Giovanna Tornabuoni

Giovanna Tornabuoni (born December 18, 1468 in Florence ; † October 7, 1488 ibid) lived in early modern Florence. Although she died at the age of nineteen, a large number of works of art were created in her honor, including the famous Madrid profile portrait of Domenico Ghirlandaio .

Domenico Ghirlandaio: Portrait of Giovanna degli Albizzi Tornabuoni , 1489–1490, tempera and oil on wood, Museo Thyssen-Bornemisza , Madrid

Life

Giovanna Tornabuoni came from an old, traditional Florentine family, the Albizzi . Giovanna's father, Maso degli Albizzi, was a respected citizen of Florence, including Gonfaloniere di giustizia (1474) - the highest member of the Florentine city government - and Florentine ambassador at the court of Pope Sixtus IV. Maso degli Albizzi married his second wife, Caterina Soderini 1455, as he noted in his diary. Together with Caterina he had twelve daughters. Giovanna was born as the eighth daughter on December 18, 1468.

Domenico Ghirlandaio and workshop: Visitation of Mariae , 1486–1490, fresco, right wall of the chapel, Tornabuoni Chapel, Santa Maria Novella, Florence

In 1486, at the age of 17, Giovanna married the twenty-year-old Lorenzo Tornabuoni , son of the influential and wealthy Medici banker Giovanni Tornabuoni . The planning for Giovanna's dowry had already begun when she was three years old with the opening of a dowry account at Bank Monte delle Doti on October 8, 1471. 1000 Florin and thus the majority of the 1500 Florin dowry was given to the man's family as Capital. About 25 percent of the dowry was traditionally paid out in the form of gifts given to the bride ( donora ). The total value of Giovanna's donora was 290 fiorini , 13 lire , 2 soldi . Two months before Giovanna's wedding, aprons, caps, tights, handkerchiefs, eighteen blouses and a mirror, a satin-covered hairbrush with a gold handle, hairbands, brooches and pins, handbags and two ivory combs were commissioned for the donora two months before Giovanna's wedding; furthermore an ivory box and a brass cup with the coats of arms of the two families. In addition, a small book of hours with narrative illustrations and silver cover decorations was purchased for 20 florins.

The whole city took part in the lavish wedding celebrations on September 3, 1486. Lorenzo de 'Medici , Giovanni Tornabuoni's nephew, acted as mediator ( mezzano ) during the wedding . The festivities are described by the poet Naldo Naldi in his poem Nuptiale carmen ad Laurentium Tornabonium Iohannis filium iuvenem primarium , written on the occasion of the wedding . In 336 lines of verse on ten folio, illustrated by an unknown miniaturist with the coats of arms of the two families, the poem begins with the festive prelude: the ritual walk of the bride from the house of her parents to the house of the husband's family ( ductio ad domum ). Naldo Naldi describes Giovanna's robe as dazzling white, her hair as carefully combed and decorated with precious needles.

Giovanna and Lorenzo Tornabuoni spent their short life together partly in the Palazzo Tornabuoni in the center of Florence and partly in the villa of the Tornabuoni family, today's Villa Lemmi in Chiasso Macerelli, located in the northern hills of the city. On October 11, 1487, eighteen-year-old Giovanna gave birth to a son: Giovanni Antonio Gerolamo di Lorenzo di Giovanni Tornabuoni, named after his grandfather Giovanni Tornabuoni, called Giovannino. Not long after Giovannino was born, Giovanna became pregnant again, but before she could give birth to her second child, she died on October 7, 1488 at the age of nineteen. In the Libro dei morti , which lists the city's deceased, it is noted on this occasion: “La donna di Lorenzo di Giovanni Tornabuoni riposto in Santa Maria Novela a dì 7 detto (Ottobre 1488)”, and directly below: “uno figl (i ) uolo di detto Lorenzo riposto in Santa Maria Novella a dì detto (Ottobre 1488) ”. In a solemn ceremony, Giovanna was buried near the family chapel in the Dominican church of Santa Maria Novella . In order to uphold her memory, Lorenzo Tornabuoni had numerous masses held in her honor over the years. He also provided the candle wax required for these fairs.

