[1]
Adam, J.P. 2005. Roman building: materials and techniques. Routledge.
[2]
Andrew Stewart and A. F. S. 1978. The Canon of Polykleitos: A Question of Evidence. The Journal of Hellenic Studies. 98, (1978), 122–131.
[3]
Arscott, C. and Scott, K. 2000. Manifestations of Venus: art and sexuality. Manchester University Press.
[4]
Barkan, L. 1999. Unearthing the past: archaeology and aesthetics in the making of Renaissance culture. Yale University Press.
[5]
Basile, G. et al. 2002. Giotto: the frescoes of the Scrovegni Chapel in Padua. Skira.
[6]
Beard, M. and Henderson, J. 2001. Classical art: from Greece to Rome. Oxford University Press.
[7]
Belting, H. 1996. Likeness and presence: a history of the image before the era of art. University of Chicago Press.
[8]
Bober, P.P. et al. 1986. Renaissance artists & antique sculpture: a handbook of sources. Harvey Miller.
[9]
Camille, M. 1996. Gothic art: visions and revelations of the medieval world. Weidenfeld & Nicolson.
[10]
Campbell, S.J. and Cole, M.W. 2012. A new history of Italian Renaissance art. Thames & Hudson.
[11]
Charles-Edwards, T.M. 2003. After Rome. Oxford University Press.
[12]
Coldstream, N. 2002. Medieval architecture. Oxford University Press.
[13]
Colish, M.L. 1997. Medieval foundations of the Western intellectual tradition, 400-1400. Yale University Press.
[14]
Coulton, J.J. and Coulton, J.J. 1995. Ancient Greek architects at work: problems of structure and design.
[15]
Dale Kinney 1986. Spolia from the Baths of Caracalla in Sta. Maria in Trastevere. The Art Bulletin. 68, 3 (1986), 379–397.
[16]
Derbes, A. et al. 2004. The Cambridge companion to Giotto. Cambridge University Press.
[17]
Duffy, E. 1992. The stripping of the altars: traditional religion in England, c.1400-c.1580. Yale University Press.
[18]
Duffy, E. 2005. The stripping of the altars: traditional religion in England, c.1400-c.1580. Yale University Press.
[19]
E. H. Gombrich 1945. Botticelli’s Mythologies: A Study in the Neoplatonic Symbolism of His Circle. Journal of the Warburg and Courtauld Institutes. 8, (1945), 7–60.
[20]
Elsner, J. 1995. Art and the Roman viewer: the transformation of art from the pagan world to Christianity. Cambridge University Press.
[21]
Elsner, J. 1998. Imperial Rome and Christian triumph: the art of the Roman Empire, AD 100-450. Oxford University Press.
[22]
Farmer, D.H. 2011. The Oxford dictionary of saints. Oxford University Press.
[23]
Ferguson, G. 1966. Signs and symbols in Christian art. Oxford University Press.
[24]
Finaldi, G. et al. 2000. The image of Christ. National Gallery.
[25]
Freedman, L. 2003. The revival of the Olympian Gods in Renaissance art. Cambridge University Press.
[26]
Frugoni, C. 2005. Gli affreschi della Cappella Scrovegni a Padova. Einaudi.
[27]
Gardner, H. et al. 1996. Gardner’s art through the ages. Harcourt Brace College Publishers.
[28]
Gombrich, E.H. 1966. Norm and form: studies in the art of the Renaissance. Phaidon Press.
[29]
Greenhalgh, M. 1989. The survival of Roman antiquities in the Middle Ages. Duckworth.
[30]
Hall, J. 1979. Dictionary of subjects and symbols in art. Murray.
[31]
Haskell, F. and Penny, N. 1981. Taste and the antique: the lure of classical sculpture 1500-1900. Yale University Press.
[32]
Henig, M. and University of Oxford. Committee for Archaeology 1990. Architecture and architectural sculpture in the Roman Empire. Oxford University Committee for Archaeology.
