Ackerman, James S, ‘Early Renaissance “Naturalism” and Scientific Illustration’, in Distance Points: Essays in Theory and Renaissance Art and Architecture (Cambridge, MA: M.I.T. Press, 1991), pp. 185–207 <https://contentstore.cla.co.uk/secure/link?id=7781b4d6-8089-e711-80cb-005056af4099>
Alina Alexandra Payne, ‘Introduction’, in Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe, ed. by Alina Alexandra Payne (University Park, Pennsylvania: The Pennsylvania State University Press, 2015), pp. 1–9 <https://contentstore.cla.co.uk/secure/link?id=5bc338be-ff78-e711-80cb-005056af4099>
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), pp. 161–87 <https://contentstore.cla.co.uk/secure/link?id=a91918ae-b6fa-e711-80cd-005056af4099>
Carlino, Andrea, ‘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), pp. 8–68 <https://contentstore.cla.co.uk/secure/link?id=e74e7f8b-2f99-e711-80cb-005056af4099>
Charles Dempsey, ‘Caravaggio and the Two Naturalistic Styles: Specular vs. Macular’, in Caravaggio: Realism (Cranbury: University of Delaware Press, 2006), pp. 91–100
‘Circuit-Bending History: Sketches toward a Digital Schematic’, 2015 <http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=7120878>
David, Landau & Peter W. Parshall, ‘Printed Herbals and Descriptive Botany’, in The Renaissance Print, 1470-1550 (New Haven: Yale University Press, 1994), pp. 245–59 <https://contentstore.cla.co.uk/secure/link?id=964a7659-fd78-e711-80cb-005056af4099>
Eisenstein, Elizabeth L., The Printing Press as an Agent of Change (Cambridge: Cambridge University Press, 1980) <https://doi.org/10.1017/CBO9781107049963>
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, i, 43–159
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.
Elke Anna Werner, ‘Anthropomorphic Maps: On the Aesthetic Form and Political Function of Body Metaphors’, in The Anthropomorphic Lens: Anthropomorphism, Microcosmism and Analogy in Early Modern Thought and Visual Arts, ed. by Walter Melion (Leiden ; Boston: Brill, 2014), pp. 251–72 <https://doi.org/10.1163/9789004275034_012>
Findlen, Paula, ‘Anatomy Theaters, Botanical Gardens, and Natural History Collections’, in The Cambridge History of Science, ed. by Katharine Park and Lorraine Daston (Cambridge: Cambridge University Press, 2006), pp. 272–89 <https://doi.org/10.1017/CHOL9780521572446.013>
Gaudio, Michael, ‘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), pp. 1–44 <https://www.jstor.org/stable/10.5749/j.cttts63r.5>
Gaudio, Michael, ‘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), pp. 1–43 <https://www.jstor.org/stable/10.5749/j.cttts63r>
Glenn Harcourt, ‘Andreas Vesalius and the Anatomy of Antique Sculpture’, Representations, 17, 1987, 28–61 <https://doi.org/10.2307/3043792>
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), pp. 97–135
Ivins, William Mills, ‘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, ‘Anamorphosis’, in The Four Fundamental Concepts of Psycho-Analysis (London: Vintage, 1998), pp. 79–90 <https://contentstore.cla.co.uk/secure/link?id=0b6f5164-b4fa-e711-80cd-005056af4099>
Jill Burke, ‘Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude’, Art History, 36.4 (2013), 714–39 <https://doi.org/10.1111/1467-8365.12029>
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), AVISTA studies in the history of medieval technology, science and art, 205–37 <https://contentstore.cla.co.uk/secure/link?id=989b2279-7f89-e711-80cb-005056af4099>
Karr Schmidt, Suzanne, ‘Handling Religion’, in Interactive and Sculptural Printmaking in the Renaissance (Brill, 2017), pp. 23–55 <https://doi.org/10.1163/9789004354135_003>
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), pp. 285–309 <https://ebookcentral.proquest.com/lib/ucl/reader.action?docID=1111756&ppg=5>
Kenaan, Hagi, ‘The “Unusual Character” of Holbein’s “Ambassadors”’, Artibus et Historiae, 23.46 (2002), 61–75 <https://doi.org/10.2307/1483697>
Koerner, Joseph Leo, ‘Not Made by Human Hands’, in The Moment of Self-Portraiture in German Renaissance Art (Chicago: University of Chicago Press, 1993), pp. 80–127 <https://contentstore.cla.co.uk/secure/link?id=6f4251c2-0279-e711-80cb-005056af4099>
Lucia, Nuti, ‘The Perspective Plan in the Sixteenth Century: The Invention of a Representational Language’, The Art Bulletin, 76.1 (1994), 105–28 <https://doi.org/10.2307/3046005>
