Faietti, M.: Un singolare triangolo: Pietro Aretino, Clemente VII e il Parmigianino. In: "Inchiostro per colore". Arte e artisti in Pietro Aretino (Studi e ricerche per la edizione nazionale delle opere di Pietro Aretino ; 3), S. 63 - 72 (Hg. Bisceglia, A.; Ceriana, M.; Procaccioli, P.). Salerno Editrice, Roma (2019)

Faietti, M.: Frammenti di cieli sulle carte: l’Antico decontestualizzato. In: I cieli in una stanza. Soffitti lignei a Firenze e a Roma nel Rinascimento. Catalogo della mostra (Firenze, Gallerie degli Uffizi, Sala Edoardo Detti e Sala del Camino, 10 dicembre 2019-8 marzo 2020), S. 48 - 57 (Hg. Conforti, C.; D’Amelio, M. G.; Funis, F.; Grieco, L.). Giunti, Firenze ; Milano (2019)

Hanke, S.: Kunst – Tourismus – Politik: Skulpturenphotographie auf der Florentiner Piazza della Signoria. In: Projektionen: der Platz als Bildthema (I Mandorli ; Band 28) (I Mandorli. Forschungsprojekt "Piazza e monumento" ; 5), S. 115 - 136 (Hg. Hanke, S.; Sölch, B.). Deutscher Kunstverlag, Berlin ; München (2019)

Hanke, S.; Sölch, B.: Projektionen. Der Platz als Bildthema. In: Projektionen: der Platz als Bildthema (I Mandorli ; Band 28) (I Mandorli. Forschungsprojekt "Piazza e monumento" ; 5), S. 9 - 18 (Hg. Hanke, S.; Sölch, B.). Deutscher Kunstverlag, Berlin ; München (2019)

Hanstein, L.: Durch Rosas Brille. Die graphische Interpretation von "Sam Dunn ist tot". In: Sam Dunn ist tot. Futuristischer Roman (Coll'arco ; n° 10), S. 115 - 141. Arco Verlag, Wuppertal (2019)

Jonietz, F.: Benedetto Varchi: Schönheit und Anmut (1540er Jahre?). In: Schönheit – Der Körper als Kunstprodukt. Kommentierte Quellentexte von Cicero bis Goya. Munich: Reimer 2019 [2018], pp. 203–08., S. 203 - 208 (Hg. Sammern, R.; Saviello, J.). Reimer, Berlin (2019)

Langer, P.: Devozione e dislocazione: reliquie e oggetti di culto dopo il terremoto aquilano. In: Storia dell'arte e catastrofi: spazio, tempi, società, S. 257 - 269 (Hg. Belmonte, C.; Scirocco, E.; Wolf, G.). Marsilio, Venezia (2019)

Langer, P.; Pezzuto, L.; Sanecki, J.: Il patrimonio culturale mobile dopo la catastrofe. In: Storia dell'arte e catastrofi: spazio, tempi, società, S. 233 - 234 (Hg. Belmonte, C.; Scirocco, E.; Wolf, G.). Marsilio, Venezia (2019)

Melli, L.: Verrocchio the Draftsman: Model and Maestro. In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 86 - 101 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Study of the Madonna adoring the Christ child (cat. no. 33). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 236 - 238 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Francesco di Simone Ferrucci and assistants: Sketches of figures of the Madonna kneeling, Saint Peter standing, seated allegorical figures of Faith and Charity, and Child standing on a corbel (?) (recto) / Sketches of figures of Saint Sebastian standing and the Madonna and Child with angels (verso). (Cat. no. 34). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 239 - 242 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Andrea del Verrocchio: Study of a curly-haired youth's head (recto) / Leonardo da Vinci: Study of a child's head (verso) (cat. no. 35). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 243 - 246 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Attributed to Andrea del Verrocchio: Child in bust lenght, three-quarter view (cat. no. 37). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 250 - 253 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Head of a woman with braided hair (recto) / Head of a woman leaning on her right hand (verso) (cat. no. 38). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 254 - 259 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Andrea del Verrocchio and assistants: Sheet of a sketchbook with Saint Donatus (for the Pistoia altarpiece) and various heads (recto) / A male head, various figures and inscriptions (verso) (cat. no. 39). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 260 - 265 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Study of seated Madonna and Child (cat. no. 40). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 266 - 268 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Andrea del Verrocchio or possibly Leonardo da Vinci: Study of seated Madonna and Child (cat. no. 41). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 269 - 271 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Attributed to Andrea del Verrocchio and assistant: Project for a funerary monument (Tartagni tomb) (cat. no. 44). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 280 - 283 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: A grotesque dancer (cat. no. 45). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 284 - 287 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)

Melli, L.: Three nude old men drinking (cat. no. 46). In: Verrocchio. Scupltor and painter of Renaissance Florence, S. 288 - 291 (Hg. Butterfield, A.). National Gallery of Art, Washington, Washington (2019)