[33]
Honour, H. and Fleming, J. 1982. A world history of art. Macmillan.
[34]
Hulse, C. 1990. The rule of art: literature and painting in the Renaissance. University of Chicago Press.
[35]
Irwin, D.G. 1997. Neoclassicism. Phaidon.
[36]
Jane Andrews Aiken 1980. Leon Battista Alberti’s System of Human Proportions. Journal of the Warburg and Courtauld Institutes. 43, (1980), 68–96.
[37]
Jensen, R.M. 2000. Understanding early Christian art. Routledge.
[38]
Kaftal, G. 1952. Iconography of the saints in Tuscan painting. Sansoni.
[39]
Kaftal, G. and Bisogni, F. 1978. Iconography of the saints in the painting of north east Italy. Sansoni.
[40]
Kathleen Wren Christian 2004. Raphael’s ‘Philemon’ and the Collecting of Antiquities in Rome. The Burlington Magazine. 146, 1220 (2004), 760–763.
[41]
Kemp, M. 1997. Behind the picture: art and evidence in the Italian Renaissance. Yale University Press.
[42]
Kousser, R.M. 2008. Hellenistic and Roman ideal sculpture: the allure of the classical. Cambridge University Press.
[43]
Kousser, R.M. 2008. Hellenistic and Roman Ideal Sculpture: The Allure of the Classical. Cambridge University Press.
[44]
Lavin, I. and Pierpont Morgan Library 1980. Bernini and the unity of the visual arts. [Published for] Pierpont Morgan Library [by] Oxford University Press.
[45]
Lowden, J. 1997. Early Christian & Byzantine art. Phaidon.
[46]
Luba Freedman 1995. Neptune in Classical and Renaissance Visual Art. International Journal of the Classical Tradition. 2, 2 (1995), 219–237.
[47]
Luebke, D.M. 1999. The Counter-Reformation: the essential readings. Blackwell.
[48]
Malafarina, G. and Bertazzo, F. 2005. La Cappella degli Scrovegni a Padova =: The Scrovegni Chapel in Padua. F.C. Panini.
[49]
Mallgrave, H.F. 2005. Architectural theory. Blackwell.
[50]
Martindale, A. and Mantegna, A. 1979. The Triumphs of Caesar by Andrea Mantegna in the collection of Her Majesty the Queen at Hampton Court. Harvey Miller.
[51]
Mayor, A.H. 1945. The Art of the Counter Reformation. The Metropolitan Museum of Art Bulletin. 4, 4 (Dec. 1945). https://doi.org/10.2307/3257265.
[52]
Métraux, G.P.R. 1995. Sculptors and physicians in fifth-century Greece: a preliminary study. McGill-Queen’s University Press.
[53]
Michael W. Kwakkelstein 2002. The Model’s Pose: Raphael’s Early Use of Antique and Italian Art. Artibus et Historiae. 23, 46 (2002), 37–60.
[54]
Moon, W.G. 1995. Polykleitos, the Doryphoros and tradition. University of Wisconsin Press.
[55]
Moon, W.G. 1995. Polykleitos, the Doryphoros and tradition. University of Wisconsin Press.
[56]
Morford, M.P.O. and Lenardon, R.J. 1995. Classical mythology. Longman.
[57]
Murray, P. 1986. The architecture of the Italian Renaissance. Schocken Books.
[58]
Nasrallah, L.S. 2010. Christian responses to Roman art and architecture: the second-century church amid the spaces of empire. Cambridge University Press.
[59]
Neils, J. 2005. The Parthenon: from antiquity to the present. Cambridge University Press.
[60]
Onians, J. 1988. Bearers of meaning: the classical orders in antiquity, the Middle Ages, and the Renaissance. Princeton University Press.
[61]
Palagia, O. and Pollitt, J.J. 1996. Personal styles in Greek sculpture. Cambridge University Press.
[62]
Panofsky, E. 1955. Meaning in the visual arts: papers in and on art history. Doubleday.
