1 Patrons and Their Projects: Connecting Choir Stalls
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Allen, J., “Choir Stalls in Venice and Northern Italy: Furniture, Ritual and Space in the Renaissance Church Interior”, Ph.D. Thesis, University of Warwick, 2009.
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Allen, J., “The San Zaccaria Choir in Context”, in B. Aikema, M. Mancini, P. Modesti (eds.), “In centro et oculis urbis nostre”. La chiesa e il monastero di San Zaccaria, Venice, Marcianum Press, 2016, pp. 153–175.
Allen, J., “2. Contract and payment receipts for the choir stalls of the San Zaccaria nuns, 1455–1464”, in B. Aikema, M. Mancini and P. Modesti (eds.), “In centro et oculis urbis nostre”. La chiesa e il monastero di San Zaccaria, Venice, Marcianum Press, 2016, pp. 335–340.
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Bonfiglio-Dosio, G., “L’archivio della Veneranda Arca di Sant’Antonio”, Documenta & Instrumenta, 18, 2020, pp. 41–73 [website], 2020, https://doi.org/10.5209/docu.68782 (accessed 22 December 2024).
Bourdua, L., “‘Stand by your man’: Caterina Lupi, Wife of Bonifacio. Artistic Patronage Beyond the Death Bed in Late Medieval Padua”, in M. Knapton and J. Law (eds.), Venice and the Veneto during the Renaissance. The Legacy of Benjamin Kohl, Florence, Florence University Press and Reti Medievali E-book, 21, 2014, pp. 405–428.
Bourdua, L., “Le dinamiche della committenza artistica al Santo e il ruolo dei francescani”, in G. Zampieri and L. Bertazzo (eds.), La Pontificia Basilica di Sant’Antonio in Padova. Archeologia Storia Arte Musica, 3 vols, Rome, L’Erma di Bretschneider, 2021, vol. 1, pp. 509–541.
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Bugini, E., “La successione e l’estinzione del messaggio di fra’ Giovanni da Verona: le tre tarsie di Vincenzo Dalle Vacche per San Benedetto Novello a Padova”, Saggi e Memorie di Storia dell’Arte, 34, 2010, pp. 7–54.
Bugini, E., “Preziose cifre di patavinitas nel capo d’opera d’un legnaiolo veronese del Rinascimento”, Arte Cristiana, 98, 2010, pp. 455–464.
Buttà, L., “Nicolau Pujades, il coro ligneo della Cattedrale di Palermo e alcune riflessioni sul viaggio di opere e artisti catalani in Sicilia”, in M.R. Terès Tomás (ed.), Capitula facta et firmata. Inquetuds artìstiques en el quatre-cents, Cossetània, Valls 2011, pp. 437–460.
Campbell, S., The Cabinet of Eros: Renaissance mythological painting and the Studiolo of Isabella d’Este, New Haven and London, Yale University Press, 2004.
Cannon, J., Religious Poverty, Visual Riches: Art in the Dominican Churches of Central Italy in the Thirteenth and Fourteenth Centuries, New Haven and London, Yale University Press, 2013.
Caskey, J., “Medieval Patronage & its Potentialities”, in C. Hourihane (ed.), Patronage, Power and Agency in Medieval Art, University Park, Pa., Penn State University Press, 2013, pp. 3–30.
Coomans, T., “From Flanders to Scotland: The Choir Stalls of Melrose Abbey in the Fifteenth Century”, in T.N. Kinder (ed.), Perspectives for an Architecture of Solitude. Essays on Cistercians, Art and Architecture in Honour of Peter Fergusson, Medieval Church Studies 11 & Studia e Documenta 13, Turnhout, Brepols, 2004, pp. 235–252.
Cooper, T., “Mecenatismo or Clientelismo: The Character of Renaissance Patronage”, in D. Wilkins and R. Wilkins (eds.), The Search for a Patron in the Middle Ages and the Renaissance, Lewiston, NY, The Edwin Mellen Press, 1996, pp. 19–32.
Ericani, G., “Presbiterio e navata, pareti nord e sud. Coro ligneo (1303)”, in D. Banzato et al. (eds.), La Cappella degli Scrovegni a Padova, Mirabilia Italiae no. 13, 2 vols, Modena, Franco Cosimo Panini, 2005, vol. 2, pp. 254–257.
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Hope, C., “Artists, Patrons, and Advisers in the Italian Renaissance”, in G. Fitch Lytle and S. Orgel (eds.), Patronage in the Renaissance, Princeton, NJ, Princeton University Press, 1982, pp. 293–343.
Krohn, D.L., “Onofrio di Pietro and the ‘Opera della Pieve’ in San Gimignano”, in M. Haines and L. Riccetti (eds.), Opera. Carattere e ruolo delle fabbriche cittadine fino all’inizio dell’Età Moderna, Atti della Tavola Rotonda, Villa I Tatti, Firenze, 3 aprile 1991, Florence, Olschki, 1996, pp. 345–370.
Mancini, G., “Recovering the Lost Context of the Roverella Altarpiece by Cosmè Tura. The Olivetan Church of San Giorgio Fuori le Mura in Ferrara”, Ph.D. Thesis, University of Cambridge, 2019.
Mantovani, G.P., “Guariento nei documenti”, in D. Banzato, F. Flores d’Arcais and A.M. Spiazzi (eds.), Guariento, Venice, Marsilio, 2011, pp. 87–93.
Markham Schulz, A., “The choirstalls in the Venetian church of S. Stefano and related works by Leonardo Scalamanzo”, The Burlington Magazine, vol. 150, no. 1267, 2008, pp. 656–663.
Martin, T., “Exceptions and Assumptions: Women in Medieval Art History”, in T. Martin (ed.), Reassessing the Roles of Women as “Makers” of Medieval Art and Architecture, 2 vols, Leiden, Brill, 2012, vol. 1, pp. 1–33.
Mascheretti, L., “Fra Damiano Zambelli intarsiatore a Bergamo. ‘Li banchi de tarsia’ per i Domenicani di Santo Stefano”, Arte Lombarda, 182–183, 2018, pp. 20–34.
Modesti, P., “I cori nelle chiese Veneziane e la Visita Apostolica del 1581: il ‘Barco’ di Santa Maria della Carità”, Arte Veneta, vol. 59, 2002, pp. 39–66.
Napione, E. and D. Gallo, “Benedetto XI e la Cappella Scrovegni”, in M. Benedetti (ed.), Benedetto XI, frate predicatore e papa, Milan, Biblioteca francescana, 2007, pp. 95–121.
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