Gian Lodovico Madruzzo

Jacob Burckhardt, Der Cicerone: eine Anleitung zum Genuss der Kunstwerke Italiens, 7th ed. (Leipzig, 1898), p. 856; 9th ed., p. 11.

Otto Mündler, “Beiträge zu Jacob Burckhardt’s Cicerone: Abtheilung Malerei,” Jahrbücher für Kunstwissenschaft 11 (1869), p. 313.

Gaudenti family, Trent, until at least 1782 [Chiusole 1782 noted that “il Signor Gaudenti, fra altre cose degne, conserva tre ritratti di Tiziano”]

C. von Lützow, “Giovanni Battista Moroni,” Die Graphischen Künste 14 (1891), p. 24.

Adamo Chiusole, Itinerario delle pitture, sculture, ed architetture più rare di molte città d’Italia (Vicenza, 1782), p. 21.

Erica E. Hirschler, "Helping 'Fine Things Across the Atlantic': Mary Cassatt and Art Collecting in the United States" in Mary Cassatt: Modern Woman, exh. cat. (Chicago, Art Institute of

Ottone Brentari, Guida del Trentino (Bassano, 1890), p. 166.

the portrait of Gian Federico Madruzzo was sold as no. 28.]

Giovanni Morelli, Italian Painters: Critical Studies of Their Works, trans. Constance Jocelyn Ffoulkes (London, 1893), p. 65 n. 2.

C. Perini, Trento e i suoi contorni, guida del viaggiattore (Trent, 1859; repr. 1868), p. 131.

Probably Madruzzo family, Castello del Buon Consiglio, Trent

Ivan Lermolieff [G. Morelli], Kunstkritische Studien über italienische Malerei, vol. 2 (Leipzig, 1891), p. 86 n. 1.

Ng, Aimee, Simone Facchinetti, Arturo Galansino, Moroni: The Riches of Renaissance Portraiture, Exh. cat. (The Frick Collection/Scala Arts Publishers, 2019) pp. 162-167, cat 27

New York, The Frick Collection, The Portraits of Giovanni Battista Moroni, February 21 - June 2, 2019, cat. 27.

Anna Rühl, Moretto da Brescia: Bildnisse, Studien zu Form, Wirkung und Funktion des Porträts in der italienischen Renaissance (Korb, Remstal, 2011), fig. 50.

Larry J. Feinberg, “A Brief History of the Old Masters in the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 32 (2006), pp. 14, 90 n. 13.

Erika Billeter, Hunde und ihre Maler: Zwischen Tizians Aristokraten und Picassos Gauklern (Bern, 2005), pp. 29–30, ill.

Nicholas Penny, The Sixteenth Century Italian Paintings, vol. 1 National Gallery Catalogues (London, 2004), pp. 194, 202–03, 206, ill.

Cremona, Associazione Promozione Iniziative Culturali di Cremona, Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy, February 14-May 2, 2004, cat. 35; New York, Metropolitan Museum of Art, May 23–August 14, 2004 (New York only)

Fort Worth, Texas, Kimbell Art Museum, Giovanni Battista Moroni: Renaissance Portraitist, February 26–May 28, 2000, no. 2.

Art Institute of Chicago, Treasures from the Art Institute of Chicago (Chicago, 2000), p. 95, ill.

Frederick A. Sweet, “La pittura italiana all’ ‘Art Institute’ di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 699–701, ill.

The Minneapolis Institute of Arts, Great Portraits by Famous Painters, November 13–December 21, 1952, no. 3.

Piero Sannazzaro, “Madruzzo, Ludovico,” in Enciclopedia Cattolica (Rome, 1951), col. 1802, detail ill.

Chicago, 1998), pp. 202-203, 210, fig. 30.

Laura Dal Prà, I Madruzzo e l’Europa, 1539–1658: I principi vescovi di Trento tra Papato e Impero, exh. cat. (Trent, Castello del Buonconsiglio, 1993), pp. 163, no. 2, 163–64, under no. 3.

Trent, Castello del Buon Consiglio, I Madruzzo e l’Europa, 1539–1658, July 10–October 31, 1993, no. 2.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 165–71, ill.

Silvana Milesi, Moroni e il primo Cinquecento bergamasco (Bergamo, 1991), pp. 56–57, ill.

Francesco Rossi, G. B. Moroni (Soncino, 1991), p. 44, under no. 6.

Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 22, ill.

Ettore Camesasca, ed., Da Raffaello a Goya…da Van Gogh a Picasso: 50 dipinti dal Museu de Art di San Paolo del Brasile, exh. cat. (Milan, Palazzo Reale, 1987), p. 84.

Artur Rosenauer, “Exhibition Reviews, London: Venice at The Royal Academy,” The Burlington Magazine 126 (1984), p. 305.

Mina Gregori in The Genius of Venice, 1500–1600, exh. cat. (London, Royal Academy of Arts, 1983–84), pp. 187–88, no. 61, under no. 62.

London, Royal Academy of Arts, The Genius of Venice, 1500–1600, November 25, 1983–March 11, 1984, no. 61.

Sheldon Grossman, letter to the editor, “Titian and Moroni in Trent,” Apollo 109 (1979), p. 246.

Bergamo, Palazzo della Regina, Giovan Battista Moroni (1520–1578), 1979, no. 8.

Fern Rusk Shapley, Catalogue of the Italian Paintings, vol. 1 (London, 1979), pp. 340–41.

Mina Gregori, “Giovan Battista Moroni,” in I pittori bergamaschi dal XIII al XIX secolo, vol. 3, Il cinquecento (Bergamo, 1979), pp. 98–99, 144, 251–53, no. 92, p. 283 under no. 142, p. 295 under no. 173, p. 306 under no. 196, p. 307, under nos. 198–99, p. 311, under no. 208, p. 326, ill.

D. Spinelli, “Trento lo scoprì prima di Bergamo,” L’eco di Bergamo, February 15, 1978, pp. 3, 7.

Allan Braham, Giovanni Battista Moroni: 400th Anniversary Exhibition, exh. cat. (London, The National Gallery, 1978), p. 7.

Francesco Rossi, “Giovan Battista Moroni nel IV centenario della morte,” Notizie da Palazzo Albani 6, 2 (1977), p. 51.

Mina Gregori, “Il ritratto di Alessandro Vittoria del Moroni a Vienna,” Paragone 27, 317–19 (1976), pp. 95, 99 n. 22.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 145, 515, 570.

John Maxon, The Art Institute of Chicago (New York, 1970), p. 255, ill.

Bernard Berenson, Italian Pictures of the Renaissance (London, 1968), p. 285.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 203.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 518.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 46, 340–41, ill.