Department of History of Art

1 DEPARTMENT OF HISTORY OF ART

SECOND YEAR 2005-06

PERIOD OUTLINE: FIFTEENTH CENTURY (ARTH 10 19568 and 18581)

COURSE INFORMATION

AIMS AND OBJECTIVES:

This particular course will cover Renaissance art in Northern Europe and Italy during the period c.1420-1500. It will look at developments in Italy, especially those in Florence and Venice, but it will focus in some detail on the art of the Netherlands, considering the innovations that occurred in art there and comparing them with those occurring at around the same time in Italian art. It will thus examine works in detail by the Italian ‘founders’ of the Renaissance, Donatello, Ghiberti and Masaccio, and compare their achievements with those of their Northern contemporaries Van Eyck and Rogier van der Weyden. It will also investigate specific connections between Northern and Italian art, as well as the varying conceptions of nature and realism, and of renaissance and revival; and it will consider too the ranges of styles on offer and the most characteristic forms of art works, such as altarpieces and portraits, as well as their differing religious and secular functions and the differing systems of patronage which led to their creation. It will then look at works by later artists, such as by Bellini, Botticelli and Leonardo da Vinci in Italy and by Bouts, Memling and Bosch in the North, exploring the new visions brought to art in the late fifteenth century and the changes in society that contributed to this artistic change.

LEARNING OUTCOMES: On successful completion of this module, participants should be able to: 1. Apply skills and knowledge gained in previous years to the art of the fifteenth century 2. Explain and critically evaluate the concepts studied and critical issues regarding them 3. See the history of art in a wider cultural context 4. Use appropriate IT resources for research

DELIVERY: One one-hour lecture per week, held at 9-10 am on Tuesdays in the Barber Institute Lecture Theatre. Attendance is compulsory.

ASSESSMENT: Level 2: Two assessed essays of 3,000 words each, subjects to be distributed in due course. Essay 1 (two copies) to be handed in to the Essay Box outside the Departmental Office by 5 pm on Friday 13 January 2006, complete with a declaration of authorship form. Essay 2 (two copies) to be handed in to the Essay Box outside the Departmental Office by 5 pm on Friday 28 April 2006, complete with a declaration of authorship form. Assessed essays are marked anonymously. To facilitate this, please do not write your name on the essay, but instead put your student registration number on the front page. They will be returned to you promptly to give you the opportunity to learn from comments and feedback. The marks at this stage are provisional only and should be regarded as indicators rather than binding. The final mark is confirmed at the 2 examiners’ meeting in June. Level 3: One three-hour exam in the Summer Term

STAFF: The course tutor is David Hemsoll ([email protected])

READING: See course outline below. There, I have included some standard books and articles and also some more recent relevant literature. These lists are intended as suggestions for initial research rather than exhaustive bibliographies of specific topics. You will often benefit, particularly for your essays, from consulting works not included in the reading list, and from using search engines such as the Bibliography of the History of Art available on the internet.

Remember that the University’s on-line catalogue does not include many works in the Barber collection acquired before 1990. These are listed instead on the card catalogue.

Note: The Library is under a statutory duty to observe copyright conventions. Which are summarised as follows. All copying, including photocopying and scanning, should be carried out within the terms and conditions set out in the Copyright, Designs and Patent Act 1988 (and related legislation) or in licences held by the University. Details of these will be posted adjacent to photocopiers and can also be consulted at the web site www.is.bham.ac.uk/copyright.

