1. Amalricus Augerii quoted in Tilman Buddensieg, “Gregory the Great,” Journal of the Warburg and Courtauld Institutes 28 (1965): 45.
2. Phyllis Pray Bober and Ruth Rubenstein, Renaissance Artists & Antique Sculpture: A Handbook of Sources (London: H. Miller; Oxford: Oxford University Press, 1986), 47.
3. Elizabeth Gilmore Holt, Documentary History of Art (Garden City, N.Y.: Doubleday, 1958), 166–67.
4. Trans. Ronald Lightbown, Andrea Mantegna, 214–15, quoted in Patricia Fortini Brown, Venice & Antiquity: The Venetian Sense of the Past (New Haven: Yale University Press, 1996), 252.
5. Patricia Fortini Brown, Venice & Antiquity: The Venetian Sense of the Past (New Haven and London: Yale University Press, 1997), 77.
6. Beth Cohen, “Mantua, Mantegna, and Rome: The Grotte of Isabella d’Este Reconsidered,” in Jane Fejfer, Tobias Fischer-Hansen, and Annette Rathje, eds., The Rediscovery of Antiquity: The Role of the Artist (Copenhagen: Museum Tusculanum Press, University of Copenhangen, 2003), 354.
7. Joanna Woods-Marsden, Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist (New Haven: Yale University Press, 1998), 90.
8. Leon Battista Alberti, On Painting, trans. John R. Spencer (New Haven and London: Yale University Press, rev. ed. 1966), 39.
9. Creighton Gilbert, Italian Art 1400–1500: Sources and Documents (Englewood Cliffs, N.J.: Prentice Hall, 1980), 192.