[63]
Paoletti, J.T. and Radke, G.M. 1997. Art in Renaissance Italy. Laurence King.
[64]
Pevsner, N. 1990. An outline of European architecture. Penguin Books.
[65]
Prettejohn, E. 2012. The modernity of ancient sculpture: Greek sculpture and modern art from Winckelmann to Picasso. I.B. Tauris.
[66]
Reichardt, R. and Kohle, H. 2008. Visualizing the Revolution: politics and the pictorial arts in late eighteenth-century France. Reaktion.
[67]
Reichardt, R. and Kohle, H. Visualizing the revolution: politics and the pictorial arts in late eighteenth-century France.
[68]
Richter, G.M.A. et al. 1970. Kouroi: archaic Greek youths : a study of the development of the Kouros type in Greek sculpture. Phaidon.
[69]
Richter, G.M.A. 1970. The sculpture and sculptors of the Greeks. Yale University Press.
[70]
Roberts, J.W. 2005. The Oxford dictionary of the classical world. Oxford University Press.
[71]
Roberts, W. 1989. Jacques-Louis David, revolutionary artist: art, politics and the French Revolution. University of North Carolina Press.
[72]
Robertson, D.S. and Robertson, D.S. 1969. Greek & Roman architecture. Cambridge University Press.
[73]
Rowland, I.D. et al. 1999. The place of the antique in early modern Europe. David and Alfred Smart Museum of Art.
[74]
Rudolf Wittkower 1939. Transformations of Minerva in Renaissance Imagery. Journal of the Warburg Institute. 2, 3 (1939), 194–205.
[75]
Ryan, W.G. and Jacobus 1993. The Golden legend: readings on the saints. Princeton University Press.
[76]
Sears, E. et al. 2002. Reading medieval images: the art historian and the object. University of Michigan Press.
[77]
Seznec, J. 1961. The survival of the pagan gods: the mythological tradition and its place in Renaissance humanism and art. Harper and Brothers.
[78]
Spivey, N.J. 1996. Understanding Greek sculpture: ancient meanings, modern readings. Thames & Hudson.
[79]
Stalley, R.A. 1999. Early medieval architecture. Oxford University Press.
[80]
Stewart, A.F. 1997. Art, desire and the body in ancient Greece. Cambridge University Press.
[81]
Stewart, A.F. 1990. Greek sculpture: an exploration. Yale University Press.
[82]
Stubblebine, J.H. 1969. GIOTTO THE ARENA CHAPEL FRESCOES.
[83]
Summerson, J. 1980. The classical language of architecture. Thames and Hudson.
[84]
Susanne Warma 1984. Ecstasy and Vision: Two Concepts Connected with Bernini’s Teresa. The Art Bulletin. 66, 3 (1984), 508–511.
[85]
Vasari, G. et al. 1991. The lives of the artists. Oxford University Press.
[86]
Verdon, T. and Henderson, J. 1990. Christianity and the Renaissance: image and religious imagination in the Quattrocento. Syracuse University Press.
[87]
Vermeule, C.C. 1964. European art and the classical past. Harvard University Press.
[88]
Warburg, A. and Getty Research Institute for the History of Art and the Humanities 1999. The renewal of pagan antiquity: contributions to the cultural history of the European Renaissance. Getty Research Institute for the History of Art and the Humanities.
[89]
Watkin, D. 2000. A history of western architecture. Laurence King.
[90]
Weiss, R. 1969. The Renaissance discovery of classical antiquity. Blackwell.
[91]
Weiss, R. 1988. The Renaissance discovery of classical antiquity. Basil Blackwell.
[92]
Welch, E.S. and Welch, E.S. 1997. Art in Renaissance Italy, 1350-1500. Oxford University Press.
[93]
Wilson-Smith, T. 1996. Napoleon and his artists. Constable.
[94]
Wittkower, R. 1988. Architectural principles in the age of humanism. Academy.
[95]
31 AD. The Christian World of the Middle Ages. The History Press Ireland.