Ackerman, J. S. (1991). Early Renaissance ‘Naturalism’ and Scientific Illustration. In Distance points: essays in theory and Renaissance art and architecture (pp. 185–207). M.I.T. Press. https://contentstore.cla.co.uk/secure/link?id=7781b4d6-8089-e711-80cb-005056af4099
Alina Alexandra Payne. (2015). Introduction. In A. A. Payne (Ed.), Vision and its instruments: art, science, and technology in early modern Europe (pp. 1–9). The Pennsylvania State University Press. https://contentstore.cla.co.uk/secure/link?id=5bc338be-ff78-e711-80cb-005056af4099
Bette, Talvacchia. (1999). Mythology, Sexuality and Science in Charles Estienne’s Manual of Anatomy. In Taking positions: on the erotic in Renaissance culture (pp. 161–187). Princeton University Press. https://contentstore.cla.co.uk/secure/link?id=a91918ae-b6fa-e711-80cd-005056af4099
Carlino, A. (1999). Representations: An Iconographic investigation of the dissection scene. In Books of the body: anatomical ritual and renaissance learning (pp. 8–68). University of Chicago Press. https://contentstore.cla.co.uk/secure/link?id=e74e7f8b-2f99-e711-80cb-005056af4099
Charles Dempsey. (2006). Caravaggio and the Two Naturalistic Styles: Specular vs. Macular. In Caravaggio: Realism (pp. 91–100). University of Delaware Press.
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Eisenstein, E. L. (1980). The Printing Press as an Agent of Change. Cambridge University Press. https://doi.org/10.1017/CBO9781107049963
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Gaudio, M. (2008a). Savage Marks: The Scriptive Techniques of Early Modern Ethnography. In Engraving the savage: the New World and techniques of civilization (pp. 1–44). University of Minnesota Press. https://www.jstor.org/stable/10.5749/j.cttts63r.5
Gaudio, M. (2008b). Savage Marks: The Scriptive Techniques of Early Modern Ethnography. In Engraving the savage: the New World and techniques of civilization (pp. 1–43). University of Minnesota Press. https://www.jstor.org/stable/10.5749/j.cttts63r
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Hanneke, Grootenboer. (2005). The Rhetoric of Perspective. In The rhetoric of perspective: realism and illusionism in seventeenth-century Dutch still-life painting (pp. 97–135). University of Chicago Press.
Ivins, William Mills. (n.d.). The Road Block Broken: The Fifteenth Century. In Prints and visual communication (pp. 21–50). https://www.fulcrum.org/epubs/8w32r584h#/6/102[xhtml00000051]!/4/1:0
Jacques, Lacan. (1998). Anamorphosis. In The four fundamental concepts of psycho-analysis (pp. 79–90). Vintage. https://contentstore.cla.co.uk/secure/link?id=0b6f5164-b4fa-e711-80cd-005056af4099
Jill Burke. (2013). Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude. Art History, 36(4), 714–739. https://doi.org/10.1111/1467-8365.12029
Karen Reeds. (2006). 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 (pp. 205–237). Ashgate. https://contentstore.cla.co.uk/secure/link?id=989b2279-7f89-e711-80cb-005056af4099
Karr Schmidt, S. (2017). Handling Religion. In Interactive and Sculptural Printmaking in the Renaissance (pp. 23–55). Brill. https://doi.org/10.1163/9789004354135_003
Katherine, Rowe. (2013). ‘Gods handy worke’ Divine Complicity and the Anatomist’s Touch. In The Body in Parts : Fantasies of Corporeality in Early Modern Europe (pp. 285–309). Taylor and Francis. https://ebookcentral.proquest.com/lib/ucl/reader.action?docID=1111756&ppg=5
Kenaan, H. (2002). The ‘Unusual Character’ of Holbein’s “Ambassadors”. Artibus et Historiae, 23(46), 61–75. https://doi.org/10.2307/1483697
Koerner, J. L. (1993). Not Made by Human Hands. In The moment of self-portraiture in German Renaissance art (pp. 80–127). University of Chicago Press. https://contentstore.cla.co.uk/secure/link?id=6f4251c2-0279-e711-80cb-005056af4099
Lucia, Nuti. (1994). The Perspective Plan in the Sixteenth Century: The Invention of a Representational Language. The Art Bulletin, 76(1), 105–128. https://doi.org/10.2307/3046005
Margaret Iversen. (2005). The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan. Oxford Art Journal, 28(2), 193–202. http://www.jstor.org/stable/4500016?seq=1#page_scan_tab_contents
Massey, L. (2007). Picturing space, displacing bodies: anamorphosis in early modern theories of perspective. Pennsylvania State University Press.