PERIOD OUTLINE: FIFTEENTH CENTURY (ARTH/10 19568 and 18581)

COURSE OUTLINE - Autumn Term

Week 1 (26th-30th Sept): Course introduction

Week 2 (3rd-7th Oct): Lecture: Buildings and settings (Ghent Altarpiece; Brancacci Chapel)

Week 3 (10th-14th Oct): Lecture: Gothic and Renaissance sculpture: style and function (Sluter, Donatello)

Week 4 (17th-21st Oct): Lecture: Reviving the past? (Ghiberti, Donatello)

Week 5 (24th-28th): Netherlandish Pioneers (Campin, Van Eyck); Essay preparation session

Week 6 (31st Oct-4th Nov) No Teaching Week

Week 7 (7th-11th Nov): Lecture: ‘Nature’ as a theoretical ideal (Cennini; Alberti; Gentile da Fabriano; Fra Angelico)

Week 8 (14th-18th Nov): Lecture: Prayer and devotion (Rogier van der Weyden)

Week 9 (21st-25th Nov): Lecture: Portraiture

Week 10 (28th Nov-2nd Dec): Lecture: Florentine artists and Netherlandish art (Filippo Lipp1; Piero della Francesca) 3 Week 11 (5th-9th Dec): Lecture: The differing outlooks of Florentine and Netherlandish Artists (Dirk Bouts)

COURSE OUTLINE - Spring Term

Week 1(9th-13th Jan): Lecture: Painting techniques NB First assessed essay to be handed in by 5pm on Friday 13th January

Week 2 (16th-18th Jan): Lecture: Italian Court art (Pisanello, Mantegna)

Week 3 (23rd-25th Jan): Lecture: Venice as a centre of art (Giovanni Bellini; Antonello da Messina)

Week 4 (30th Jan-3rd Feb): Lecture: Florence as a centre of art (Verrocchio, Pollaiuolo)

Week 5 (6th-10th Feb): Lecture: Rogier van der Weyden’s legacy (Geertgen tot Sint Jans, Hugo van der Goes)

Week 6 (13th-17th Feb) No Teaching Week 9am Tuesday 14th Feb: Information Source Training

Week 7 (20th-24th Feb): Lecture: Mythology as a subject matter in art (Botticelli)

Week 8 (27th Feb-3rd Mar): Lecture: The real world in late fifteenth-century art (Memling)

Week 9 (6th-8th Mar): Lecture: Florentine art as a model for Italy (Ghirlandaio, Bertoldo di Giovanni)

Week 10 (13th-17th Mar): Lecture: Leonardo’s theory of art (Leonardo da Vinci)

Week 11 (20th-24th Mar): Lecture: Art and the end of the world (Bosch)

Summer Term

Week 1 (24th-28th April) NB Second assessed essay to be handed in by 5pm on Friday 28th April 4 PERIOD OUTLINE: FIFTEENTH CENTURY (ARTH/10 19568 and 18581)

BIBLIOGRAPHY

In this bibliography, general books on fifteenth-century art are listed first, and then further material is arranged under the headings of the weekly classes. To repeat, the bibliography is not intended as an exhaustive coverage of the subject, but instead as a guide to the key works dealing with particular topics, together with a number of recent articles.

GENERAL WORKS ON FIFTEENTH-CENTURY PAINTING

Italy F. Ames-Lewis, The Intellectual Life of the Early Renaissance Artist, New Haven and London, 2000 F. Antal, Florentine Painting and its Social Background, London, 1948 C. Avery, Florentine Renaissance Sculpture, London, 1970 M. Baxandall, Painting and Experience in Fifteenth-Century Italy, Oxford, 1972 B. Berenson, Italian Pictures of the Renaissance, 7 vols, London, 1957-68 J. Burke, ed., Changing Patrons: Social Identity and the Visual Arts in Renaissance Florence,University Park, Pa, 2004 M. Hollingsworth, Patronage in Renaissance Italy, London, 1994 G. Holmes, Art and Politics in Renaissance Italy, Oxford, 1993 M. Kemp, Behind the Picture; Art and Evidence in the Italian Renaissance, New Haven and London, 1997 B. Kempers, Painting Power and Patronage; The Rise of the Professional Artist in the Italian Renaissance, London, 1992 G.F. Lytle and S. Orgel, eds. Patronage in the Renaissance, Princeton, 1981 R. Olsen, Italian Renaissance Sculpture, London, 1992 J.T. Paoletti and G.M. Radke, Art in Renaissance Italy, London, 1997 J. Pope-Hennessy, Italian Renaissance Sculpture, London, 1958 A. Thomas, The Painter’s Practice in Renaissance Tuscany, Cambridge, 1995 A.R. Turner, The Renaissance in Florence, London, 1997 M. Wackernagel, The World of the Florentine Renaissance Artist: Projects, Patrons, Works, Princeton, 1981 E. Welch, Art and Society in Italy, 1350-1500, Oxford, 1997

