GENERAL STUDIES

Boucher, Bruce. Italian Baroque Sculpture. London: Thames and Hudson, 1998.

Magnuson, Torgil. Rome in the Age of  Bernini. Stockholm: Almqvist and Wiksell International, 1982. Reviewed by Tod
A. Marder, The Art Bulletin 69,  no. 3 (September 1987): 480-81.

Montagu, Jennifer. Roman Baroque Sculpture: The Industry of Art. New Haven and London: Yale University Press, 1989.

Varriano, John L. Italian Baroque and Rococo Architecture. New York: Oxford University Press, 1986. Reviewed by Steven F. Ostrow, The Art Bulletin 70, no. 3 (September 1988): 528-30.

Weston-Lewis, Aidan, et al.  Effigies and Ecstasies: Roman Baroque Sculpture and Design in the Age of Bernini. Exh. cat. Edinburgh: National Gallery of Scotland, 1998.

Wittkower, Rudolf. Art and Architecture in Italy 1600-1750. 3 vols. New Haven and London: Yale University Press, rev. ed.,1999.

BERNINI: PRIMARY SOURCES, THEORY, AND BIOGRAPHY

Baldinucci, Filippo.  The Life of Bernini. Translated by Catherine Enggass; introduction by Maarten Delbeke, Evonne Levy, and Steven F. Ostrow. 2nd ed. 1966. University Park: Pennsylvania State University Press, 2006.

Bellori, Giovan Pietro.  The Lives of the Modern Painters, Sculptors and Architects: A New Translation and Critical Edition. Translated by Alice Sedgwick Wohl; notes by Hellmut Wohl; introduction by Tomaso Montanari. 1672. Cambridge, UK and New York: Cambridge University Press, 2005.

Bernini, Domenico. The Life of Gian Lorenzo Bernini: A Translation and Critical Edition, with Introduction and Commentary. Edited and annotated by Franco Mormando. University Park: Pennsylvania State University Press, 2011.

Chantelou, Paul Fréart de. Diary of the Cavaliere Bernini’s Visit to France. Edited by Anthony Blunt; annotated by George C. Bauer; translated by Margery Corbett. Princeton: Princeton University Press, 1985.

Delbeke, Maeerten. The Art of Religion: Sforza Pallavicino and Art Theory in Bernini's Rome. Farnham, Surrey, UK and Burlington, VT : Ashgate, 2012.

Delbeke, Maarten, Evonne Levy, and Steven F. Ostrow, eds. Bernini’s Biographies: Critical Essays. University Park.: Pennsylvania State University Press, 2006.

Montanari, Tomaso. “At the Margins of the Historiography of Art: The Vite of Bernini between Autobiography and Apologia.” In Bernini’s Biographies: Critical Essays. Edited by Maarten Delbeke, Evonne Levy, and Steven F. Ostrow, 73–109.  University Park:  Pennsylvania State University Press, 2006.

Mormando, Franco. Bernini: His life and His Rome. Chicago: University of Chicago Press, 2011.

BERNINI: GENERAL STUDIES AND EXHIBITIONS

Avery, Charles. Bernini: Genius of the Baroque. London: Thames and Hudson, 1997.

Bacchi, Andrea, Catherine Hess, and Jennifer Montagu, eds. Bernini and the Birth of Baroque Portrait Sculpture. Exh. cat. Los Angeles: J. Paul Getty Museum, 2008. Reviewed by Carolina Mangone in caa.reviews.

Bauer, George C., ed. Bernini in Perspective. Englewood Cliffs, NJ: Prentice-Hall, 1976.

Blunt, Anthony. “Gianlorenzo Bernini: Illusionism and Mysticism,” Art History 1 (1978):  67-82.

Borsi, Franco. Bernini architetto. Milan: Electa Editrice, 1980.

Coliva, Anna, ed. Bernini scultore: La tecnica esecutiva. Rome: De Luca Editori d’Arte, 2002.

Fagiolo, Marcello, ed. Gian Lorenzo Bernini e la arti visive. Biblioteca internazionale di cultura, 19. Rome: Istituto della Enciclopedia Italiana, 1987.