Image sources

The most famous work of art with the portrait of Giovanna Tornabuoni is Ghirlandaios painting in the Museo Thyssen-Bornemisza in Madrid . In addition, other pictorial works with her portrait have been preserved, both during her lifetime and posthumously . In some cases, research is still debating the identity of the woman portrayed, but for three images there is broad agreement on identification:

Attributed to Niccolò Fiorentino: Portrait medal for Giovanna degli Albizzi Tornabuoni , around 1486, obverse

Attributed to Niccolò Fiorentino: Portrait medal for Giovanna degli Albizzi Tornabuoni , around 1486, lapel with the motif of the three Graces

Attributed to Niccolò Fiorentino: Portrait medal with two different lapel representations, around 1486. In honor of Giovanna Tornabuoni, two medals with the same obverse portrait motif (front), but alternating lapels (back) were struck: The front of both medals is decorated with a portrait by Giovanna, the reverse of the first medal shows three graces , the reverse of the second medal shows Venus in armor . The design for both portrait medals is attributed to Niccolò Fiorentino. On the front, which remains the same, the circumferential inscription UXOR LAVRENTII DE TORNABUONIS IOANNA ALBIZA identifies the sitter as the wife of Lorenzo Tornabuoni and suggests a production context in the period and in connection with their wedding in 1486. Copies of the medals are kept in various museums: The medal with the three graces on the lapel is in the British Museum London , ( bronze , 7.8 cm, inventory number G3, IP.3) and in the Fitzwilliam Museum Cambridge (bronze, 7, 3 cm, inventory number CM.131–1978). The Los Angeles County Museum of Art preserves an example with Venus in armor (bronze, 7.4 cm, inventory number 79.4.362).

Domenico Ghirlandaio: Visitation of Mariae , portrait in the assistant, 1486–1490, Tornabuoni Chapel, Santa Maria Novella, Florence. At the end of the 15th century, Ghirlandaio, commissioned by Giovanni Tornabuoni, decorated one of the best-preserved fresco cycles from Quattrocento Florence : The Tornabuoni Chapel in the Dominican church of Santa Maria Novella. In large-format picture fields - seven frescoes each on the side walls and the front wall - the lives of the Virgin Mary and John the Baptist can be visually traced. With the depiction of contemporary architectural and interior elements and especially the contemporary figures that populate the biblical scenes, Ghirlandaio transfers the sacred legends to early modern Florence. Among the numerous contemporaries depicted is a full-length portrait of Giovanna Tornabuoni. The identification is based on her portrait medals and is confirmed by Ghirlandaio's Madrid profile portrait, in which Giovanna is shown in almost identical pose and garb.

Domenico Ghirlandaio: Portrait of Giovanna degli Albizzi Tornabuoni , 1489–1490, Museo Thyssen-Bornemisza, Madrid. The panel with the portrait of Giovanna Tornabuoni is posthumously dated to 1489–1490 and was created for private devotion on behalf of the husband Lorenzo Tornabuoni.

Other possible representations include a second assistant portrait in the Tornabuoni Chapel in a fresco depicting the birth of John the Baptist and Sandro Botticelli's fresco in the former Villa Tornabuoni in Chiasso Macerelli. The fresco Venus and the Three Graces giving presents to a woman was transferred to canvas and is now in the Musée du Louvre in Paris (inventory number 321).

Sandro Botticelli: Venus and the Three Graces giving gifts to a woman , fresco, transferred to canvas, Musée du Louvre, Paris

Text sources

The Florentine Quattrocento is one of the best-documented historical societies. Some text sources also provide information about the life of Giovanna Tornabuoni.

