[1]
Ackerman, J.S. 1991. Early Renaissance ‘Naturalism’ and Scientific Illustration. Distance points: essays in theory and Renaissance art and architecture. M.I.T. Press. 185–207.
[2]
Alina Alexandra Payne 2015. Introduction. Vision and its instruments: art, science, and technology in early modern Europe. A.A. Payne, ed. The Pennsylvania State University Press. 1–9.
[3]
Bette, Talvacchia 1999. Mythology, Sexuality and Science in Charles Estienne’s Manual of Anatomy. Taking positions: on the erotic in Renaissance culture. Princeton University Press. 161–187.
[4]
Carlino, A. 1999. Representations: An Iconographic investigation of the dissection scene. Books of the body: anatomical ritual and renaissance learning. University of Chicago Press. 8–68.
[5]
Charles Dempsey 2006. Caravaggio and the Two Naturalistic Styles: Specular vs. Macular. Caravaggio: Realism. University of Delaware Press. 91–100.
[6]
David, Landau & Peter W. Parshall 1994. Printed Herbals and Descriptive Botany. The Renaissance print, 1470-1550. Yale University Press. 245–259.
[7]
Eisenstein, E.L. 1980. The Printing Press as an Agent of Change. Cambridge University Press.
[8]
Elizabeth L. Eisenstein Defining the initial shift; some features of print culture. The printing press as an agent of change : communications and cultural transformations in early-modern Europe / Vol.1 / Elizabeth L. Eisenstein. 43–159.
[9]
Elizabeth L. Eisenstein, 1923- The printing press as an agent of change : communications and cultural transformations in early-modern Europe / Vol.2 / Elizabeth L. Eisenstein.
[10]
Elke Anna Werner 2014. Anthropomorphic Maps: On the Aesthetic Form and Political Function of Body Metaphors. The Anthropomorphic Lens: Anthropomorphism, Microcosmism and Analogy in Early Modern Thought and Visual Arts. W. Melion, ed. Brill. 251–272.
[11]
Findlen, P. 2006. Anatomy Theaters, Botanical Gardens, and Natural History Collections. The Cambridge History of Science. K. Park and L. Daston, eds. Cambridge University Press. 272–289.
[12]
Gaudio, M. 2008. Savage Marks: The Scriptive Techniques of Early Modern Ethnography. Engraving the savage: the New World and techniques of civilization. University of Minnesota Press. 1–44.
[13]
Gaudio, M. 2008. Savage Marks: The Scriptive Techniques of Early Modern Ethnography. Engraving the savage: the New World and techniques of civilization. University of Minnesota Press. 1–43.
[14]
Glenn Harcourt 1987. Andreas Vesalius and the Anatomy of Antique Sculpture. Representations. 17 (1987), 28–61. DOI:https://doi.org/10.2307/3043792.
[15]
Hanneke, Grootenboer 2005. The Rhetoric of Perspective. The rhetoric of perspective: realism and illusionism in seventeenth-century Dutch still-life painting. University of Chicago Press. 97–135.
[16]
Ivins, William Mills The Road Block Broken: The Fifteenth Century. Prints and visual communication. 21–50.
[17]
Jacques, Lacan 1998. Anamorphosis. The four fundamental concepts of psycho-analysis. Vintage. 79–90.
[18]
Jill Burke 2013. Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude. Art History. 36, 4 (2013), 714–739. DOI:https://doi.org/10.1111/1467-8365.12029.
[19]
Karen Reeds 2006. Leonardo da Vinci and botanical illustration: nature prints, drawings, and woodcuts ca 1500. Visualizing medieval medicine and natural history, 1200-1550. Ashgate. 205–237.
[20]
Karr Schmidt, S. 2017. Handling Religion. Interactive and Sculptural Printmaking in the Renaissance. Brill. 23–55.
[21]
Katherine, Rowe 2013. ‘Gods handy worke’ Divine Complicity and the Anatomist’s Touch. The Body in Parts : Fantasies of Corporeality in Early Modern Europe. Taylor and Francis. 285–309.
[22]
Kenaan, H. 2002. The ‘Unusual Character’ of Holbein’s “Ambassadors”. Artibus et Historiae. 23, 46 (2002), 61–75. DOI:https://doi.org/10.2307/1483697.
[23]
Koerner, J.L. 1993. Not Made by Human Hands. The moment of self-portraiture in German Renaissance art. University of Chicago Press. 80–127.