Fagiolo dell’Arco, Maurizio. Bernini. Rome: De Luca Editore, 1981.

Gould, Cecil. Bernini in France: An Episode in Seventeenth-Century History. Princeton, N.J.: Princeton University Press, 1982.

Gramiccia, Anna, and Giovanni Lorenzo Bernini. Bernini in Vaticano. Roma: De Luca, 1981.

Hibbard, Howard. Bernini. Harmondsworth: Penguin Books, 1965.
In Memoriam: Gian Lorenzo Bernini. Exhibition, Fogg Art Museum, Cambridge, MA, 1980. No catalogue.

Lavin, Irving.  Bernini and the Unity of the Visual Arts. 2 vols. Pierpont Morgan Library. New York and London: Oxford University Press, 1980.

Lavin, Irving. Visible Spirit: The Art of Gianlorenzo Bernini. 2 vols. London: The Pindar Press, 2007.

Marder, T. A.  Bernini and the Art of Architecture. New York: Abbeville Press, 1998.

Mezzatesta, Michael P., ed.  The Art of Gianlorenzo Bernini: Selected Sculpture. Exh. cat. Fort Worth:  Kimbell Art Museum, 1982. 

Montanari, Tomaso. Gian Lorenzo Bernini. Grandi scultori, 1. Rome: Gruppo Editoriale L’Espresso, 2004.

Morello, Giovanni, ed. Intorno a Bernini: Studi e documenti. Exh. cat. Rome: Gangemi Editore, 2008.

Preimesberger, Rudolf, and Michael P. Mezzatesta. “Bernini: (2) Gianlorenzo.” In The Dictionary of Art. Edited by Jane Turner, vol. 3, 828–40. 34 vols. London and New York: Grove, 1996.

Warwick, Genevieve. Bernini: Art As Theatre. New Haven: Yale University Press, 2012. 

Wittkower, Rudolf, et al. Bernini: The Sculptor of the Roman Baroque. 4th ed. 1955. London and New York: Phaidon Press, 1997. Reviewed by Irving Lavin, The Art Bulletin 38, no. 4 (December 1956): 255-60.

PATRONAGE AND COLLECTING

Androssov [sic], Sergey [sic] O. “Works by Stefano Maderno, Bernini and Rusconi from the Farsetti Collection in the Ca’ d’Oro and the Hermitage.” The Burlington Magazine 133, no. 1058 (May 1991): 292–7.

Androsov, Sergei. “The Farsetti Collection in Italy and Russia.” In From the Sculptor’s Hand [second issue, Bernini’s Rome]: Italian Baroque Terracottas from the State Hermitage Museum. Edited by Ian Wardropper, 2-13. Chicago: Art Institute of Chicago, 1998.

Barcham, William L. Grand in Design: The Life and Career of Federico Cornaro, Prince of the Church, Patriarch of Venice and Patron of the Arts. Memorie (Istituto Veneto di Scienze, Lettere ed Arti. Classe di scienze morali, lettere ed arti), 93. Venice: Istituto Veneto di Scienze, Lettere ed Arti, 2001.

Haskell, Francis. Patrons and Painters:  A Study in the Relations Between Italian Art and Society in the Age of the Baroque, rev.ed. New Haven and London: Yale University Press 1980.

Kalveram, Katrin. “Die Terrakotta-Sammlung des Filippo Farsetti.” Münchner Jahrbuch der bildenden Kunst, ser. 3, 48 (1997):135–46.

Krautheimer, Richard, and Roger B. S. Jones. “The Diary of Alexander VIII: Notes on Art, Artists and Buildings.” Römisches Jahrbuch für Kunstgeschichte [Bibliotheca Hertziana] 15 (1975):199–233.

McPhee, Sarah. Bernini's Beloved: A Portrait of Costanza Piccolomini. New Haven and London: Yale University Press, 2012. Reviewed by Eve Straussman-Pflanzer in caa.reviews.

Montagu, Jennifer. “Artists as Collectors of Sculpture in Baroque Rome.” In Collecting Sculpture in Early Modern Europe. Edited by Nicholas Penny and Eike D. Schmidt, 278–89. Washington: National Gallery of Art, 2008

Raggio, Olga. “Bernini and the Collection of Cardinal Flavio Chigi.” Apollo 117, n.s., no. 255 (May 1983): 368–79.