These include a diary ( Ricordi ) and two account books ( Libro debitori e creditori ) from Giovanna's father Maso degli Albizzi. Taken together, the diary and the two account books cover several hundred pages, with which the life of Giovanna's father Maso degli Albizzi is extraordinarily richly documented: The two account books illuminate the material aspects, the diary provides information about his private life. The three manuscripts are kept in the Archivio Frescobaldi in the Villa Poggio a Remole in Pontassieve .

The available text sources also include a description of the Albizzi family by the contemporary historian Scipione Ammirato and a wedding poem by Naldo Naldi for Giovanna and Lorenzo Tornabuoni, as well as the inventory of all Tornabuoni movable properties from 1498.

literature

Gene A. Brucker (Ed.): The Society of Renaissance Florence: A Documentary Study. University of Toronto Press, Toronto 1998 (1st ed. 1971), ISBN 978-0802080790 .
Jean K. Cadogan: Domenico Ghirlandaio. Artist and Artisan. Yale University Press, New Haven, et al. 2000, ISBN 9780300087208 .
Georges Dumon: Les Albizzi. Histoire et généalogie d'une famille à Florence et en Provence du onzième siècle à nos jours. Yvert, Amiens 1977.
Maria K. DePrano: "No painting on earth would be more beautiful": An Analysis of Giovanna degli Albizzi's Portrait Inscription. In: Renaissance Studies 22, H. 5 (2008), pp. 617–641.
Carole Collier Frick: Dressing Renaissance Florence. Families, Fortunes, & Fine Clothing. Johns Hopkins University Press, Baltimore 2005, ISBN 978-0801882647 .
David Herlihy, Christiane Klapisch-Zuber : Les Toscans et leurs familles: Une étude du catasto florentin de 1427. Presses de la Fondation Nationale des Sciences Politiques, Paris 1978, ISBN 9782724604009 .
Ronald G. Kecks: Domenico Ghirlandaio and the painting of the Florentine Renaissance. Deutscher Kunstverlag , Munich 2000, ISBN 978-3422062825 .
Maria Merseburger: Painted drapery in the Florentine Quattrocento. Ghirlandaios Tornabuoni Chapel. Humboldt-Univ., Diss., Berlin 2018 online .
Egidia Polidori Calamandrei: Le vesti delle donne fiorentine nel Quattrocento. Con ottanta tavole fuori testo in nero ea colori e nove figure. Multigrafica Editrice, Rome 1973 (1st edition 1924).
Wolfram Prinz, Max Seidel (ed.): Domenico Ghirlandaio 1449–1494. Atti del Convegno Internazionale Firenze, 16-18 ottobre 199. Centro Di, Florence 1996, ISBN 9788870382761 .
Volker Reinhardt : The Medici. Florence in the age of the Renaissance. CH Beck , Munich 1998, ISBN 978-3406440281 .
Michael Rohlmann (Ed.): Artistic Construction of Identity in Renaissance Florence. VDG Weimar, Weimar 2003, ISBN 978-3897393714 .
Josef Schmid: "et pro remedio animae et pro memoria". Civil repraesentatio in the Cappella Tornabuoni in S. Maria Novella. Deutscher Kunstverlag, Diss., Munich / Berlin 2002, ISBN 978-3-422-06371-6 .
Patricia Simons: Portraiture and Patronage in Quattrocento Florence with Special Reference to the Tornaquinci and Their Chapel in S. Maria Novella . University of Melbourne, 2 vols., Diss., Melbourne 1985 online .
Patricia Simons: Ginevra and Giovanna. Portraits for the Tornabuoni Family by Ghirlandaio and Botticelli . In: I Tatti Studies in the Italian Renaissance 14/15 (2011–2012), pp. 103–135.
Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 9788874611287 .