Park, K. (2006). The Empire of Anatomy. In Secrets of women: gender, generation, and the origins of human dissection (pp. 207–259). Zone. https://contentstore.cla.co.uk/secure/link?id=adbd2beb-f799-e711-80cb-005056af4099
Paul Dyck, Ryan Rempel & Stuart Williams. (2012). Digitizing Collection, Composition, and Product: Tracking the Work of Little Gidding. In B. Nelson & M. M. Terras (Eds.), Digitizing medieval and early modern material culture: Vol. volume 3 (pp. 229–256). Iter in collaboration with ACMRS.
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Rublack, U. (2010). Nationhood. In Dressing up: cultural identity in Renaissance Europe (pp. 125–176). Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=1850b754-f678-e711-80cb-005056af4099
Sachiko Kusukawa. (1997). Leonhart Fuchs on the Importance of Pictures. Journal of the History of Ideas, 58(3). https://doi.org/10.2307/3653907
San Juan, R. M. (2011). 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 (pp. 56–85). Manchester University Press. https://contentstore.cla.co.uk/secure/link?id=81cf4fb6-862e-e811-80cd-005056af4099
Stephen, Orgel,. (2000). Textual Icons: Reading Early Modern Illustrations. In N. Rhodes & J. Sawday (Eds.), The Renaissance computer: knowledge technology in the first age of print (pp. 57–92). Routledge. https://www.taylorfrancis.com/books/e/9781134599806/chapters/10.4324%2F9780203463307-12
Stuart, Clark. (2007a). Introduction. In Vanities of the eye: vision in early modern European culture (pp. 1–8). Oxford University Press.
Stuart, Clark. (2007b). Species, visions and values. In Vanities of the eye: vision in early modern European culture (pp. 9–38). Oxford University Press.
Svetlana, Alpers. (1983a). The Mapping Impulse in Dutch Art. In The art of describing: Dutch art in the seventeenth century (pp. 119–168). University of Chicago Press. https://contentstore.cla.co.uk/secure/link?id=3432d9ac-abfa-e711-80cd-005056af4099
Svetlana, Alpers. (1983b). ‘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 (pp. 26–71). University of Chicago Press.
Traub, V. (2000). Mapping the Global Body. In Early modern visual culture: representation, race, and empire in Renaissance England: Vol. New cultural studies (pp. 44–97). University of Pennsylvania Press. https://contentstore.cla.co.uk/secure/link?id=0664e3b1-f999-e711-80cb-005056af4099
Valerie Traub. (2009). The Nature of Norms in Early Modern England: Anatomy, Cartography, ‘King Lear’. South Central Review, 26(1), 42–81. http://www.jstor.org/stable/40211291?seq=1#page_scan_tab_contents
Victor Ieronim, Stoichiță, et al. (2015). Paintings, maps and mirrors. In L. Pericolo (Ed.), The self-aware image: an insight into early modern metapainting (New, improved, and updated edition, pp. 151–197). Harvey Miller Publishers.
Wilkin, R. M. (2003). Figuring the Dead Descartes: Claude Clerselier’s                              (1664). Representations, 83(1), 38–66. https://doi.org/10.1525/rep.2003.83.1.38
William H, Sherman. (2008). Afterword: The Future of Past Readers. In Used books: marking readers in Renaissance England (pp. 179–182). University of Pennsylvania Press. https://contentstore.cla.co.uk/secure/link?id=f1de2fce-bc10-e811-80cd-005056af4099
William, Mills. Ivins Jr. (1978). The Road Block Broken-The Fifeteenth Century. In Prints and visual communication (pp. 21–50). M.I.T. Press.
Wilson, B. (2005). 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 (pp. 23–69). University of Toronto Press. https://contentstore.cla.co.uk/secure/link?id=6bc1f26f-0079-e711-80cb-005056af4099
Wolloch, N. (1999). Dead Animals and the Beast-Machine: seventeenth-century Netherlandish paintings of dead animals, as anti-Cartesian statements. Art History, 22(5), 705–727. https://doi.org/10.1111/1467-8365.00183