Villani, Adriana. “I bozzetti di Gian Lorenzo Bernini nella collezione Chigi.” Miscellanea Bibliothecae Apostolicae Vaticanae 15 (2008):  421–95.

Walker, Dean. “Surveying the History of Collecting Italian Sculptural Models.” In From the Sculptor’s Hand [second issue, Bernini’s Rome]: Italian Baroque Terracottas from the State Hermitage Museum. Edited by Ian Wardropper, 14–29. Chicago: Art Institute of Chicago, 1998.

TERRA-COTTA MODELS

Avery, Charles, Alastair Laing, and Lois Katz. Fingerprints of the artist: European Terra-cotta Sculpture from the Arthur M. Sackler Collections. Exh. cat. Washington, D.C.: Arthur M. Sackler Foundation, 1981.

Barberini, Maria Giulia. “Base or Noble Material?: Clay Sculpture in Seventeenth- Eighteenth-Century Italy.” In Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova. Edited by Bruce Boucher, 43-59.  Exh. cat. New Haven and London: Yale University Press, 2001.

Barberini, Maria Giulia. Sculture in terracotta del barocco romano: bozzetti e modelli del Museo nazionale del Palazzo di Venezia. Roma: F.lli Palombi, 1991.

Boucher, Bruce, ed. Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova. Exh. cat. New Haven and London: Yale University Press, 2001. Reviewed by Shelley E. Zuraw in caa.reviews.

Boucher, Bruce. “Italian Renaissance Terracotta: Artistic Revival or Technological Innovation?” In Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova. Edited by Bruce Boucher, 1–31, 283–84. Exh. cat. New Haven and London: Yale University Press, 2001.

Farrell, Eugene F., Henry Lie, and Suzanne M. M. Young. “Clay Analysis.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 39–47. Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Froelich-Bume, L[ili]. “Bozzetti and Modelletti of the Late Renaissance and the Baroque.” The Burlington Magazine for Connoisseurs 70, no. 408 (March 1937): 132–35.

Gaskell, Ivan. “An Economy of Seventeenth- Century Clay Sculptors’ Models.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 26–30. Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Gaskell, Ivan and Henry Lie, eds. Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Hubbard, Charlotte, and Peta Motture. “The Making of Terracotta Sculpture: Techniques and Observations.” In Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova. Edited by Bruce Boucher, 82-95. Exh. cat. New Haven and London: Yale University Press, 2001.

Kosareva, Nina. “A Terracotta Study by Gianlorenzo Bernini for the Statue of the Blessed Ludovica Albertoni.” Apollo 100, n.s., no. 154 (December 1974): 480–85.

Lavin, Irving. “‘Bozzetto Style’: The Renaissance Sculptor’s Handiwork.” In Visible Spirit: The Art of Gianlorenzo Bernini. Edited by Irving Lavin, vol. 2, 1174–1233. 3 vols. London: Pindar Press, 2007.

Lie, Henry. “Technical Studies: Rationale and Techniques.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 37–38. Harvard University Art Museum Bulletin 6, no. 3 (Spring 1999).

Lloyd, Nancy. “Fingerprints.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 119–124. Harvard University Art Museum Bulletin 6, no. 3 (Spring 1999).

Montagu, Jennifer. “Disegni, Bozzetti, Legnetti and Modelli in Roman Seicento Sculpture.” In Entwurf und Ausführung in der europäischen Barockplastik: Beiträge zum internationalen Kolloquium des Bayerischen Nationalmuseums und des Zentralinstituts für Kunstgeschichte München, 24. bis 26. Juni 1985. Edited by Peter Volk, 9–30. Munich and Zurich: Verlag Schnell and Steiner, 1986.

Planiscig, Leo. Bozzetti und Modelletti der Spätrenaissance und des Barock: Katalog ; Dezember 1936 - Jänner 1937. Exh. cat. Vienna: Kunsthistorisches Museum, 1936.