Northern Europe O. Benesch, The Art of the Renaissance in Northern Europe; Its Relation to the Contemporary Intellectual and Spiritual Movements, London, 1965 T.-H. Borchert, The Age of Van Eyck: the Mediterranean World and Early Netherlandish Painting, 1430-1530, London and New York, 2002. C.D. Cuttler, Northern Painting from Pucelle to Bruegel; Fourteenth, Fifteenth and Sixteenth Centuries, New York, 1968 Flanders in the Fifteenth Century; Art and Civilisation, ex. cat. Detroit, 1960 M.J. Friedländer, Early Netherlandish Painting, 14 vols, New York, 1967-76 C. Harbison, The Art of the Northern Renaissance, London, 1995 5 E. Panofsky, Early Netherlandish Painting, Its Origins and Character, Cambridge, Ma. 1953 J. Snyder, Northern Renaissance Art; Painting Sculpture and the Graphic Arts from 1350 to 1575, New York, 1985

BOOKS AND ARTICLES BY SPECIFIC TOPIC

AUTUMN TERM

Week 1 Course introduction

General A. Brown, The Renaissance, London, 1988 G. Burckhardt, The Civilization of the Renaissance in Italy, various eds. G. Holmes, The Florentine Enlightenment, 1400-50, London, 1992 J. Huizinga, The Waning of the Middle Ages, London, 1980

Iconography C. Harbison, ‘Realism and Symbolism in Early Flemish Painting’, Art Bulletin, 1984, pp. 588-602 W.F. Lash, in The Dictionary of Art, London, 1996, vol. 15, pp. 89-98. Classic studies:- M. Shapiro, ‘Muscipula diaboli; the symbolism of the Merode altarpiece, Art Bulletin, 1945, pp. 182-7 E. Panofsky, Jan van Eyck’s Arnolfini Portrait, Burlington Magazine, 1934, pp. 117-27

Fresco cycles E. Borsook, The Mural Painters of Tuscan; from Cimabue to Andrea del Sarto, London, 1960 M.A. Lavin, The Place of Narrative; Mural Decoration in Italian Churches, 431-1600, Chicago and London, 1990 S. Röttgen, Italian Frescoes, 2 vols, New York and London, 1996-7

Altarpieces S.M. Blum, Early Netherlandish Triptychs, Berkeley and Los Angeles, 1969 E. Borsook and F. Superbi Gioffredi, eds, Italian Altarpieces, 1250-1550; Function and Design, Oxford, 1994 L. Burckhardt, The Altarpiece in Renaissance Italy, Oxford, 1988 P. Humfrey, The Altarpiece in Renaissance Venice, New Haven and London, 1993 P. Humfrey and M. Kemp, eds, The Altarpiece in the Renaissance, Cambridge, 1990

Week 2 The Ghent altarpiece E. Dhanens, Van Eyck, the Ghent Altarpiece, London, 1973 L.B. Philip, The Ghent Altarpiece and the Art of Jan Van Eyck, Princeton, 1971 See also below under Van Eyck.