Web links

Commons : Giovanna Tornabuoni - collection of images, videos and audio files

Commons : Giovanna Tornabuoni by Domenico Ghirlandaio - Collection of images, videos and audio files

Commons : Cappella Tornabuoni - collection of images, videos and audio files

Commons : Santa Maria Novella - Collection of images, videos and audio files

Individual evidence

^ Ricordi di Maso di Luca di messer Maso degli Albizi , 1451–1467, inv. Albizzi 199, quoted from Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 23.
↑ The names of the daughters are listed in the Notarile antecosimiano in the Florentine State Archives Archivio di Stato di Firenze: ASFi, NA R.301, fol. 132r – v, quoted from Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florenz 2010, ISBN 978-88-7461-128-7 , p. 25, notes 26 and 29. The date of the respective baptism is noted in the Baptistery registers AOSMF, Archivio Storico delle fedi di battesimo, http: // archivio .operaduomo.fi.it / battesimi / (accessed May 2, 2018).
↑ The amount is listed under the editions for the year 1486 in the Libro debitori e creditori di Maso di Luca di messer Maso degli Albizi e di Luca di Maso , 1480–1511, Inv. 204, quoted from Gert Jan van der Sman (ed.): Ghirlandaio y el Renacimiento en Florencia. Exhibition catalog. Museo Thyssen-Bornemisza Madrid, Madrid 2010, ISBN 978-84-96233-89-8 , p. 273.
↑ The objects are listed in the Libro debitori e creditori di Maso di Luca di messer Maso degli Albizi e di Luca di Maso , 1480–1511, Inv. 204, fols. 112-120, 123-CXXIII; see. Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , pp. 33f.
↑ Naldo Naldi: Nuptiale carmen ad Laurentium Tornabonium Iohannis filium iuvenem primarium , ll, 17-28, quoted by Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 37, note 47.
↑ On the occasion of Giovannino's birth there is only one very brief entry in the Florentine Libri d'età and in the Baptistery registers, cf. Patricia Simons: Patronage in the Tornaquinci Chapel, Santa Maria Novella, Florence. In: Francis W. Kent, Patricia Simons (Eds.): Patronage, Art, and Society in Renaissance Italy. Oxford University Press, Oxford 1987, ISBN 978-0-19-821978-1 , pp. 221-250, here p. 235.
↑ Libro dei morti , 1457–1506, 190, fol. 195v, Archivio di Stato di Firenze ASFi, Grascia, quoted from Enrico Ridolfi: Giovanna Tornabuoni e Ginevra de 'Benci nel coro di S. Maria Novella in Firenze. In: Archivio Storico Italiano, H. 6 (1890), pp. 426–456, here p. 449.
↑ In the Libro della cera of Santa Maria Novella it is listed that the Tornabuoni bought 20 libbre (pounds) of wax for the burial of the deceased. In: Libro della cera , 1479–1488, Corporazioni Religiose Soppresse dal Governo Frances (102), Appendix, filza 84, fol. 40r, Archivio di Stato di Firenze ASFi, Santa Maria Novella, quoted from Maria K. DePrano: The Art Works Honoring Giovanna degli Albizzi: Lorenzo Tornabuoni, the Humanism of Poliziano, and the Art of Niccolò Fiorentino and Domenico Ghirlandaio. University of California, Diss., Los Angeles 2004, p. 121.
^ Ricordi di Maso di Luca di messer Maso degli Albizi , 1451–1467, inv. Albizzi 199; Libro debitori e creditori di Maso di Luca di messer Maso degli Albizzi , 1458–1479, inv. Albizzi 203 and Libro debitori e creditori di Maso di Luca di messer Maso degli Albizi e di Luca di Maso , 1480–1511, inv. 204; provided by Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 23; Gert Jan van der Sman (Ed.): Ghirlandaio y el Renacimiento en Florencia. Exhibition catalog. Museo Thyssen-Bornemisza Madrid, Madrid 2010, ISBN 978-84-96233-89-8 , pp. 272-274.
^ Scipione Ammirato: Delle Famiglie Nobili Fiorentine. Forni Editore, Bologna 1969 (1st ed. Florence 1615), pp. 25-47.
↑ Naldo Naldi: Nuptiale carmen ad Laurentium Tornabonium Iohannis filium iuvenem primarium. 1486, MS, private property, Florence, quoted from Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 31ff.
↑ The inventory of the Tornabuoni is in the Florentine State Archives Archivio di Stato di Firenze: ASFi, Magistrato dei Pupilli avanti il Principato 181. The inventory of the Tornabuoni property is divided into the Villa Macerelli in Careggi (fol. 141r – 144r), the inventory of the Villa Le Brache in Castello (fol. 144–146r) and finally the possessions in the palazzo in the city (fol. 146v – 150r). The inventory has so far been published in excerpts. With a focus on the decoration program for the rooms by Lorenzo Tornabuoni cf. Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , pp. 66-89 and Susanne Kress: The “camera di Lorenzo, bella” in the Palazzo Tornabuoni. Reconstruction and artistic furnishing of a Florentine wedding room of the late Quattrocento. In: Michael Rohlmann (Ed.): Artistic construction of identity in the Florence of the Renaissance. VDG Weimar, Weimar 2003, ISBN 978-3-89739-371-4 , pp. 245-285. Excerpts from the inventory also at Maria Merseburger: Painted drapery in the Florentine Quattrocento. Ghirlandaios Tornabuoni Chapel. Humboldt-Univ., Diss., Berlin 2018 online ; John Kent Lydecker: The Domestic Setting of the Arts in Renaissance Florence. Johns Hopkins University, Diss., Baltimore 1987 and Sheila McClure Ross: The Redecoration of Santa Maria Novella's "Cappella Maggiore". University of California, Diss., Berkeley 1983.