Sigel, Anthony B. “The Clay Modeling Techniques of Melchiorre Cafà: A Preliminary Assessment.” In Melchiorre Cafà: Maltese Genius of the Roman Baroque. Edited by Keith Sciberras, 161-234. Valletta, Malta: Midsea Books, 2006.

Wardropper, Ian. “The Role of Terracotta Models in Italian Baroque Sculptural Practice.” In From
the Sculptor’s Hand [second issue, Bernini’s Rome]: Italian Baroque Terracottas from the State Hermitage Museum. Edited by Ian Wardropper, 30–42. Chicago: Art Institute of Chicago, 1998.

Wardropper, Ian, ed. From the Sculptor’s Hand [second issue, Bernini’s Rome]: Italian Baroque Terracottas from the State Hermitage Museum. Chicago: Art Institute of Chicago, 1998.

Wittkower, Rudolf. “Die Rölle des Modells in der römischen Barockplastik.” Sitzungsberichte der Kunstgeschichtliche Gesellschaft Berlin: Berlin: 1928, 5–7.

BERNINI PROJECTS

Avery, Charles. “The History of Bernini’s Fountain of the Moor.” In Bernini: The Modello for the Fountain of the Moor. Edited by Andrew Butterfield, 10-28. Exh. cat. New York: Salander-O'Reilly Galleries, 2002.

Bernstock, Judith E. “Bernini's Memorials to Ippolito Merenda and Alessandro Valtrini.” The Art Bulletin  63, no. 2 (June 1981): 210-32.

Callisen, S. E. “The Equestrian Statue of Louis XIV in Dijon and Related Monuments.” The Art Bulletin  23, no. 2 (June 1941): 131-40.

D’Amelio, Maria Grazia, and Tod A. Marder. “The Four Rivers Fountain: Art and Building Technology in Pamphilj Rome.” In The Pamphilj and the Arts: Patronage and Consumption in Baroque Rome. Edited by Stephanie C. Leone, 23–36. Chestnut Hill, MA: McMullen Museum of Art, Boston College, 2011.

Fehrenbach, Frank. Compendia Mundi: Gianlorenzo Berninis “Fontana dei Quattro Fiumi” (1648-51) und Nicola Salvis “Fontana di Trevi” (1732-62). Berlin: Deutscher Kunstverlag, 2010.

Harris, Ann Sutherland. “Bernini’s Four Rivers Fountain as Permanent Theater.” In “All the world’s a stage . . .”: Art and Pageantry in the Renaissance and Baroque, Part 2, Theatrical Spectacle and Spectacular Theatre. Edited by Barbara Wisch and Susan Scott Munshower, 488–516. University Park: Pennsylvania State University, 1990.

Herklotz, Ingo. “Eine zeitgenössische Beschreibung vonBerninis Vierströmebrunnen nebst einem Plädoyer für eine publikumsorientierte Kunstwissenschaft.” In: Opus Tessellatum. Modi und Grenzgänge der Kunstwissenschaft. Festschrift für Peter Cornelius Claussen. Edited by  Katharina Corsepius, 411-29. Hildesheim,  Zürich, and New York: Georg Olms Verlag,  2004. 

Hecksher, William S. “Bernini’s Elephant and Obelisk.” The Art Bulletin 29, no. 3 (September 1947): 155–82.

Johns, Christopher M. S. “Some Observations on Collaboration and Patronage in the Altieri Chapel, San Francesco a Ripa: Bernini and Gaulli.” Storia dell’arte 50 (1984): 43– 47.

Kauffmann, Hans. “Bernini’s St. Longinus.” In Bernini in Perspective. Edited by George C. Bauer, 98-110.  Englewood Cliffs, NJ: Prentice-Hall, 1976.

Kenseth, Joy. “Bernini’s Borghese Sculptures:  Another View.” The Art Bulletin 63 (1981): 191-210.

Lavin, Irving. Bernini and the Crossing of St. Peter’s. Monographs on Archaeology and the Fine Arts, 17. New York: New York University Press, 1968.

Lavin, Irving. “Bernini at St. Peter’s: Singularis in Singulis, in Omnibus Unicus.” In St. Peter’s in the Vatican. Edited by William Tronzo, 111–243. Cambridge, UK and New York: Cambridge University Press, 2005. Reviewed by Evonne Levy in caa.reviews.

