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Karen Reeds. Leonardo da Vinci and botanical illustration: nature prints, drawings, and woodcuts ca 1500. In: Visualizing medieval medicine and natural history, 1200-1550. Aldershot: : Ashgate 2006. 205–37.https://contentstore.cla.co.uk/secure/link?id=989b2279-7f89-e711-80cb-005056af4099
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Ackerman JS. Early Renaissance ‘Naturalism’ and Scientific Illustration. In: Distance points: essays in theory and Renaissance art and architecture. Cambridge, MA: : M.I.T. Press 1991. 185–207.https://contentstore.cla.co.uk/secure/link?id=7781b4d6-8089-e711-80cb-005056af4099
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Eisenstein EL. The Printing Press as an Agent of Change. Cambridge: : Cambridge University Press 1980. doi:10.1017/CBO9781107049963
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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.
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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
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David, Landau & Peter W. Parshall. Printed Herbals and Descriptive Botany. In: The Renaissance print, 1470-1550. New Haven: : Yale University Press 1994. 245–59.https://contentstore.cla.co.uk/secure/link?id=964a7659-fd78-e711-80cb-005056af4099
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Sachiko Kusukawa. Leonhart Fuchs on the Importance of Pictures. Journal of the History of Ideas 1997;58. doi:10.2307/3653907
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Carlino A. Representations: An Iconographic investigation of the dissection scene. In: Books of the body: anatomical ritual and renaissance learning. Chicago, Ill: : University of Chicago Press 1999. 8–68.https://contentstore.cla.co.uk/secure/link?id=e74e7f8b-2f99-e711-80cb-005056af4099
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Park K. The Empire of Anatomy. In: Secrets of women: gender, generation, and the origins of human dissection. New York: : Zone 2006. 207–59.https://contentstore.cla.co.uk/secure/link?id=adbd2beb-f799-e711-80cb-005056af4099
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Glenn Harcourt. Andreas Vesalius and the Anatomy of Antique Sculpture. Representations 1987;:28–61. doi:10.2307/3043792
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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
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Wilson B. From Myth to Metropole: Sixteenth-Century Maps of Venice. In: The world in Venice: print, the city and early modern identity. Toronto: : University of Toronto Press 2005. 23–69.https://contentstore.cla.co.uk/secure/link?id=6bc1f26f-0079-e711-80cb-005056af4099
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Lucia, Nuti. The Perspective Plan in the Sixteenth Century: The Invention of a Representational Language. The Art Bulletin 1994;76:105–28. doi:10.2307/3046005
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Traub V. Mapping the Global Body. In: Early modern visual culture: representation, race, and empire in Renaissance England. Philadelphia: : University of Pennsylvania Press 2000. 44–97.https://contentstore.cla.co.uk/secure/link?id=0664e3b1-f999-e711-80cb-005056af4099
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Valerie Traub. The Nature of Norms in Early Modern England: Anatomy, Cartography, ‘King Lear’. South Central Review 2009;26:42–81.http://www.jstor.org/stable/40211291?seq=1#page_scan_tab_contents
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Gaudio M. Savage Marks: The Scriptive Techniques of Early Modern Ethnography. In: Engraving the savage: the New World and techniques of civilization. Minneapolis: : University of Minnesota Press 2008. 1–44.https://www.jstor.org/stable/10.5749/j.cttts63r.5
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Gaudio M. Savage Marks: The Scriptive Techniques of Early Modern Ethnography. In: Engraving the savage: the New World and techniques of civilization. Minneapolis: : University of Minnesota Press 2008. 1–43.https://www.jstor.org/stable/10.5749/j.cttts63r
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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. Leiden ; Boston: : Brill 2014. 251–72. doi:10.1163/9789004275034_012
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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. Manchester: : Manchester University Press 2011. 56–85.https://contentstore.cla.co.uk/secure/link?id=81cf4fb6-862e-e811-80cd-005056af4099
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Rublack U. Nationhood. In: Dressing up: cultural identity in Renaissance Europe. Oxford: : Oxford University Press 2010. 125–76.https://contentstore.cla.co.uk/secure/link?id=1850b754-f678-e711-80cb-005056af4099
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Jill Burke. Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude. Art History 2013;36:714–39. doi:10.1111/1467-8365.12029
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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;39:619–41. doi:10.1215/10829636-2009-007
