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Cited by

• 1977Contrapposto: Style and Meaning in Renaissance Art54 cited
• 1992Architects Read Vitruvius: Renaissance Interpretations of the Atrium of the Ancient House33 cited
• 1996An Exemplary Humanist Hybrid: Vasari's "Fraude" with Reference to Bronzino's "Sphinx"33 cited
• 2017Shakespeare, Caravaggio, and the Indistinct Regard32 cited
• 2019Music in the Early Colonial World24 cited
• 2009Sixteenth-Century Paduan Annotations to the First Edition of Vasari's Vite (1550)19 cited
• 2018Vasari's Words: The 'Lives of the Artists' as a History of Ideas in the Italian Renaissance18 cited
• 1994Woman's Capacity to Create: The Unusual Case of Sofonisba Anguissola18 cited
• 2000Desiderio and Diletto : Vision, Touch, and the Poetics of Bernini's Apollo and Daphne15 cited
• 2008Annibal Caro's After-Dinner Speech (1536) and the Question of Titian as Vesalius's Illustrator9 cited
• 2013Le sang et le lait dans l’imaginaire médiéval9 cited
• 2014Material and Temporal Powers at the Casino di San Marco (1574–1621)9 cited
• 2012Instrumental Music and 'Conversazione' in Early Seicento Venice: Biagio Marini's 'Affetti Musicali' (1617)5 cited
• 2000Freud's Leonardo: A Discussion of Recent Psychoanalytic Theories