Valentina, та Natalia Žukova. Русский корпус «Лексика культурного наследия» (LBC). Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0313-5.

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The lemma gathers the essential entries in the field of artistic goods and includes place names and personal names strictly connected to Italian and Florentine art. It is a reference work, of great interest also for researchers of specialized vocabulary and extremely useful for translators and cultural operators. The corpus used contains over a million words and constitutes, along with comparable corpora in French, German, Russian, English, and Spanish, the General LBC Corpus http://corpora.lessicobeniculturali.net. It is composed of texts of different types and genres from the Renaissance to
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32

Max, Kunze, ed. Il manoscritto fiorentino di J.J. Winckelmann =: Das Florentiner Winckelmann-Manuskript. L.S. Olschki, 1994.

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33

Smarandache, Florentin. Experimental paradoxist linguistics: Florentin's lexicon. InfoLearn Quest, 2008.

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34

Smarandache, Florentin. Experimental paradoxist linguistics: Florentin's lexicon. InfoLearn Quest, 2008.

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35

Innocenti, Bruno. Bruno Innocenti: Scultore fiorentino del XX secolo = sculpteur florentin du XXème siècle. Selective art, 2005.

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36

Mary in Florentine Art. Mandragora, 2005.

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37

Swinglehurst, Edmund. Art of Florentine Drawings, the. Parragon Publishing, 1998.

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38

Taylor, Rachel Annand. Leonardo the Florentine: A Study in Personality. Kessinger Publishing, 2003.

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39

Antal, Frederick. Florentine Painting and Its Social Background. Harvard University Press, 1986.

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40

Florentine Painting And Its Social Background. Reprint Services Corp, 1999.

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41

Antal, Frederick. Florentine Painting and Its Social Background. Harvard University Press, 2013.

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42

Art, History and Architecture of Florentine Churches. Cambridge Scholars Publisher, 2016.

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43

Florentine Drawing (The Life and Works Art Series). Smithmark Publishers, 1996.

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44

Pontormo, Bronzino, Allori: A genealogy of Florentine art. Yale University Press, 2001.

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45

Pietre dure and the art of Florentine inlay. Thames & Hudson, 2006.

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46

The Anglo-Florentine Renaissance: Art for the early Tudors. Yale Center for British Art and The Paul Mellon Centre for Studies in British Art, 2012.

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47

Pilliod, Elizabeth. Pontormo, Bronzino, and Allori: A Geneaology of Florentine Art. Yale University Press, 2001.

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48

Art, marriage, and family in the Florentine renaissance palace. Yale University Press, 2008.

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49

Apostolic Iconography and Florentine Confraternities in the Age of Reform. Taylor & Francis Group, 2014.

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50

Dow, Douglas N. Apostolic Iconography and Florentine Confraternities in the Age of Reform. Taylor & Francis Group, 2017.

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