1
Alina Alexandra Payne, in Vision and its instruments: art, science, and technology in early modern Europe, ed. A. A. Payne, The Pennsylvania State University Press, University Park, Pennsylvania, 2015, pp. 1–9.
2
Karen Reeds, in Visualizing medieval medicine and natural history, 1200-1550, Ashgate, Aldershot, 2006, vol. AVISTA studies in the history of medieval technology, science and art, pp. 205–237.
3
J. S. Ackerman, in Distance points: essays in theory and Renaissance art and architecture, M.I.T. Press, Cambridge, MA, 1991, pp. 185–207.
4
E. L. Eisenstein, The Printing Press as an Agent of Change, Cambridge University Press, Cambridge, 1980.
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, in The printing press as an agent of change : communications and cultural transformations in early-modern Europe / Vol.1 / Elizabeth L. Eisenstein, vol. 1, pp. 43–159.
7
Ivins, William Mills, in Prints and visual communication, pp. 21–50.
8
William, Mills. Ivins Jr, in Prints and visual communication, M.I.T. Press, Cambridge, Mass, 1978, pp. 21–50.
9
David, Landau & Peter W. Parshall, in The Renaissance print, 1470-1550, Yale University Press, New Haven, 1994, pp. 245–259.
10
Sachiko Kusukawa, Journal of the History of Ideas, , DOI:10.2307/3653907.
11
A. Carlino, in Books of the body: anatomical ritual and renaissance learning, University of Chicago Press, Chicago, Ill, 1999, pp. 8–68.
12
K. Park, in Secrets of women: gender, generation, and the origins of human dissection, Zone, New York, 2006, pp. 207–259.
13
Glenn Harcourt, Representations, 1987, 28–61.
14
Katherine, Rowe, in The Body in Parts : Fantasies of Corporeality in Early Modern Europe, Taylor and Francis, 2013, pp. 285–309.
15
B. Wilson, in The world in Venice: print, the city and early modern identity, University of Toronto Press, Toronto, 2005, vol. Studies in book and print culture, pp. 23–69.
16
Lucia, Nuti, The Art Bulletin, 1994, 76, 105–128.
17
V. Traub, in Early modern visual culture: representation, race, and empire in Renaissance England, University of Pennsylvania Press, Philadelphia, 2000, vol. New cultural studies, pp. 44–97.
18
Valerie Traub, South Central Review, 2009, 26, 42–81.
19
M. Gaudio, in Engraving the savage: the New World and techniques of civilization, University of Minnesota Press, Minneapolis, 2008, pp. 1–44.
20
M. Gaudio, in Engraving the savage: the New World and techniques of civilization, University of Minnesota Press, Minneapolis, 2008, pp. 1–43.
21
Elke Anna Werner, in The Anthropomorphic Lens: Anthropomorphism, Microcosmism and Analogy in Early Modern Thought and Visual Arts, ed. W. Melion, Brill, Leiden ; Boston, 2014, pp. 251–272.
22
R. M. San Juan, in Vertiginous mirrors: the animation of the visual image and early modern travel, Manchester University Press, Manchester, 2011, vol. Rethinking art’s histories, pp. 56–85.
23
U. Rublack, in Dressing up: cultural identity in Renaissance Europe, Oxford University Press, Oxford, 2010, pp. 125–176.
24
Jill Burke, Art History, 2013, 36, 714–739.
25
M. F. Rosenthal, Journal of Medieval and Early Modern Studies, 2009, 39, 619–641.
26
J. L. Koerner, in The moment of self-portraiture in German Renaissance art, University of Chicago Press, Chicago, 1993, pp. 80–127.
27
S. Karr Schmidt, in Interactive and Sculptural Printmaking in the Renaissance, Brill, 2017, pp. 23–55.
28
L. Pon, in A Printed Icon in Early Modern Italy, Cambridge University Press, Cambridge, 2015, pp. 39–80.
29
Bette, Talvacchia, in Taking positions: on the erotic in Renaissance culture, Princeton University Press, Princeton, N.J, 1999, pp. 161–187.
30
Stephen, Orgel, in The Renaissance computer: knowledge technology in the first age of print, eds. N. Rhodes and J. Sawday, Routledge, London, 2000, pp. 57–92.
31
P. Findlen, in The Cambridge History of Science, eds. K. Park and L. Daston, Cambridge University Press, Cambridge, 2006, pp. 272–289.
32
Margaret Iversen, Oxford Art Journal, 2005, 28, 193–202.
33
H. Kenaan, Artibus et Historiae, 2002, 23, 61–75.
34
L. Massey, Picturing space, displacing bodies: anamorphosis in early modern theories of perspective, Pennsylvania State University Press, University Park, Pa, 2007.
35
Jacques, Lacan, in The four fundamental concepts of psycho-analysis, Vintage, London, 1998, pp. 79–90.
36
Svetlana, Alpers, in The art of describing: Dutch art in the seventeenth century, University of Chicago Press, Chicago, 1983, pp. 26–71.
37
Svetlana, Alpers, in The art of describing: Dutch art in the seventeenth century, University of Chicago Press, Chicago, 1983, pp. 119–168.
38
Hanneke, Grootenboer, in The rhetoric of perspective: realism and illusionism in seventeenth-century Dutch still-life painting, University of Chicago Press, Chicago, 2005, pp. 97–135.
39
Stuart, Clark, in Vanities of the eye: vision in early modern European culture, Oxford University Press, Oxford, 2007, pp. 1–8.
40
Stuart, Clark, in Vanities of the eye: vision in early modern European culture, Oxford University Press, Oxford, 2007, pp. 9–38.
41
Victor Ieronim, Stoichiță, et al, in The self-aware image: an insight into early modern metapainting, ed. L. Pericolo, Harvey Miller Publishers, London, New, improved, and updated edition., 2015, pp. 151–197.
42
Charles Dempsey, in Caravaggio: Realism, University of Delaware Press, Cranbury, 2006, pp. 91–100.
43
R. M. Wilkin, Representations, 2003, 83, 38–66.
44
N. Wolloch, Art History, 1999, 22, 705–727.
46
Paul Dyck, Ryan Rempel & Stuart Williams, in Digitizing medieval and early modern material culture, eds. B. Nelson and M. M. Terras, Iter in collaboration with ACMRS, Toronto, Ontario, Canada, 2012, vol. volume 3, pp. 229–256.
47
William H, Sherman, in Used books: marking readers in Renaissance England, University of Pennsylvania Press, Philadelphia, Pa, 2008, pp. 179–182.
