1.1 Hendrick Hondius, Crispijn van den Broeck, engraving inscribed ‘Hh Cum privil’, 20.4 × 12.1 cm. From Hendrick Hondius, Pictorum aliquot celebrium praecipué Germaniae Inferioris (The Hague, Ex officina Henrici Hondii: 1610). British Library, London, C.74.d.6.(2.). Courtesy https://sites.courtauld.ac.uk/netherlandish-canon/ 12
1.2 Attributed to Simon Frisius, Michiel van Mierevelt, etching and engraving inscribed ‘Hh’, 20.2 × 12.4 cm. From Hendrick Hondius, Pictorum aliquot celebrium praecipué Germaniae Inferioris (The Hague, Ex officina Henrici Hondii: 1610). British Library, London, C.74.d.6.(2.). Courtesy https://sites.courtauld.ac.uk/netherlandish-canon/ 13
1.3 Robert de Badous, Isaac Oliver, engraving inscribed ‘Hh exv’, 20.6 × 11.9 cm. From Hendrick Hondius, Pictorum aliquot celebrium praecipué Germaniae Inferioris (The Hague, Ex officina Henrici Hondii: 1610). British Library, London, C.74.d.6.(2.). Courtesy https://sites.courtauld.ac.uk/netherlandish-canon/ 14
1.4 Attributed to Veit Speklin, Portraits of Heinrich Füllmaurer, Albrecht Meyer and Veit Speklin, woodcut from Leonhart Fuchs, De historia stirpium commentarii insignes (Basle, Michael Isengrin: 1542) 23
1.5 Anthonis Mor van Dashorst, Portrait of Hubert Goltzius (1576; painting earlier). Oil on panel, 66 × 50 cm. Musées des Beaux-Arts de Belgique, Brussels. Image © Musees Royaux des Beaux-Arts de Belgique, Brussels / photograph J. Geleyns 26
1.6 Philips Galle, Portrait of Hubert Goltzius, engraving from Hubert Goltzius, Sicilia et Magna Græcia sive Historiæ urbium et populorum Græciæ ex antiquis numismatibus restitutæ liber primus (Bruges, Hubert Goltzius: 1576). British Library, London, 602.i.13.(1,2.). Photograph: Joanna Woodall 30
2.1 Roelant Savery, Standing Peasant Seen from the Rear (ca. 1605). Pen and brown ink over traces of black chalk, 19.3 × 12.4 cm. Museum Boijmans Van Beuningen, Rotterdam 45
2.2 Quentin Massys, Portrait medal of Erasmus of Rotterdam (1519). Bronze, diameter 10.5 cm. Historisches Museum, Basle 51
2.3 Hendrick Goltzius, Dirck Volckertzs. Coornhert (ca. 1591). Engraving, 52.1 × 41.4 cm. Rijksmuseum, Amsterdam 52
2.4 Anthonis Mor van Dashorst, Hubert Goltzius (1576; painting earlier). Oil on panel, 66 × 50 cm. Musées Royaux des Beaux-Arts de Belgique, Brussels. Image © Musées Royaux des Beaux-Arts de Belgique, Brussels / photograph J. Geleyns 54
2.5 Lucas Vorsterman after Anthony van Dyck, Antonius Cornelissens, from the series Icones Principum Virorum Doctorum, Pictorum, Chalcographorum […] (Antwerp: 1650). Etching (first state of 10), 24.4 × 15.7 cm. British Museum, London. Image © The Trustees of the British Museum 55
2.6 Jacob Matham after Roelant Savery, Mountainous Landscape with a Pair of Lovers and a Sportsman (1606). Engraving printed from two plates, 48.6 × 75.6 cm. Rijksmuseum, Amsterdam 60
2.7 Peter Jansz. Saenredam, Square in Front of the Marienkerk in Utrecht (1636). Graphite and pen with brown ink and watercolour, 34.9 × 50.1 cm. Teylers Museum, Haarlem 62
2.8 Melchior Lorck, Tortoise above the Venetian Lagoon (1555). Black and white chalk on paper and watercolour, 18.8 × 20.5 cm. British Museum, London. Image © The Trustees of the British Museum 63
2.9 Workshop of Wenzel Jamnitzer, Nature Casts of Lizards (ca. 1540–1550). Silver. Germanisches Nationalmuseum, Nürnberg 68
