1.
Farmer DH. The Oxford dictionary of saints [Internet]. 5th ed., rev. Oxford: Oxford University Press; 2011. Available from: http://0-www.oxfordreference.com.pugwash.lib.warwick.ac.uk/view/10.1093/acref/9780199596607.001.0001/acref-9780199596607
2.
Ferguson G. Signs and symbols in Christian art. London: Oxford University Press; 1966.
3.
Hall J. Dictionary of subjects and symbols in art. Rev. ed. London: Murray; 1979.
4.
Honour H, Fleming J. A world history of art. London: Macmillan; 1982.
5.
Ryan WG, Jacobus. The Golden legend: readings on the saints. New ed. Princeton, NJ: Princeton University Press; 1993.
6.
Kaftal G, Bisogni F. Iconography of the saints in the painting of north east Italy. Vol. Saints in Italian art. Florence: Sansoni; 1978.
7.
Kaftal G. Iconography of the saints in Tuscan painting. Vol. Saints in Italian art. Florence: Sansoni; 1952.
8.
Morford MPO, Lenardon RJ. Classical mythology. Fifth edition. White Plains, N.Y.: Longman; 1995.
9.
Roberts JW. The Oxford dictionary of the classical world [Internet]. [Oxford]: Oxford University Press; 2005. Available from: http://0-www.oxfordreference.com.pugwash.lib.warwick.ac.uk/view/10.1093/acref/9780192801463.001.0001/acref-9780192801463
10.
Gardner H, Tansey RG, Kleiner FS. Gardner’s art through the ages. 10th ed. Fort Worth: Harcourt Brace College Publishers; 1996.
11.
Vasari G, Bondanella JC, Bondanella PE. The lives of the artists. Vol. The world’s classics. Oxford: Oxford University Press; 1991.
12.
Jane Andrews Aiken. Leon Battista Alberti’s System of Human Proportions. Journal of the Warburg and Courtauld Institutes [Internet]. 1980;43:68–96. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/751189?seq=1#page_scan_tab_contents
13.
Métraux GPR. Sculptors and physicians in fifth-century Greece: a preliminary study. Montreal: McGill-Queen’s University Press; 1995.
14.
Panofsky E. Meaning in the visual arts: papers in and on art history. Vol. Doubleday anchor books. Garden City, N.Y.: Doubleday; 1955.
15.
Moon WG. Polykleitos, the Doryphoros and tradition. Vol. Wisconsin studies in classics. Madison: University of Wisconsin Press; 1995.
16.
Andrew Stewart and A. F. S. The Canon of Polykleitos: A Question of Evidence. The Journal of Hellenic Studies [Internet]. 1978;98:122–31. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/630196?seq=1#page_scan_tab_contents
17.
Stewart AF. Art, desire and the body in ancient Greece. Cambridge: Cambridge University Press; 1997.
18.
Beard M, Henderson J. Classical art: from Greece to Rome. Vol. Oxford history of art. Oxford: Oxford University Press; 2001.
19.
Kousser RM. Hellenistic and Roman ideal sculpture: the allure of the classical. Cambridge: Cambridge University Press; 2008.
20.
Kousser RM. Hellenistic and Roman Ideal Sculpture: The Allure of the Classical [Internet]. Cambridge: Cambridge University Press; 2008. Available from: http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.1017/CBO9781107298262
21.
Moon WG. Polykleitos, the Doryphoros and tradition. Vol. Wisconsin studies in classics. Madison: University of Wisconsin Press; 1995.
22.
Neils J. The Parthenon: from antiquity to the present. Cambridge: Cambridge University Press; 2005.
23.
Palagia O, Pollitt JJ. Personal styles in Greek sculpture. Vol. Yale classical studies. Cambridge: Cambridge University Press; 1996.
24.
Richter GMA, Richter IA, Young GM. Kouroi: archaic Greek youths : a study of the development of the Kouros type in Greek sculpture. 3rd ed. London: Phaidon; 1970.
25.
Richter GMA. The sculpture and sculptors of the Greeks. 4th ed, newly rev. New Haven: Yale University Press; 1970.
26.
Spivey NJ. Understanding Greek sculpture: ancient meanings, modern readings. London: Thames & Hudson; 1996.
27.
Stewart AF. Greek sculpture: an exploration. New Haven: Yale University Press; 1990.
28.
Adam JP. Roman building: materials and techniques. London: Routledge; 2005.
29.
Coldstream N. Medieval architecture. Vol. Oxford history of art. Oxford: Oxford University Press; 2002.
30.
Coulton JJ, Coulton JJ. Ancient Greek architects at work: problems of structure and design. Oxford; 1995.
31.
Henig M, University of Oxford. Committee for Archaeology. Architecture and architectural sculpture in the Roman Empire. Vol. Monograph / Oxford University Committee for Archaeology. Oxford: Oxford University Committee for Archaeology; 1990.
32.
Mallgrave HF. Architectural theory. Malden, MA: Blackwell; 2005.
33.
Murray P. The architecture of the Italian Renaissance. New rev. ed. New York: Schocken Books; 1986.
34.