[24]
Lucia, Nuti 1994. The Perspective Plan in the Sixteenth Century: The Invention of a Representational Language. The Art Bulletin. 76, 1 (1994), 105–128. DOI:https://doi.org/10.2307/3046005.
[25]
Margaret Iversen 2005. The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan. Oxford Art Journal. 28, 2 (2005), 193–202.
[26]
Massey, L. 2007. Picturing space, displacing bodies: anamorphosis in early modern theories of perspective. Pennsylvania State University Press.
[27]
Park, K. 2006. The Empire of Anatomy. Secrets of women: gender, generation, and the origins of human dissection. Zone. 207–259.
[28]
Paul Dyck, Ryan Rempel & Stuart Williams 2012. Digitizing Collection, Composition, and Product: Tracking the Work of Little Gidding. Digitizing medieval and early modern material culture. B. Nelson and M.M. Terras, eds. Iter in collaboration with ACMRS. 229–256.
[29]
Pon, L. 2015. Imprint: Paper, Print, and Matrix. A Printed Icon in Early Modern Italy. Cambridge University Press. 39–80.
[30]
Rosenthal, M.F. 2009. Fashions of Friendship in an Early Modern Illustrated Album Amicorum: British Library, MS Egerton 1191. Journal of Medieval and Early Modern Studies. 39, 3 (2009), 619–641. DOI:https://doi.org/10.1215/10829636-2009-007.
[31]
Rublack, U. 2010. Nationhood. Dressing up: cultural identity in Renaissance Europe. Oxford University Press. 125–176.
[32]
Sachiko Kusukawa 1997. Leonhart Fuchs on the Importance of Pictures. Journal of the History of Ideas. 58, 3 (1997). DOI:https://doi.org/10.2307/3653907.
[33]
San Juan, R.M. 2011. The Anthropomorphic Image: Negotiations of Space Between Body and Landscape. Vertiginous mirrors: the animation of the visual image and early modern travel. Manchester University Press. 56–85.
[34]
Stephen, Orgel, 2000. Textual Icons: Reading Early Modern Illustrations. The Renaissance computer: knowledge technology in the first age of print. N. Rhodes and J. Sawday, eds. Routledge. 57–92.
[35]
Stuart, Clark 2007. Introduction. Vanities of the eye: vision in early modern European culture. Oxford University Press. 1–8.
[36]
Stuart, Clark 2007. Species, visions and values. Vanities of the eye: vision in early modern European culture. Oxford University Press. 9–38.
[37]
Svetlana, Alpers 1983. The Mapping Impulse in Dutch Art. The art of describing: Dutch art in the seventeenth century. University of Chicago Press. 119–168.
[38]
Svetlana, Alpers 1983. ‘Ut Pictura, ita visio’: Kepler’s model of the Eye and the Nature of Picturing in the North. The art of describing: Dutch art in the seventeenth century. University of Chicago Press. 26–71.
[39]
Traub, V. 2000. Mapping the Global Body. Early modern visual culture: representation, race, and empire in Renaissance England. University of Pennsylvania Press. 44–97.
[40]
Valerie Traub 2009. The Nature of Norms in Early Modern England: Anatomy, Cartography, ‘King Lear’. South Central Review. 26, 1 (2009), 42–81.
[41]
Victor Ieronim, Stoichiță, et al 2015. Paintings, maps and mirrors. The self-aware image: an insight into early modern metapainting. L. Pericolo, ed. Harvey Miller Publishers. 151–197.
[42]
Wilkin, R.M. 2003. Figuring the Dead Descartes: Claude Clerselier’s                              (1664). Representations. 83, 1 (Aug. 2003), 38–66. DOI:https://doi.org/10.1525/rep.2003.83.1.38.
[43]
William H, Sherman 2008. Afterword: The Future of Past Readers. Used books: marking readers in Renaissance England. University of Pennsylvania Press. 179–182.
[44]
William, Mills. Ivins Jr 1978. The Road Block Broken-The Fifeteenth Century. Prints and visual communication. M.I.T. Press. 21–50.
[45]
Wilson, B. 2005. From Myth to Metropole: Sixteenth-Century Maps of Venice. The world in Venice: print, the city and early modern identity. University of Toronto Press. 23–69.
[46]
Wolloch, N. 1999. Dead Animals and the Beast-Machine: seventeenth-century Netherlandish paintings of dead animals, as anti-Cartesian statements. Art History. 22, 5 (Dec. 1999), 705–727. DOI:https://doi.org/10.1111/1467-8365.00183.
[47]
2015. Circuit-Bending History: Sketches toward a Digital Schematic. (2015).