2.10 Unknown artist after Albrecht Dürer and Hans Liefrinck the Elder, Rhinoceros (ca. 1550). Woodcut with hand-colouring, letterpress and impressed plants, block 21.5 × 29.8 cm, sheet 26.1 × 41.3 cm. British Museum, London. Image © The Trustees of the British Museum 71
2.11 Jan Wandelaar, Tissue section, in Frederik Ruysch, Opusculum Anatomicum de Fabrica Glandularum in Corpore Humano (Amsterdam: 1722) 75
2.12 Peter Jansz. Saenredam, Study of a Flowering Rhubarb Plant (1630). Pen and brown ink, brush and watercolour, 13.9 × 16.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin. Image © Kupferstichkabinett, Staatliche Museen zu Berlin 76
2.13 Samuel van Hoogstraten, Self Portrait of the Author, from his Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt (Rotterdam: 1678). Huis van Rijn, Dordrecht 79
3.1 Otto Brunfels, Herbarum vivae eicones (Strasbourg, J. Schott: 1530) title-page. Missouri Botanical Garden, Peter H. Raven Library, via Biodiversity Heritage Library (http://www.biodiversitylibrary.org/, accessed 20/11/2017) 98
3.2 Conrad Gessner, Historia animalium, vol. 4 (Zurich, C. Froschauer: 1558) title-page. Zentral Bibliothek, Zurich, via e-rara ch (http://dx.doi.org/10.3931/e-rara-16853, accessed 20/11/2017) 102
4.1 Rogier van der Weyden, St Luke Drawing the Virgin and Child (ca. 1435–1440). Oil and tempera on panel, 137.5 × 110.8 cm. Museum of Fine Arts, Boston. Gift of Mr. and Mrs. Henry Lee Higginson, 93.153. Image © 2016 Museum of Fine Arts, Boston 123
4.2 Willem van Haecht, The Gallery of Cornelis van der Geest (1628). Oil on panel, 100 × 130 cm. Rubenshuis, Antwerp. Image in the public domain (source: Wikimedia Commons) 127
4.3 Hubert and Jan van Eyck, Ghent Altarpiece, closed view (1432). Oil on panels, 350 × 223 cm. St Bavo’s Cathedral, Ghent. Image © Lukas – Art in Flanders VZW, photograph Hugo Maertens 130
4.4 Fastre Hollet, fol. 77v from the report (compte) of expenses incurred in the production of the 1468 Golden Fleece and wedding festivities at the Burgundian court (1471). MS 1795, Archives générales du Royaume, Brussels. Image by the author 135
4.5 Fastre Hollet, fol. 94r from the report (compte) of expenses incurred in the production of the 1468 Golden Fleece and wedding festivities at the Burgundian court (1471). MS 1795, Archives générales du Royaume, Brussels. Image by the author 136
4.6 Fastre Hollet, fol. 99v from the report (compte) of expenses incurred in the production of the 1468 Golden Fleece and wedding festivities at the Burgundian court (1471). MS 1795, Archives générales du Royaume, Brussels. Image by the author 137
4.7 Limbourg Brothers, “January”, fol. 14v from the Très Riches Heures du Duc de Berry (ca. 1412–1416). MS 65, Musée Condé, Chantilly. Image in the public domain (source: Wikimedia Commons) 143
5.1 Hieronymus Cock (publisher), Bird’s-eye view of Le Havre (1563). Etching and engraving. Brussels, Royal Library of Belgium, Print Room, inv. S.V 88676 158
5.2 Mathurin Breuille (publisher), The siege of Le Havre (1563). Woodcut. Dresden, Sächsische Hauptstaatsarchiv, 12884, Karten und Risse, Schrank 1, Fach 13, nr. 28 159
5.3 Anonymous master, The siege of Metz (1552). Pen and ink with watercolour on paper. London, British Library, Cotton MS Augustus I.i.62 162
5.4 Anonymous master, Bird’s-eye view of the Sforza castle in Milan, ‘gheconterfeyt na het leven’ (ca. 1521–1535). Coloured woodcut. Amsterdam, Rijksmuseum, Print Room, RP-P-1954-307 (only known impression) 167