The Brancacci chapel D. Cole Ahl, ed., The Cambridge Companion to Masaccio, Cambridge, 2002 6 U. Baldini, The Brancacci Chapel Frescoes, London, 1992 A. Ladis, The Brancacci Chapel, Florence, New York, 1993 See also B. Cole, Masaccio and the Art of Early Renaissance Florence, Bloomington and London, 1980 P. Joannides, Masaccio and Masolino, a Complete Catalogue, London, 1993 R. Goffen, ed. Masaccio’s Trinity, Cambridge, 1998

Week 3 Gothic sculpture F. Ames-Lewis, Tuscan Marble Carving, 1250-1350. Sculpture and Civic Pride, Aldershot, 1997 T. Muller, Sculpture in the Netherlands, France, Germany and Spain, 1400-1500, Harmondsworth, 1966 P. Williamson, Gothic Sculpture, 1140-1300, New Haven and London, 1995 A. Martindale, The Rise of the Artist in the Middle Ages and Early Renaissance, New York, 1972

Sluter K. Morand, Claus Sluter, London, 1991

Donatello’s statues (Cathedral, Or S. Michele) C. Avery, Donatello; an Introduction, London, 1994 V. Avery, ‘Donatello and small bronzes in Padua’, The Birlington Magazine, 143, 2001, pp. 448-49 H.W. Janson, The Sculpture of Donatello, Princeton, 1957 S.B. McHam, ‘Donatello’s bronze David and Judith as metaphors for Medici rile in Florence’, Art Bulletin, 83, 2001, pp. 32-47 J. Poeschke, Donatello and His World, Sculpture of the Italian Renaissance, New York, 1993 J. Pope-Hennessy, Donatello Sculptor, New York, 1993

Week 4 Reviving the past? P. Bober and R. Rubinstein, Renaissance Artists and Antique Sculpture; a Handbook of Sources, London, 1986 H.W. Janson, 16 Studies, New York, 1974 R. Weiss, The Renaissance Discovery of Classical Antiquity, Oxford, 1988

Ghiberti’s Doors R. Krautheimer, Lorenzo Ghiberti, Princeton, 1956

Donatello’s reliefs See above. M.G. Vaccari, ‘The Cavalcanti Annunciation’, The Sculpture Journal, 9, 203, pp. 19-37

Week 5 Campin 7 L. Campbell, ‘Robert Campin, the Master of Flémalle and the Master of Merode’, Burlington Magazine, 1974, pp. 634-46 L. Campbell et al., ‘Virgin and Child before a firescreen’, National Gallery Technical Bulletin, 1994, pp. 20-35 S. Foister and S. Nash, eds, Robert Campin, New Directions in Scholarship, London, 1996 M. Michael, ‘The Virgin and Child before a firescreen’, Apollo, 1996, pp. 8-14 F. Thurlemann, Robert Campin, a Monographic Study with Critical Catalogue, London, 2002 See also Davies, Rogier van der Weyden; Panofsky, Early Netherlandish Painting.

Van Eyck S. Foister, S. Jones and D. Cool, eds, Investigating Jan van Eyck, Turnhout, 1999 L.D. Gelfand, ‘Surrogate selves: the Rolin Madonna and the late-medieval devotional portrait’, Simiolus, 29, 2002, pp. 119-38 Hall, E, The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck’s Double Portrait, London and Berkeley, 1994 C. Harbison, Jan van Eyck; The Play of Realism, London, 1991 M.L. Koster, ‘The Arnolfini double portrait: a simple solution’, Apollo, September 2003, pp. 3-14 O. Pacht, Van Eyck and the Founders of Early Netherlandish Painting, London, 1994 See also Panofsky, Early Netherlandish Painting. See also above under Ghent Altarpiece; and below under portraiture.