Margaret Iversen, ‘The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan’, Oxford Art Journal, 28.2 (2005), 193–202 <http://www.jstor.org/stable/4500016?seq=1#page_scan_tab_contents>
Massey, Lyle, Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective (University Park, Pa: Pennsylvania State University Press, 2007)
Park, Katharine, ‘The Empire of Anatomy’, in Secrets of Women: Gender, Generation, and the Origins of Human Dissection (New York: Zone, 2006), pp. 207–59 <https://contentstore.cla.co.uk/secure/link?id=adbd2beb-f799-e711-80cb-005056af4099>
Paul Dyck, Ryan Rempel & Stuart Williams, ‘Digitizing Collection, Composition, and Product: Tracking the Work of Little Gidding’, in Digitizing Medieval and Early Modern Material Culture, ed. by Brent Nelson and Melissa M. Terras (Toronto, Ontario, Canada: Iter in collaboration with ACMRS, 2012), volume 3, 229–56
Pon, Lisa, ‘Imprint: Paper, Print, and Matrix’, in A Printed Icon in Early Modern Italy (Cambridge: Cambridge University Press, 2015), pp. 39–80 <https://doi.org/10.1017/CBO9781316162293.003>
Rosenthal, M. F., ‘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), 619–41 <https://doi.org/10.1215/10829636-2009-007>
Rublack, Ulinka, ‘Nationhood’, in Dressing up: Cultural Identity in Renaissance Europe (Oxford: Oxford University Press, 2010), pp. 125–76 <https://contentstore.cla.co.uk/secure/link?id=1850b754-f678-e711-80cb-005056af4099>
Sachiko Kusukawa, ‘Leonhart Fuchs on the Importance of Pictures’, Journal of the History of Ideas, 58.3 (1997) <https://doi.org/10.2307/3653907>
San Juan, Rose Marie, ‘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), Rethinking art’s histories, 56–85 <https://contentstore.cla.co.uk/secure/link?id=81cf4fb6-862e-e811-80cd-005056af4099>
Stephen, Orgel, ‘Textual Icons: Reading Early Modern Illustrations’, in The Renaissance Computer: Knowledge Technology in the First Age of Print, ed. by Neil Rhodes and Jonathan Sawday (London: Routledge, 2000), pp. 57–92 <https://www.taylorfrancis.com/books/e/9781134599806/chapters/10.4324%2F9780203463307-12>
Stuart, Clark, ‘Introduction’, in Vanities of the Eye: Vision in Early Modern European Culture (Oxford: Oxford University Press, 2007), pp. 1–8
———, ‘Species, Visions and Values’, in Vanities of the Eye: Vision in Early Modern European Culture (Oxford: Oxford University Press, 2007), pp. 9–38
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), pp. 119–68 <https://contentstore.cla.co.uk/secure/link?id=3432d9ac-abfa-e711-80cd-005056af4099>
———, ‘“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), pp. 26–71
Traub, Valerie, ‘Mapping the Global Body’, in Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England (Philadelphia: University of Pennsylvania Press, 2000), New cultural studies, 44–97 <https://contentstore.cla.co.uk/secure/link?id=0664e3b1-f999-e711-80cb-005056af4099>
Valerie Traub, ‘The Nature of Norms in Early Modern England: Anatomy, Cartography, “King Lear”’, South Central Review, 26.1 (2009), 42–81 <http://www.jstor.org/stable/40211291?seq=1#page_scan_tab_contents>
Victor Ieronim, Stoichiță, et al, ‘Paintings, Maps and Mirrors’, in The Self-Aware Image: An Insight into Early Modern Metapainting, ed. by Lorenzo Pericolo, New, improved, and updated edition (London: Harvey Miller Publishers, 2015), pp. 151–97
Wilkin, Rebecca M., ‘Figuring the Dead Descartes: Claude Clerselier’s (1664)’, Representations, 83.1 (2003), 38–66 <https://doi.org/10.1525/rep.2003.83.1.38>
William H, Sherman, ‘Afterword: The Future of Past Readers’, in Used Books: Marking Readers in Renaissance England (Philadelphia, Pa: University of Pennsylvania Press, 2008), pp. 179–82 <https://contentstore.cla.co.uk/secure/link?id=f1de2fce-bc10-e811-80cd-005056af4099>
William, Mills. Ivins Jr, ‘The Road Block Broken-The Fifeteenth Century’, in Prints and Visual Communication (Cambridge, Mass: M.I.T. Press, 1978), pp. 21–50
Wilson, Bronwen, ‘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), Studies in book and print culture, 23–69 <https://contentstore.cla.co.uk/secure/link?id=6bc1f26f-0079-e711-80cb-005056af4099>
Wolloch, Nathaniel, ‘Dead Animals and the Beast-Machine: Seventeenth-Century Netherlandish Paintings of Dead Animals, as Anti-Cartesian Statements’, Art History, 22.5 (1999), 705–27 <https://doi.org/10.1111/1467-8365.00183>