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Koerner JL. Not Made by Human Hands. In: The moment of self-portraiture in German Renaissance art. Chicago: : University of Chicago Press 1993. 80–127.https://contentstore.cla.co.uk/secure/link?id=6f4251c2-0279-e711-80cb-005056af4099
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Karr Schmidt S. Handling Religion. In: Interactive and Sculptural Printmaking in the Renaissance. Brill 2017. 23–55. doi:10.1163/9789004354135_003
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Pon L. Imprint: Paper, Print, and Matrix. In: A Printed Icon in Early Modern Italy. Cambridge: : Cambridge University Press 2015. 39–80. doi:10.1017/CBO9781316162293.003
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Bette, Talvacchia. Mythology, Sexuality and Science in Charles Estienne’s Manual of Anatomy. In: Taking positions: on the erotic in Renaissance culture. Princeton, N.J: : Princeton University Press 1999. 161–87.https://contentstore.cla.co.uk/secure/link?id=a91918ae-b6fa-e711-80cd-005056af4099
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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. London: : Routledge 2000. 57–92.https://www.taylorfrancis.com/books/e/9781134599806/chapters/10.4324%2F9780203463307-12
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Findlen P. Anatomy Theaters, Botanical Gardens, and Natural History Collections. In: Park K, Daston L, eds. The Cambridge History of Science. Cambridge: : Cambridge University Press 2006. 272–89. doi:10.1017/CHOL9780521572446.013
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Margaret Iversen. The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan. Oxford Art Journal 2005;28:193–202.http://www.jstor.org/stable/4500016?seq=1#page_scan_tab_contents
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Kenaan H. The ‘Unusual Character’ of Holbein’s “Ambassadors”. Artibus et Historiae 2002;23:61–75. doi:10.2307/1483697
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Massey L. Picturing space, displacing bodies: anamorphosis in early modern theories of perspective. University Park, Pa: : Pennsylvania State University Press 2007.
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Jacques, Lacan. Anamorphosis. In: The four fundamental concepts of psycho-analysis. London: : Vintage 1998. 79–90.https://contentstore.cla.co.uk/secure/link?id=0b6f5164-b4fa-e711-80cd-005056af4099
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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. Chicago: : University of Chicago Press 1983. 26–71.
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Svetlana, Alpers. The Mapping Impulse in Dutch Art. In: The art of describing: Dutch art in the seventeenth century. Chicago: : University of Chicago Press 1983. 119–68.https://contentstore.cla.co.uk/secure/link?id=3432d9ac-abfa-e711-80cd-005056af4099
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Hanneke, Grootenboer. The Rhetoric of Perspective. In: The rhetoric of perspective: realism and illusionism in seventeenth-century Dutch still-life painting. Chicago: : University of Chicago Press 2005. 97–135.
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Stuart, Clark. Introduction. In: Vanities of the eye: vision in early modern European culture. Oxford: : Oxford University Press 2007. 1–8.
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Stuart, Clark. Species, visions and values. In: Vanities of the eye: vision in early modern European culture. Oxford: : Oxford University Press 2007. 9–38.
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Victor Ieronim, Stoichiță, et al. Paintings, maps and mirrors. In: Pericolo L, ed. The self-aware image: an insight into early modern metapainting. London: : Harvey Miller Publishers 2015. 151–97.
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Charles Dempsey. Caravaggio and the Two Naturalistic Styles: Specular vs. Macular. In: Caravaggio: Realism. Cranbury: : University of Delaware Press 2006. 91–100.
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Wilkin RM. Figuring the Dead Descartes: Claude Clerselier’s                              (1664). Representations 2003;83:38–66. doi:10.1525/rep.2003.83.1.38
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Wolloch N. Dead Animals and the Beast-Machine: seventeenth-century Netherlandish paintings of dead animals, as anti-Cartesian statements. Art History 1999;22:705–27. doi:10.1111/1467-8365.00183
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Circuit-Bending History: Sketches toward a Digital Schematic. Published Online First: 2015.http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=7120878
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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. Toronto, Ontario, Canada: : Iter in collaboration with ACMRS 2012. 229–56.
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William H, Sherman. Afterword: The Future of Past Readers. In: Used books: marking readers in Renaissance England. Philadelphia, Pa: : University of Pennsylvania Press 2008. 179–82.https://contentstore.cla.co.uk/secure/link?id=f1de2fce-bc10-e811-80cd-005056af4099