1.
Alina Alexandra Payne. Introduction. In: Payne AA, ed. Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe. The Pennsylvania State University Press; 2015:1-9. https://contentstore.cla.co.uk/secure/link?id=5bc338be-ff78-e711-80cb-005056af4099
2.
Karen Reeds. Leonardo da Vinci and botanical illustration: nature prints, drawings, and woodcuts ca 1500. In: Visualizing Medieval Medicine and Natural History, 1200-1550. Vol AVISTA studies in the history of medieval technology, science and art. Ashgate; 2006:205-237. https://contentstore.cla.co.uk/secure/link?id=989b2279-7f89-e711-80cb-005056af4099
3.
Ackerman JS. Early Renaissance ‘Naturalism’ and Scientific Illustration. In: Distance Points: Essays in Theory and Renaissance Art and Architecture. M.I.T. Press; 1991:185-207. https://contentstore.cla.co.uk/secure/link?id=7781b4d6-8089-e711-80cb-005056af4099
4.
Eisenstein EL. The Printing Press as an Agent of Change. Cambridge University Press; 1980. doi:10.1017/CBO9781107049963
5.
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.
6.
Elizabeth L. Eisenstein. Defining the initial shift; some features of print culture. In: The Printing Press as an Agent of Change : Communications and Cultural Transformations in Early-Modern Europe / Vol.1 / Elizabeth L. Eisenstein. Vol 1. ; :43-159.
7.
Ivins, William Mills. The Road Block Broken: The Fifteenth Century. In: Prints and Visual Communication. ; :21-50. https://www.fulcrum.org/epubs/8w32r584h#/6/102[xhtml00000051]!/4/1:0
8.
William, Mills. Ivins Jr. The Road Block Broken-The Fifeteenth Century. In: Prints and Visual Communication. M.I.T. Press; 1978:21-50.
9.
David, Landau & Peter W. Parshall. Printed Herbals and Descriptive Botany. In: The Renaissance Print, 1470-1550. Yale University Press; 1994:245-259. https://contentstore.cla.co.uk/secure/link?id=964a7659-fd78-e711-80cb-005056af4099
10.
Sachiko Kusukawa. Leonhart Fuchs on the Importance of Pictures. Journal of the History of Ideas. 1997;58(3). doi:10.2307/3653907
11.
Carlino A. Representations: An Iconographic investigation of the dissection scene. In: Books of the Body: Anatomical Ritual and Renaissance Learning. University of Chicago Press; 1999:8-68. https://contentstore.cla.co.uk/secure/link?id=e74e7f8b-2f99-e711-80cb-005056af4099
12.
Park K. The Empire of Anatomy. In: Secrets of Women: Gender, Generation, and the Origins of Human Dissection. Zone; 2006:207-259. https://contentstore.cla.co.uk/secure/link?id=adbd2beb-f799-e711-80cb-005056af4099
13.
Glenn Harcourt. Andreas Vesalius and the Anatomy of Antique Sculpture. Representations. 1987;(17):28-61. doi:10.2307/3043792
14.
Katherine, Rowe. ‘Gods handy worke’ Divine Complicity and the Anatomist’s Touch. In: The Body in Parts : Fantasies of Corporeality in Early Modern Europe. Taylor and Francis; 2013:285-309. https://ebookcentral.proquest.com/lib/ucl/reader.action?docID=1111756&ppg=5
15.
Wilson B. From Myth to Metropole: Sixteenth-Century Maps of Venice. In: The World in Venice: Print, the City and Early Modern Identity. Vol Studies in book and print culture. University of Toronto Press; 2005:23-69. https://contentstore.cla.co.uk/secure/link?id=6bc1f26f-0079-e711-80cb-005056af4099
16.
Lucia, Nuti. The Perspective Plan in the Sixteenth Century: The Invention of a Representational Language. The Art Bulletin. 1994;76(1):105-128. doi:10.2307/3046005
17.
Traub V. Mapping the Global Body. In: Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England. Vol New cultural studies. University of Pennsylvania Press; 2000:44-97. https://contentstore.cla.co.uk/secure/link?id=0664e3b1-f999-e711-80cb-005056af4099
18.
Valerie Traub. The Nature of Norms in Early Modern England: Anatomy, Cartography, ‘King Lear’. South Central Review. 2009;26(1):42-81. http://www.jstor.org/stable/40211291?seq=1#page_scan_tab_contents
19.
Gaudio M. Savage Marks: The Scriptive Techniques of Early Modern Ethnography. In: Engraving the Savage: The New World and Techniques of Civilization. University of Minnesota Press; 2008:1-44. https://www.jstor.org/stable/10.5749/j.cttts63r.5
20.
Gaudio M. Savage Marks: The Scriptive Techniques of Early Modern Ethnography. In: Engraving the Savage: The New World and Techniques of Civilization. University of Minnesota Press; 2008:1-43. https://www.jstor.org/stable/10.5749/j.cttts63r
21.
Elke Anna Werner. Anthropomorphic Maps: On the Aesthetic Form and Political Function of Body Metaphors. In: Melion W, ed. The Anthropomorphic Lens: Anthropomorphism, Microcosmism and Analogy in Early Modern Thought and Visual Arts. Brill; 2014:251-272. doi:10.1163/9789004275034_012
22.
San Juan RM. The Anthropomorphic Image: Negotiations of Space Between Body and Landscape. In: Vertiginous Mirrors: The Animation of the Visual Image and Early Modern Travel. Vol Rethinking art’s histories. Manchester University Press; 2011:56-85. https://contentstore.cla.co.uk/secure/link?id=81cf4fb6-862e-e811-80cd-005056af4099
23.