Marder, T. A. Bernini’s Scala Regia at the Vatican Palace. Cambridge, UK and New York: Cambridge University Press, 1997.

Ostrow, Steven F. “Gianlorenzo Bernini, Girolamo Lucenti, and the Statue of Philip IV in S. Maria Maggiore: Patronage and Politics in Seicento Rome.” The Art Bulletin 73, no. 1 (March 1991): 89-118.

Perlove, Shelley Karen. Bernini and the Idealization of Death: The Blessed Ludovica Albertoni and the Altieri Chapel. University Park:  Pennsylvania State University Press, 1990.

Weil, Mark S.. The History and Decoration of the Ponte S. Angelo. University: Pennsylvania State University Press, 1974.

Weil, Mark S. “Bernini Drawings and Bozzetti for the Ponte Sant’Angelo: A New Look.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 144-150. Harvard University Art MuseumBulletin 6, no. 3 (Spring 1999).

BERNINI’S CLAY MODELS

“Bernini Bozzetti for America: Sketches by the Baroque Genius for the Fogg Art Museum.” Art News 36 (June 4, 1938): 11–12.

Bewer, Francesca G.  “Bronze Casts after Bozzetti and Modelli by Bernini.” In Sketches in Clay for
Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies.”Edited by Ivan Gaskell and Henry Lie, 162–67. Harvard University Art Museum Bulletin 6, no. 3 (Spring 1999).

Boucher, Bruce. “Bernini’s Models for the Angels of the Ponte Sant’Angelo in Rome.” In Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova. Edited by Bruce Boucher, 60-66. Exh. cat. New Haven and London: Yale University Press, 2001. 

Butterfield, Andrew, ed. Bernini: The Modello for the Fountain of the Moor. Exh. cat. New York: Salander-O'Reilly Galleries, 2002.

Cipriani, Angela. “Un bozzetto per il leone della Fontana dei Fiumi.” In Gian Lorenzo Bernini e la arti visive, Biblioteca internazionale di cultura, 19. Edited by Marcello Fagiolo, 139-147. Rome: Istituto della Enciclopedia Italiana, 1987.

Dickerson III, C. D. “Bernini and Before: Modeled Sculpture in Rome, c. 1600–25.” PhD diss., Institute of Fine Arts, New York University, New York, 2006.

Dickerson III, C. D., Anthony Sigel, and Ian Wardropper, with contributions by Andrea Bacchi, Tomaso Montanari, and Steven F. Ostrow. Bernini: Sculpting in Clay.  New York: Metropolitan Museum of Art, distributed by the Yale University Press, 2012. Reviewed by Michaël Amy in caa.reviews and by Denise Pelletier in caa.reviews.

Gaskell, Ivan, and Henry Lie, eds. Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Gian Lorenzo Bernini: Sketches in Clay. Exhibition, Harvard University Art Museums, Cambridge, MA, 2007. No catalogue.

Lavin, Irving. “The Bozzetti of Gianlorenzo Bernini.” PhD diss., Harvard University, Cambridge, MA, 1955.

Lavin, Irving. “Bozzetti and Modelli: Notes on Sculptural Procedure from the Early Renaissance through Bernini.” In Stil und Überlieferung in der Kunst des Abendlandes: Akten des 21. Internationalen Kongresses für Kunstgeschichte in Bonn 1964, vol. 3, Theorien und Probleme, pp. 93–104, pls. 12–13. 3 vols. Berlin: Verlag Gebr. Mann, 1967.

Lavin, Irving.. “Calculated Spontaneity: Bernini and the Terracotta Sketch.” Apollo 107, n.s., no. 195 (May 1978): 398–405.

Lavin, Irving. “Bernini-Bozzetti, One More, One Less: A Berninesque Sculptor in Mid- Eighteenth Century France.” In Ars et scriptura: Festschrift für Rudolf Preimesberger zum 65. Geburtstag. Edited by Hannah Baader et al., 143–56. Berlin: Gebr. Mann Verlag, 2001.