Week 7 ‘Nature’ as a theoretical ideal (Cennini, Alberti) A. Blunt, Artistic Theory in Italy, 1450-1600, London, 1962 C. Cennini, Il libro dell’arte, trans. and ed. D.V. Thompson, The Craftsman’s Handbook, New York, 1954 L.B. Alberti, De pictura, trans. and ed. C. Grayson, On Painting and On Sculpture, London, 1972

Gentile da Fabriano K. Christiansen, Gentile da Fabriano, London, 1982 A. De Marchi, Gentile da Fabriano; un viaggio nella pittura italiana alla fine del gotico, Milan, 1992

Fra Angelico G. Didi-Huberman, Fra Angelico; Dissemblance and Figuration, Chicago, 1995 W. Hood, Fra Angelico at S. Marco, New Haven and London, 1993 J.T. Spike, Fra Angelico, London, 1996 For altarpieces, see above.

Week 8 Prayer and Devotion S. Ringbom, Icon to Narrative; the Rise of the Dramatic Close-Up in Fifteenth-Century Devotional Painting, Doornspijk, 1985 H. Van Os, The Art of Devotion in the Late Middle Ages in Europe, 1300-1500, London, 1994 See also Harbison, The Art of the Northern Renaissance. 8

Rogier van der Weyden L. Campbell, Rogier van der Weyden, London, 2004 L. Campbell, ‘Rogier van der Weyden and his workshop’, Proceedings of the British Academy, 1994, pp.1-24 M. Davies, Rogier van der Weyden, London, 1972 A.D. Hedeman, ‘Rogier van der Weyden’s Escorial Crucifixion and Carthusuan devotional practices’, in Sacred Images East and West, Urbana, ill. 1995, pp. 191-203 J.L. Levy, ‘The keys to the kingdom of Heaven; ecclesiastical authority and hierarchy in the Baune altarpiece, Art History, 1991, pp. 18-50 B. Rothstein, ‘Vision, Cognition and self-reflection in Rogier van der Weyden’s Bladelin triptych’, Zeitschrift für Kunstgeschichte, 64, 2001, 37-55 C. Stroo, The Master of Flémalle and Rogier Van Der Weyden Groups; Catalogue of Early Netherlandish Paintings in the Royal Museums of Fine Arts of Belgium, Brussels, 1996 O.G. Von Simson, ‘Compassio and Co-redemptio in Rogier van der Weyden’s Descent from the Cross’, Art Bulletin, 1953, pp. 9-16 D. de Vos, Rogier van der Weyden, the Complete Works, New York, 1999 See also Panofsky, Early Netherlandish Painting.

Week 9 Portraiture L. Campbell, Renaissance Portraits; European Portrait Painting in the 14th, 15th and 16th Centuries, New Haven and London, 1990 J. Pope-Hennessy, The Portrait in the Renaissance, London, 1966

Netherlandish portraits, c.1400-1470 As above, and: L. Seidel, Jan Van Eyck’s Arnolfini Portrait; Stories of an Icon, Cambridge, 1993 E. Hall, The Arnolfini Wedding; Medieval Marriage and the Enigma of Van Eyck’s Double Portrait. California Studies in the History of Art, 3, Berkeley and London 1994 J. Paviot, ‘The sitter for Jan Van Eyck’s Leal Souvenir’, Journal of the Warburg and Courtauld Institutes, 1995, pp. 210-15

Italian portraits, c.1400-1470 As above. D.A. Brown, Virtue and Beauty: Leonardo’s Ginevra de’Benci and Renaissance portraits of Women, Washington, 2001

Week 10 Italian artists and Netherlandish art F. Ames-Lewis, ‘Fra Filippo Lippi and Flanders’, Zeitschrift für Kunstgeschichte, 1979, pp. 255-731 L. Campbell, ‘Jan van Eyck, Early Netherlandish painting and southern Europe, The Burlington Magazine, 144, 2002, pp. 367-71 B.W. Meijer, ‘Piero and the North’, in Lavin, ed. Piero della Francesca and His Legacy, pp. 143-60 P. Nuttall, ‘The Medici and Netherlandish painting’, in F. Ames-Lewis, The Early Medici and Their Artists’, pp. 135-52 9 P. Nuttall, From Flanders to Florence: the Impact of Netherlandish Painting, 1400-1500, New Haven and London, 2004