Rublack U. Nationhood. In: Dressing up: Cultural Identity in Renaissance Europe. Oxford University Press; 2010:125-176. https://contentstore.cla.co.uk/secure/link?id=1850b754-f678-e711-80cb-005056af4099
24.
Jill Burke. Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude. Art History. 2013;36(4):714-739. doi:10.1111/1467-8365.12029
25.
Rosenthal MF. Fashions of Friendship in an Early Modern Illustrated Album Amicorum: British Library, MS Egerton 1191. Journal of Medieval and Early Modern Studies. 2009;39(3):619-641. doi:10.1215/10829636-2009-007
26.
Koerner JL. Not Made by Human Hands. In: The Moment of Self-Portraiture in German Renaissance Art. University of Chicago Press; 1993:80-127. https://contentstore.cla.co.uk/secure/link?id=6f4251c2-0279-e711-80cb-005056af4099
27.
Karr Schmidt S. Handling Religion. In: Interactive and Sculptural Printmaking in the Renaissance. Brill; 2017:23-55. doi:10.1163/9789004354135_003
28.
Pon L. Imprint: Paper, Print, and Matrix. In: A Printed Icon in Early Modern Italy. Cambridge University Press; 2015:39-80. doi:10.1017/CBO9781316162293.003
29.
Bette, Talvacchia. Mythology, Sexuality and Science in Charles Estienne’s Manual of Anatomy. In: Taking Positions: On the Erotic in Renaissance Culture. Princeton University Press; 1999:161-187. https://contentstore.cla.co.uk/secure/link?id=a91918ae-b6fa-e711-80cd-005056af4099
30.
Stephen, Orgel,. Textual Icons: Reading Early Modern Illustrations. In: Rhodes N, Sawday J, eds. The Renaissance Computer: Knowledge Technology in the First Age of Print. Routledge; 2000:57-92. https://www.taylorfrancis.com/books/e/9781134599806/chapters/10.4324%2F9780203463307-12
31.
Findlen P. Anatomy Theaters, Botanical Gardens, and Natural History Collections. In: Park K, Daston L, eds. The Cambridge History of Science. Cambridge University Press; 2006:272-289. doi:10.1017/CHOL9780521572446.013
32.
Margaret Iversen. The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan. Oxford Art Journal. 2005;28(2):193-202. http://www.jstor.org/stable/4500016?seq=1#page_scan_tab_contents
33.
Kenaan H. The ‘Unusual Character’ of Holbein’s “Ambassadors”. Artibus et Historiae. 2002;23(46):61-75. doi:10.2307/1483697
34.
Massey L. Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective. Pennsylvania State University Press; 2007.
35.
Jacques, Lacan. Anamorphosis. In: The Four Fundamental Concepts of Psycho-Analysis. Vintage; 1998:79-90. https://contentstore.cla.co.uk/secure/link?id=0b6f5164-b4fa-e711-80cd-005056af4099
36.
Svetlana, Alpers. ‘Ut Pictura, ita visio’: Kepler’s model of the Eye and the Nature of Picturing in the North. In: The Art of Describing: Dutch Art in the Seventeenth Century. University of Chicago Press; 1983:26-71.
37.
Svetlana, Alpers. The Mapping Impulse in Dutch Art. In: The Art of Describing: Dutch Art in the Seventeenth Century. University of Chicago Press; 1983:119-168. https://contentstore.cla.co.uk/secure/link?id=3432d9ac-abfa-e711-80cd-005056af4099
38.
Hanneke, Grootenboer. The Rhetoric of Perspective. In: The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting. University of Chicago Press; 2005:97-135.
39.
Stuart, Clark. Introduction. In: Vanities of the Eye: Vision in Early Modern European Culture. Oxford University Press; 2007:1-8.
40.
Stuart, Clark. Species, visions and values. In: Vanities of the Eye: Vision in Early Modern European Culture. Oxford University Press; 2007:9-38.
41.
Victor Ieronim, Stoichiță, et al. Paintings, maps and mirrors. In: Pericolo L, ed. The Self-Aware Image: An Insight into Early Modern Metapainting. New, improved, and updated edition. Harvey Miller Publishers; 2015:151-197.
42.
Charles Dempsey. Caravaggio and the Two Naturalistic Styles: Specular vs. Macular. In: Caravaggio: Realism. University of Delaware Press; 2006:91-100.
43.
Wilkin RM. Figuring the Dead Descartes: Claude Clerselier’s                              (1664). Representations. 2003;83(1):38-66. doi:10.1525/rep.2003.83.1.38
44.
Wolloch N. Dead Animals and the Beast-Machine: seventeenth-century Netherlandish paintings of dead animals, as anti-Cartesian statements. Art History. 1999;22(5):705-727. doi:10.1111/1467-8365.00183
45.
Circuit-Bending History: Sketches toward a Digital Schematic. Published online 2015. http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=7120878
46.
Paul Dyck, Ryan Rempel & Stuart Williams. Digitizing Collection, Composition, and Product: Tracking the Work of Little Gidding. In: Nelson B, Terras MM, eds. Digitizing Medieval and Early Modern Material Culture. Vol volume 3. Iter in collaboration with ACMRS; 2012:229-256.
47.
William H, Sherman. Afterword: The Future of Past Readers. In: Used Books: Marking Readers in Renaissance England. University of Pennsylvania Press; 2008:179-182. https://contentstore.cla.co.uk/secure/link?id=f1de2fce-bc10-e811-80cd-005056af4099