Mancinelli, Fabrizio. “I modelli di Bernini.” In Pinacoteca Vaticana: Nella pittura l’espressione del messaggio divino; nella luce la radice della creazione pittorica. Edited by Umberto Baldini et al., 402–17. Milan: Fabbri Editori, 1992.

O’Grody, Jeannine. “Bernini’s St. Ambrose for the Cathedra Petri: A Model and the Metamorphosis of a Figure.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 133–43. Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Roth, Kendra. “Decorative Coatings on the St. Longinus and St. Ambrose Modelli.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 125-27. Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Sigel, Anthony B. “The Clay Modeling Techniques of Gian Lorenzo Bernini.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 48-72.  Harvard University Art Museums Bulletin 6, no. 3 (Spring 1999).

Sigel, Anthony. “The Technical Study of a Terracotta Modello of The Moor.” In Bernini: The Modello for the Fountain of the Moor. Edited by Andrew Butterfield, 48-71. Exh. cat. New York: Salander-O'Reilly Galleries, 2002.

Sigel, Anthony B., and Eugene F. Farrell. “Technical Observations and Petrographic Analysis.” In Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies. Edited by Ivan Gaskell and Henry Lie, 73-118. Harvard University Art Museum Bulletin 6, no. 3 (Spring 1999).

Viligiardi, Arturo. “Bozzetti in terra cotta di Gian Lorenzo Bernini rinvenuti a Siena.” Rassegna d’arte senese: Bullettino della Società degli amici dei monumenti 13, nos. 1–2 (1920): 36–38.

Weil, Mark S. “Bernini and the Modello for the Fountain of the Moor.” In Bernini: The Modello for the Fountain of the Moor, edited by Andrew Butterfield, 30-47. Exh. cat. New York: Salander-O'Reilly Galleries, 2002.

Zamboni, Silla. “Gian Lorenzo Bernini: Un modello per la ‘Fontana dei Quattro Fiumi’ ritrovato.” In Da Bernini a Pinelli. Edited by Silla Zamboni, 9–25. Bologna: Accademia Clementina di Bologna, 1968.

Zamboni, Silla. “G. L. Bernini: Un modello per la Fontana dei Quattro Fiumi ritrovato.” Rapporto della Soprintendenza alle Gallerie di Bologna 7 (1971): 31–43.

BERNINI’S DRAWINGS

Brauer, Heinrich and Rudolf Wittkower. Die Ziechnungen des Gianlorenzo Bernini. Römische Forschungen der Bibliotheca Hertziana, 9-10. 2 vols. Berlin: Verlag Heinrich Keller, 1931.

Harris, Ann Sutherland. “New Drawings by Bernini for ‘St. Longinus’ and Other Contemporary Works.” Master Drawings 6, no. 4 (Winter 1968): 383–91.

Harris, Ann Sutherland. Selected Drawings of Gian Lorenzo Bernini. New York: Dover Publications, 1977.

Lavin, Irving, et al. Drawings by Gianlorenzo Bernini, from the Museum der Bildenden Künste, Leipzig, German Democratic Republic: Exhibition and Catalogue. Princeton, NJ: Art Museum, Princeton University, 1981.

BERNINI’S WORKSHOP AND ASSOCIATES

Montagu, Jennifer. “Bernini Sculptures Not by Bernini.” In Gianlorenzo Bernini: New Aspects of His Art and Thought. Edited by Irving Lavin, 25–61. University Park:  Pennsylvania State University Press, 1985.

Montagu, Jennifer. “Melchiorre Cafà’s Models for Ercole Ferrata.” In Melchiorre Cafà: Maltese Genius of the Roman Baroque. Edited by Keith Sciberras, 67–78.  Valletta, Malta: Midsea Books, 2006.

Sciberras, Keith. “Melchiorre Cafà: Maltese Genius of the Roman Baroque.” In Melchiorre Cafà: Maltese Genius of the Roman Baroque. Edited by Keith Sciberras, 1–19, 235–37.Valletta, Malta: Midsea Books, 2006.

Sciberras, Keith, ed. Melchiorre Cafà: Maltese Genius of the Roman Baroque. Valletta, Malta: Midsea Books, 2006.

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