Filippo Lippi G. Fossi, Filippo Lippi, London, 1989 M. Holmes, Fra Filippo Lippi the Carmelaite Painter, New York and London, 1999 J. Ruda, Fra Filippo Lippi, London, 1993

Piero della Francesca C. Bertelli, Piero della Francesca, New Haven and London, 1992 K. Clark, Piero della Francesca, London, 1951 B. Cole, Piero della Francesca. Tradition and Innovation in Renaissance Art, New York, 191 M.A. Lavin, Piero della Francesca’s Baptism of Christ, New Haven and London, 1981 M.A. Lavin, Piero della Francesca; the Flagellation, London, 1971 M.A. Lavin, Piero della Francesca; S. Francesco, Arezzo, New York, 1994 M.A. Lavin, ed. Piero della Francesca and His Legacy, Washington, 1995 M.A. Lavin, Piero della Francesca, London and New York, 2002 J.M. Wood, ed., The Cambridge Companion to Piero della Francesca, Cambridge, 2002

Week 11 Bouts See Panofsky, Early Netherlandish Painting; Blum, Early Netherlandish Triptychs.

SPRING TERM

Week 1 Painting techniques J. Dunkerton et al. From Giotto to Durer; Early Renaissance Painting in the National Gallery, New Haven and London, 1991 E.H. Gombrich, ‘Light, form and texture in fifteenth-century painting north and south of the Alps’, in The Herritage of Apelles, Oxford, 1976 Egg Tempera:- D. Hemsoll, ‘Simone Martini’s St John the Evangelist re-examined, Apollo, February 1998, pp. 3-10; see also leaflet accompanying exhibition. See also Cennino Cennini, Il libro dell’arte. Oil paint:- C. Hassall, in The Dictionary of Art, London, 1996, vol. 23, pp. 375-9 R. Bollinge, ‘The infrared reflectograms of Jna van Eyck’s portrait of Giovanni (?) Arnolfini and his wife Giovanna Cenami (?)’, in National Gallery Technical Bulletin, 1995, pp. 47-60

Week 2 Italian court art S.J. Campbell, ed., Artists at Court: Image-Making and Identity, 1300-1550, Chicago, 2004 A. Cole, Art of the Italian Renaissance Courts, Virtue and Magnificence, London, 1995

Pisanello and the Gonzagas G. Paccagnini, Pisanello, London, 1973 10 L. Puppi, ed. Pisanello, Paris, 1996 R. Shepherd, ‘Pisanello pictor egregius redivivus’, Art History, 25, 2002, pp. 691-96 L. Syson and D. Gordon, Pisanello, Painter to the Renaissance Court, London and New Haven, 2001 J. Woods-Marsden, The Gonzaga of Mantua and Pisanello’s Arthurian Frescoes, Princeton, 1988

Mantegna and the Gonzagas F. Ames-Lewis, ed. Mantegna and 15th-Century Court Culture, London, 1993 K. Christiansen, Mantegna, Padua and Mantua, New York, 1994 P. Kristeller, Andrea Mantegna, London, 1901 R. Lightbown, Mantegna, Oxford, 1986 A. Martindale, The Triumphs of Caesar by Andrea Mantegna in the Collection of Her Majesty The Queen at Hampton Court, London, 1979 J. Martineau, ed. Andrea Mantegna, ex. cat. London, 1992

Week 3 Venice as a centre of art P. Fortini Brown, The Renaissance in Venice; a World Apart, London, 1997 P. Fortini Brown, Venice and Antiquity; The Venetian Sense of the Past, New Haven and London, 1996 P. Humfrey, Painting in Renaissance Venice, New Haven and London, 1995 O. Pacht, Venetian Painting in the 15th Century: Jacopo, Gentile and Giovanni Bellini and Andrea Mantegna, London, 2003