Onians J. Bearers of meaning: the classical orders in antiquity, the Middle Ages, and the Renaissance. Princeton, N.J.: Princeton University Press; 1988.
35.
Pevsner N. An outline of European architecture. 7th ed. Vol. Penguin art and architecture. London: Penguin Books; 1990.
36.
Robertson DS, Robertson DS. Greek & Roman architecture. 2nd ed. reprinted. Cambridge: Cambridge University Press; 1969.
37.
Stalley RA. Early medieval architecture. Vol. Oxford history of art. Oxford: Oxford University Press; 1999.
38.
Summerson J. The classical language of architecture. (Revised and enlarged ed.). Vol. World of art. London: Thames and Hudson; 1980.
39.
Watkin D. A history of western architecture. 3rd ed. London: Laurence King; 2000.
40.
Wittkower R. Architectural principles in the age of humanism. 4th ed. London: Academy; 1988.
41.
Belting H. Likeness and presence: a history of the image before the era of art. Pbk. ed. Chicago: University of Chicago Press; 1996.
42.
Charles-Edwards TM. After Rome. Vol. The short Oxford history of the British Isles. Oxford: Oxford University Press; 2003.
43.
Colish ML. Medieval foundations of the Western intellectual tradition, 400-1400. Vol. Yale intellectual history of the West. New Haven, Conn: Yale University Press; 1997.
44.
Elsner J. Art and the Roman viewer: the transformation of art from the pagan world to Christianity. Vol. Cambridge studies in new art history and criticism. Cambridge: Cambridge University Press; 1995.
45.
Elsner J. Imperial Rome and Christian triumph: the art of the Roman Empire, AD 100-450. Vol. Oxford history of art. Oxford: Oxford University Press; 1998.
46.
Dale Kinney. Spolia from the Baths of Caracalla in Sta. Maria in Trastevere. The Art Bulletin [Internet]. 1986;68(3):379–97. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3050973?seq=1#page_scan_tab_contents
47.
Nasrallah LS. Christian responses to Roman art and architecture: the second-century church amid the spaces of empire. Cambridge: Cambridge University Press; 2010.
48.
Basile G, Flores d’Arcais F, Rubino A, Giotto, Istituto centrale per il restauro (Italy). Giotto: the frescoes of the Scrovegni Chapel in Padua. 1st ed. Milan: Skira; 2002.
49.
Camille M. Gothic art: visions and revelations of the medieval world. Vol. Everyman art library. London: Weidenfeld & Nicolson; 1996.
50.
Derbes A, Sandona M, Giotto. The Cambridge companion to Giotto. Cambridge: Cambridge University Press; 2004.
51.
Duffy E. The stripping of the altars: traditional religion in England, c.1400-c.1580. New Haven, Conn: Yale University Press; 1992.
52.
Duffy E. The stripping of the altars: traditional religion in England, c.1400-c.1580. 2nd. ed. New Haven: Yale University Press; 2005.
53.
Finaldi G, Avery-Quash S, National Gallery (Great Britain), Seeing Salvation (Exhibition). The image of Christ. London: National Gallery; 2000.
54.
Malafarina G, Bertazzo F. La Cappella degli Scrovegni a Padova =: The Scrovegni Chapel in Padua. Vol. Mirabilia Italiae. Guide. Modena, Italy: F.C. Panini; 2005.
55.
Frugoni C. Gli affreschi della Cappella Scrovegni a Padova. Vol. ET. Saggi. Torino: Einaudi; 2005.
56.
The Christian World of the Middle Ages [Internet]. The History Press Ireland; 31 AD. Available from: http://www.amazon.co.uk/Christian-World-Middle-Ages-ebook/dp/B00BS02ZMW/ref=sr_1_1?ie=UTF8&qid=1455036719&sr=8-1&keywords=+The+Christian+World+of+the+Middle+Ages
57.
Jensen RM. Understanding early Christian art. London: Routledge; 2000.
58.
Lowden J. Early Christian & Byzantine art. Vol. Art&ideas. London: Phaidon; 1997.
59.
Sears E, Thomas TK, Forsyth IH. Reading medieval images: the art historian and the object. Ann Arbor, MI: University of Michigan Press; 2002.
60.
Stubblebine JH. GIOTTO THE ARENA CHAPEL FRESCOES. 1969.
61.
Barkan L. Unearthing the past: archaeology and aesthetics in the making of Renaissance culture. New Haven, [Conn.]: Yale University Press; 1999.
62.
Bober PP, Rubinstein R, Woodford S. Renaissance artists & antique sculpture: a handbook of sources. London: Harvey Miller; 1986.
63.
Luba Freedman. Neptune in Classical and Renaissance Visual Art. International Journal of the Classical Tradition [Internet]. 1995;2(2):219–37. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/30222202?seq=1#page_scan_tab_contents
64.
Freedman L. The revival of the Olympian Gods in Renaissance art. Cambridge: Cambridge University Press; 2003.
65.
E. H. Gombrich. Botticelli’s Mythologies: A Study in the Neoplatonic Symbolism of His Circle. Journal of the Warburg and Courtauld Institutes [Internet]. 1945;8:7–60. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/750165?seq=1#page_scan_tab_contents
66.
