Le "Consulte" e "Pratiche" della Repubblica fiorentina nel Quattrocento. Vol.I:Cancellierato di Coluccio Salutati (1401).

Bagno a Ripoli,Firenze,4-8/6/1984. Firenze, Salimbeni 1988, cm.18x24, pp.290, brossura con copertina figurata a colori. Quaderni di Storia Urbana e Rurale.

Roma, 11-13 marzo 1984. A cura di Marta Fattori. Roma, Edizioni dell'Ateneo 1984, cm.17x24, pp.VI-328, brossura, sovraccop.fig.a col. Stato di nuovo. Collana Lessico Intellettuale Europeo,XXXIII.

Politecnico di Milano, Febbraio 1994. A cura di C.Caraffa, M.C.Loi. Milano, Guerini 1994, cm.21x30, pp.197, num.figg.bn.nt. brossura con cop.fig.a col.

Venezia, Ravenna, Aquileia, Grado, Trieste, Parenzo, 12-21 settembre 2001, a cura di C. Rizzardi. Venezia, Ist.Veneto di Scienze, Lettere ed Arti 2005, cm.16x24, pp.658, centinaia di ill.e tavv.bn.e col.nt. brossura con bandelle, cop.fig.a col. Collana Studi di Arte Veneta,12.

Text in english. Firenze, Giunti Editore 2021, cm.24,5x31,5, pp.799, legatura editoriale in tutta tela, sopraccoperta figurata a colori. Collana Corpus of Florentine Painting. Sez. IV. The Mediaeval Panel Painting in Tuscany is the catalogue raisonné of twelfth and thirteenth century Tuscan paintings. The project's goal was to draw up a complete index of Italian panel paintings from the origins to the end of the thirteenth century. The book consists of five parts. The first, dedicated to twelfth-century panel paintings examines the earliest works from Tuscany as a whole since it is not possible to pinpoint variations among local schools in those years. It is only starting from the thirteenth century that Miklós Boskovits could begin to trace the developments of figurative language in Tuscany's main cities, from Lucca to Pisa. The book then devotes considerable space to thirteenth-century Sienese painting, reconstructing the career of the Master of Tressa, through to the works of Duccio di Buoninsegna up to the cut-off point of the year 1300, omitting those paintings that by then were in dialogue with Giotto's innovations. The last part is dedicated to paintings from the Arezzo area, focusing largely on the career of Margarito d'Arezzo.