Giovanni Bellini R. Goffen, Giovanni Bellini, New Haven and London, 1989 N. Hammond, ‘Bellini’s ass: a note on the Frick St Francis’, The Burlington Magazine, 144, 2002, pp. 24-26 P. Humfrey, ed., The Cambridge Companion to Giovanni Bellini, Cambridge, 2004 G. Robertson, Giovanni Bellini, Oxford, 1968 J. Wilde, Venetian Art From Bellini to Titian, Oxford, 1974

Antonello da Messina F.S. Santoro, Antonello e Europa, Milan, 1986 A. Wright, ‘Antonello da Messina; the origins of his style and technique’, Art History, 1980, pp. 41-60

Week 4 Florence as a centre of art See General Bibliography above, in particular Wackernagel, The World of the Florentine Renaissance Artist. F. Ames-Lewis, The Early Medici and Their Artists, London, 1995 E.H. Gombrich, ‘The early Medici as patrons of art, in Norm and Form, Oxford, 1966

Verrocchio A. Butterfield, The Sculptures of Andrea del Verrocchio, New Haven and London, 1997 S. Bule, ed. Verrocchio and Late Quattrocento Sculpture, Florence, 1992 G. Passavant, Verrocchio; Sculptures, Paintings and Drawings, Complete Edition, London, 11 1969

Pollaiuolo M. Cruttwell, Antonio Pollaiuolo, London, 1907 L.D. Ettlinger, Antonio and Piero Pollaiuolo, Oxford, 1978 N. Pons, I Pollaiuolo, Florence, 1994 A. Wright, The Pollaiuolo Brothers, New Haven and London, 2005

Week 5 Geertgen tot Sint Jans A. Wallert, G. Tauber and L. Murphy, The Holy Kinship: a Medieval Masterpiece, Zwolle and Amsterdam, 2001

Hugo van der Goes L. Campbell, ‘Edward Bonkil and Hugo van der Goes’, The Burlington Magazine, 143, 2001, pp. 157-58 E. Dhanens, Hugo van der Goes, Antwerp, 1998 J.I. Miller, ‘Miraculous childbirth and the Portinari altarpiece’, Art Bulletin, 1995, pp. 249-61 C. Thompson and L. Campbell, Hugo Van Der Goes and the Trinity Panels in Edinburgh, See also Panofsky, Early Netherlandish Painting; Blum, Early Netherlandish Triptychs.

Week 7 Mythology W. Lash, Mythological painting and sculpture; the Renaissance, in The Dictionary of Art, London, 1996, vol. 22, pp. 412-14

Botticelli C. Dempsey, The Portrayal of Love; Botticelli’s Primavera and Humanist Culture, Princeton, 1992 L.D. and H.S. Ettlinger, Botticelli, London, 1976 R. Hatfield, ‘Botticelli’s Mystic Nativity, Savonarola and the millenium’, Journal of the Warburg and Courtauld Institutes, 1995, pp. 88-114 R. Hatfield, Botticelli’s Uffizi Adoration, a Study in Pictorial Content, Princeton, 1976 H.P. Horne, Alessandro Filipepi Botticelli Commonly Called Sandro Botticelli, Princeton, 1980 P. Joannides, ‘Late Botticelli: archaism and ideology’, Arte Christiana, 1995, pp. 163-78 R. Lightbown, Botticelli, 2 vols, London, 1978 R. Stapleford, ‘Intellect and intuition in Botticelli’s St Augustine’, Art Bulletin, 1994, pp. 69- 80 F. Zoellner, Botticelli. Images of Love and Spring, London, 1998

Week 8 Memling T.-H. Borchert, ed., Memling and the Art of Portraiture, London, 2005 D. De Vos, Hans Memling, the Complete Works, London, 1994 D. De Vos, Hans Memling, Catalogue, ex. cat. Bruges, 1994 D. De Vos, ed. Hans Memling, Essays, Bruges, 1994 Memling Studies, Louvain, 1997 L.A. Waldman, ‘New documents for Memling’s Portiniari portraits in the Metropolitan 12 Museum of Art’, Apollo, 153, 2001, pp. 28-33