Gombrich EH. Norm and form: studies in the art of the Renaissance. Vol. Studies in the art of the Renaissance. London: Phaidon Press; 1966.
67.
Greenhalgh M. The survival of Roman antiquities in the Middle Ages. London: Duckworth; 1989.
68.
Haskell F, Penny N. Taste and the antique: the lure of classical sculpture 1500-1900. New Haven: Yale University Press; 1981.
69.
Michael W. Kwakkelstein. The Model’s Pose: Raphael’s Early Use of Antique and Italian Art. Artibus et Historiae [Internet]. 2002;23(46):37–60. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1483696?seq=1#page_scan_tab_contents
70.
Martindale A, Mantegna A. The Triumphs of Caesar by Andrea Mantegna in the collection of Her Majesty the Queen at Hampton Court. London: Harvey Miller; 1979.
71.
Prettejohn E. The modernity of ancient sculpture: Greek sculpture and modern art from Winckelmann to Picasso. Vol. New directions in classics. London: I.B. Tauris; 2012.
72.
Arscott C, Scott K. Manifestations of Venus: art and sexuality. Vol. The Barber Institute’s critical perspectives in art history series. Manchester: Manchester University Press; 2000.
73.
Seznec J. The survival of the pagan gods: the mythological tradition and its place in Renaissance humanism and art. New York: Harper and Brothers; 1961.
74.
Vermeule CC. European art and the classical past. Cambridge, Mass: Harvard University Press; 1964.
75.
Warburg A, Getty Research Institute for the History of Art and the Humanities. The renewal of pagan antiquity: contributions to the cultural history of the European Renaissance. Vol. Texts&documents. Los Angeles, Calif: Getty Research Institute for the History of Art and the Humanities; 1999.
76.
Weiss R. The Renaissance discovery of classical antiquity. Oxford: Blackwell; 1969.
77.
Weiss R. The Renaissance discovery of classical antiquity. 2nd ed. Oxford: Basil Blackwell; 1988.
78.
Kathleen Wren Christian. Raphael’s ‘Philemon’ and the Collecting of Antiquities in Rome. The Burlington Magazine [Internet]. 2004;146(1220):760–3. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20073751?seq=1#page_scan_tab_contents
79.
Rudolf Wittkower. Transformations of Minerva in Renaissance Imagery. Journal of the Warburg Institute [Internet]. 1939;2(3):194–205. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/750097?seq=1#page_scan_tab_contents
80.
Campbell SJ, Cole MW. A new history of Italian Renaissance art. London: Thames & Hudson; 2012.
81.
Hulse C. The rule of art: literature and painting in the Renaissance. Chicago: University of Chicago Press; 1990.
82.
Kemp M. Behind the picture: art and evidence in the Italian Renaissance. New Haven, Conn: Yale University Press; 1997.
83.
Paoletti JT, Radke GM. Art in Renaissance Italy. London: Laurence King; 1997.
84.
Verdon T, Henderson J. Christianity and the Renaissance: image and religious imagination in the Quattrocento. Syracuse, N.Y.: Syracuse University Press; 1990.
85.
Welch ES, Welch ES. Art in Renaissance Italy, 1350-1500. Vol. Oxford history of art. Oxford: Oxford University Press; 1997.
86.
Luebke DM. The Counter-Reformation: the essential readings. Vol. Blackwell essential readings in history. Malden, Mass: Blackwell; 1999.
87.
Mayor AH. The Art of the Counter Reformation. The Metropolitan Museum of Art Bulletin. 1945 Dec;4(4).
88.
Lavin I, Pierpont Morgan Library. Bernini and the unity of the visual arts. Vol. The Franklin Jasper Walls lectures. New York: [Published for] Pierpont Morgan Library [by] Oxford University Press; 1980.
89.
Susanne Warma. Ecstasy and Vision: Two Concepts Connected with Bernini’s Teresa. The Art Bulletin [Internet]. 1984;66(3):508–11. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3050453?seq=1#page_scan_tab_contents
90.
Irwin DG. Neoclassicism. Vol. Art&ideas. London: Phaidon; 1997.
91.
Reichardt R, Kohle H. Visualizing the Revolution: politics and the pictorial arts in late eighteenth-century France. Vol. Picturing history. London: Reaktion; 2008.
92.
Reichardt R, Kohle H. Visualizing the revolution: politics and the pictorial arts in late eighteenth-century France [Internet]. Vol. Picturing history. Available from: http://lib.myilibrary.com/browse/open.asp?id=227133&entityid=https://idp.warwick.ac.uk/idp/shibboleth
93.
Roberts W. Jacques-Louis David, revolutionary artist: art, politics and the French Revolution. Chapel Hill: University of North Carolina Press; 1989.
94.
Rowland ID, Hanson C, David and Alfred Smart Museum of Art. The place of the antique in early modern Europe. Chicago, Ill: David and Alfred Smart Museum of Art; 1999.
95.
Wilson-Smith T. Napoleon and his artists. London: Constable; 1996.