Ackerman, James S, ‘Early Renaissance “Naturalism” and Scientific Illustration’, in Distance Points: Essays in Theory and Renaissance Art and Architecture (M.I.T. Press, 1991), pp. 185–207 <https://contentstore.cla.co.uk/secure/link?id=74c022ee-1b92-ef11-9c35-d5fd3d126a5e>
Alina Alexandra Payne, ‘Introduction’, in Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe, ed. by Alina Alexandra Payne (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 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 (University of Chicago Press, 1999), pp. 8–68 <https://contentstore.cla.co.uk/secure/link?id=d02ff6cb-f087-ef11-9c35-d5fd3d126a5e>
Charles Dempsey, ‘Caravaggio and the Two Naturalistic Styles: Specular vs. Macular’, in Caravaggio: Realism (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 (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 University Press, 1980), doi: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 (n.d.), i, pp. 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. (n.d.)
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 (Brill, 2014), pp. 251–72, doi: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 University Press, 2006), pp. 272–89, doi: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 (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 (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, no. 17 (1987), pp. 28–61, doi:10.2307/3043792
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), pp. 97–135
Ivins, William Mills, ‘The Road Block Broken: The Fifteenth Century’, in Prints and Visual Communication (n.d.), 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 (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), pp. 714–39, doi: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 (Ashgate, 2006), AVISTA studies in the history of medieval technology, science and art, pp. 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, doi: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), pp. 61–75, doi:10.2307/1483697
Koerner, Joseph Leo, ‘Not Made by Human Hands’, in The Moment of Self-Portraiture in German Renaissance Art (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), pp. 105–28, doi:10.2307/3046005
Margaret Iversen, ‘The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan’, Oxford Art Journal, 28.2 (2005), pp. 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 (Pennsylvania State University Press, 2007)
Park, Katharine, ‘The Empire of Anatomy’, in Secrets of Women: Gender, Generation, and the Origins of Human Dissection (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 (Iter in collaboration with ACMRS, 2012), volume 3, pp. 229–56
Pon, Lisa, ‘Imprint: Paper, Print, and Matrix’, in A Printed Icon in Early Modern Italy (Cambridge University Press, 2015), pp. 39–80, doi: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), pp. 619–41, doi:10.1215/10829636-2009-007
Rublack, Ulinka, ‘Nationhood’, in Dressing up: Cultural Identity in Renaissance Europe (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), doi: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 University Press, 2011), Rethinking art’s histories, pp. 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 (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 University Press, 2007), pp. 1–8
——, ‘Species, Visions and Values’, in Vanities of the Eye: Vision in Early Modern European Culture (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 (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 (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 (University of Pennsylvania Press, 2000), New cultural studies, pp. 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), pp. 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 (Harvey Miller Publishers, 2015), pp. 151–97
Wilkin, Rebecca M., ‘Figuring the Dead Descartes: Claude Clerselier’s                            (1664)’, Representations, 83.1 (2003), pp. 38–66, doi:10.1525/rep.2003.83.1.38
William H, Sherman, ‘Afterword: The Future of Past Readers’, in Used Books: Marking Readers in Renaissance England (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 (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 (University of Toronto Press, 2005), Studies in book and print culture, pp. 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), pp. 705–27, doi:10.1111/1467-8365.00183