Week 9 Florentine art as a model for Italy K. Lowe, ‘Lorenzo’s “presence” at churches, convents and shrines in and outside Florence’, in M. Mallett and N. Mann, eds, Lorenzo the Magnificent; Culture and Politics, London, 1996 P. Rubin and A. Wright, Renaissance Florence. The Art of the 1470s, London, 1999

Ghirlandaio E. Borsook and J. Offerhaus, Francesco Sassetti and Ghirlandaio at S Trinità, Doornspijk, 1981 J.K. Cadogan, Domenico Ghirlandaio, Artist and Artisan, New Haven and London, 2001 G.S. Davies, Ghirlandaio, London, 1908 Domenico Ghirlandaio 1449-1494; atti del convegno internazionale, Florence, 1996 E. Micheletti, Domenico Ghirlandaio, Florence, 1990 P. Nuttall, ‘Domenico Ghirlandaio and Northern art’, Apollo, June 1996, pp. 16-22

Bertoldo di Giovanni J. Draper, Bertoldo di Giovanni, Sculptor of the Medici Household, Columbia and London, 1992

Week 10 Leonardo’s theory D. Hemsoll, ‘Beauty as an aesthetic and artistic ideal in late fifteenth-century Florence’, in F. Ames-Lewis and M. Rogers, eds, Concepts of Beauty in Renaissance Art, Aldershot, 1998, pp. 66-79 M. Kemp and M. Walker, eds, Leonardo on Painting, London, 1989 J.P. Richter, ed. The Literary Works of Leonardo da Vinci, 2 vols, Oxford, 1977

Leonardo’s art D.C. Ahl, ed. Leonardo’s Sforza Monument Horse; the Art and the Engineering, London and Cranbury, N.J. 1995 S. Bramly, Leonardo, London, 1994 D.A. Brown, Leonardo da Vinci: Origins of a Genius, New Haven, 1998 D.A. Brown, Virtue and Beauty: Leonardo’s Ginevra de’Benci and Renaissance portraits of Women, Washington, 2001 K. Clark, Leonardo da Vinci; an Account of His Development as an Artist, London, 1988 P. Emison, ‘Leonardo’s landscape in the Virgin of the Rocks’, Zeitschrift für Kunstgeschichte, 1993, pp. 116-18 L.H. Heydenreich, Leonardo da Vinci, 2 vols, New York, 1954 L.H. Heydenreich, Leonard; the Last Supper, London, 1974 M. Kemp, Leonardo da Vinci; the Marvellous Works of Nature and Man, London, 1981 L. Steinberg, Leonardo’s Incessant Last Supper, New York, 2001

Week 11 Art and the end of the world S.N. James, Signorell and Fra Angelico in Orvieto: Liturgy, Poetry and Vision of the End- time, Aldershot, 2003 13 Bosch D. Bax, Hieronymus Bosch, His Picture Writing Deciphered, Rotterdam, 1979 H. Belting, Hieronymus Bosch: Garden of Earthly Delights, London and Munich, 2002 L. Dixon, Bosch, London and New York, 2003 W. Fraenger, Hieronymus Bosch, Basel, 1994 W. Gibson, Hieronymus Bosch, London, 1973 L.F. Jacobs, ‘The triptychs of Hieronymus Bosch’, Sixteenth Century Journal, 31, 2000, pp. 1009-41 J. Koldeweij, Hieronymus Bosch, New Insights into His Life and Work, Rotterdam, 2001 R.H. Marijnissen and P. Ruyffelaere, Hieronymus Bosch, the Complete Works, Antwerp, 1987 L. Silver, ‘God in the details, Bosch and Judgement(s)’, Art Bulletin, 83, 2001, pp. 626-50