personal data
SURNAME	Tornabuoni, Giovanna
BRIEF DESCRIPTION	Italian nobles
DATE OF BIRTH	December 18, 1468
PLACE OF BIRTH	Florence , Republic of Florence
DATE OF DEATH	October 7, 1488
Place of death	Florence , Republic of Florence

[1] Ricordi di Maso di Luca di messer Maso degli Albizi , 1451–1467, inv. Albizzi 199, quoted from Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 23.

[2] The names of the daughters are listed in the Notarile antecosimiano in the Florentine State Archives Archivio di Stato di Firenze: ASFi, NA R.301, fol. 132r – v, quoted from Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florenz 2010, ISBN 978-88-7461-128-7 , p. 25, notes 26 and 29. The date of the respective baptism is noted in the Baptistery registers AOSMF, Archivio Storico delle fedi di battesimo, http: // archivio .operaduomo.fi.it / battesimi / (accessed May 2, 2018).

[3] The amount is listed under the editions for the year 1486 in the Libro debitori e creditori di Maso di Luca di messer Maso degli Albizi e di Luca di Maso , 1480–1511, Inv. 204, quoted from Gert Jan van der Sman (ed.): Ghirlandaio y el Renacimiento en Florencia. Exhibition catalog. Museo Thyssen-Bornemisza Madrid, Madrid 2010, ISBN 978-84-96233-89-8 , p. 273.

[4] The objects are listed in the Libro debitori e creditori di Maso di Luca di messer Maso degli Albizi e di Luca di Maso , 1480–1511, Inv. 204, fols. 112-120, 123-CXXIII; see. Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , pp. 33f.

[5] Naldo Naldi: Nuptiale carmen ad Laurentium Tornabonium Iohannis filium iuvenem primarium , ll, 17-28, quoted by Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 37, note 47.

[6] On the occasion of Giovannino's birth there is only one very brief entry in the Florentine Libri d'età and in the Baptistery registers, cf. Patricia Simons: Patronage in the Tornaquinci Chapel, Santa Maria Novella, Florence. In: Francis W. Kent, Patricia Simons (Eds.): Patronage, Art, and Society in Renaissance Italy. Oxford University Press, Oxford 1987, ISBN 978-0-19-821978-1 , pp. 221-250, here p. 235.

[7] Libro dei morti , 1457–1506, 190, fol. 195v, Archivio di Stato di Firenze ASFi, Grascia, quoted from Enrico Ridolfi: Giovanna Tornabuoni e Ginevra de 'Benci nel coro di S. Maria Novella in Firenze. In: Archivio Storico Italiano, H. 6 (1890), pp. 426–456, here p. 449.

[8] In the Libro della cera of Santa Maria Novella it is listed that the Tornabuoni bought 20 libbre (pounds) of wax for the burial of the deceased. In: Libro della cera , 1479–1488, Corporazioni Religiose Soppresse dal Governo Frances (102), Appendix, filza 84, fol. 40r, Archivio di Stato di Firenze ASFi, Santa Maria Novella, quoted from Maria K. DePrano: The Art Works Honoring Giovanna degli Albizzi: Lorenzo Tornabuoni, the Humanism of Poliziano, and the Art of Niccolò Fiorentino and Domenico Ghirlandaio. University of California, Diss., Los Angeles 2004, p. 121.

[9] Ricordi di Maso di Luca di messer Maso degli Albizi , 1451–1467, inv. Albizzi 199; Libro debitori e creditori di Maso di Luca di messer Maso degli Albizzi , 1458–1479, inv. Albizzi 203 and Libro debitori e creditori di Maso di Luca di messer Maso degli Albizi e di Luca di Maso , 1480–1511, inv. 204; provided by Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 23; Gert Jan van der Sman (Ed.): Ghirlandaio y el Renacimiento en Florencia. Exhibition catalog. Museo Thyssen-Bornemisza Madrid, Madrid 2010, ISBN 978-84-96233-89-8 , pp. 272-274.

[10] Scipione Ammirato: Delle Famiglie Nobili Fiorentine. Forni Editore, Bologna 1969 (1st ed. Florence 1615), pp. 25-47.

[11] Naldo Naldi: Nuptiale carmen ad Laurentium Tornabonium Iohannis filium iuvenem primarium. 1486, MS, private property, Florence, quoted from Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , p. 31ff.

[12] The inventory of the Tornabuoni is in the Florentine State Archives Archivio di Stato di Firenze: ASFi, Magistrato dei Pupilli avanti il Principato 181. The inventory of the Tornabuoni property is divided into the Villa Macerelli in Careggi (fol. 141r – 144r), the inventory of the Villa Le Brache in Castello (fol. 144–146r) and finally the possessions in the palazzo in the city (fol. 146v – 150r). The inventory has so far been published in excerpts. With a focus on the decoration program for the rooms by Lorenzo Tornabuoni cf. Gert Jan van der Sman: Lorenzo and Giovanna. Timeless Art and Fleeting Lives in Renaissance Florence. Mandragora, Florence 2010, ISBN 978-88-7461-128-7 , pp. 66-89 and Susanne Kress: The “camera di Lorenzo, bella” in the Palazzo Tornabuoni. Reconstruction and artistic furnishing of a Florentine wedding room of the late Quattrocento. In: Michael Rohlmann (Ed.): Artistic construction of identity in the Florence of the Renaissance. VDG Weimar, Weimar 2003, ISBN 978-3-89739-371-4 , pp. 245-285. Excerpts from the inventory also at Maria Merseburger: Painted drapery in the Florentine Quattrocento. Ghirlandaios Tornabuoni Chapel. Humboldt-Univ., Diss., Berlin 2018 online ; John Kent Lydecker: The Domestic Setting of the Arts in Renaissance Florence. Johns Hopkins University, Diss., Baltimore 1987 and Sheila McClure Ross: The Redecoration of Santa Maria Novella's "Cappella Maggiore". University of California, Diss., Berkeley 1983.