5.5 Cornelis Anthonisz, The siege of Thérouanne, ‘gheconterfeijt na tdleven’ (1537). Woodcut. Amsterdam, Rijksmuseum, Print Room, RP-P-BI-136 (only known impression) 168
5.6 Anthonisz’s view of Thérouanne compared with four related images. Top: Detail of Fig. 5.5. – Middle: Anonymous master, The Battle of the Spurs in 1513 (ca. 1545). Oil on canvas (detail). The Royal Collection © Her Majesty Queen Elizabeth II. – Below: Herri met de Bles (attr.), The Siege of a Town (ca. 1540–1560). Oil on panel (detail). © Courtesy of Christie’s, London – Middle: Heinrich Zell, The Siege of Thérouanne (1553). Coloured woodcut (detail). London, British Museum (only known impression). – Below: Anonymous master (Hieronymus Cock?), The Siege of Thérouanne (1553). Etching (detail). Rotterdam, Atlas van Stolk, no. 258 172
5.7 Cornelis Anthonisz, The siege of Algiers in 1541, ‘gheconterfeyt na tleven’ (1542). Coloured woodcut. Amsterdam, Rijksmuseum, Print Room, RP-P-1932-123 (only known impression) 176
5.8 Antoon Van den Wijngaerde, The battle of Saint-Quentin (1557). Pen and brown ink with watercolour on paper. Antwerp, Museum Plantin-Moretus, Print Cabinet, cat. F.I.14 (inv. OT 1168) 183
5.9 Antoon Van den Wijngaerde, The siege of Le Catelet (1557). Pen and brown ink with watercolour on paper. Antwerp, Museum Plantin-Moretus, Print Cabinet, cat. F.I.12 (inv. OT 1171) 184
5.10 Antoon Van den Wijngaerde, The siege of Le Catelet, ‘na dleven gheteeckent ende ghesneden’ (1557). Etching, with text printed in letterpress. Schloss Wolfegg, Kupferstichkabinet, Band Histor. Geogr. 169 (sign.13925), no. 74 (only known impression) 186
5.11 Antoon Van den Wijngaerde, The siege of Ham, ‘ad vivum delineavit, et sua ipsius manu in aes incidit’ (1557). Etching, with text printed in letterpress. Schloss Wolfegg, Kupferstichkabinet, Band Histor. Geogr. 169 (sign. 13925), no. 76 (only known impression) 187
5.12 Antoon Van den Wijngaerde, The battle of Saint-Quentin (1557). Etching, with text printed in letterpress. Paris, Bibliothèque nationale de France, Cabinet des Estampes, Collection Hennin, no. 358 (only known impression) 188
5.13 Rodrigo Diriksen, The siege of Le Catelet in 1557 (ca. 1565). Oil on canvas. Real Monasterio de San Lorenzo de El Escorial © Patrimonio Nacional 190
5.14 Fabrizio Castello, The siege of Le Catelet in 1557 (1590–1591). Fresco. Sala de Batallas, Real Monasterio de San Lorenzo de El Escorial © Patrimonio Nacional 191
5.15 Hieronymus Cock (publisher), The siege of Malta, ‘contrefaictes au vyf ’ (24 October 1565). Engraving. London, British Library, Maps 24340 (3) 194
5.16 Maria Cartaro, The siege of Malta (20 June 1565). Engraving. Nuremberg, Germanisches Nationalmuseum, HB 220 (only known impression) 195
6.1 Anonymous (Antwerp?), View of Southern Jerusalem (ca. 1530–1550). Pen and black ink on paper, 140 × 398 mm. Location unknown (former collection of Maurice Delacre, Ghent). Image © RKD 202
6.2 Sebastian Münster, Die heilige statt Jerusalem (1550). Published by Henricus Petri, Basel. Woodcut, 150 × 373 mm. Jerusalem, The National Library of Israel, The Eran Laor Cartographic Collection, inv. no. Jer 18. Image © The National Library of Israel 205
6.3 Georg Braun and Frans Hogenberg, Hierosolyma Urbs Sancta (1575). Engraving, 330 × 420 mm. Boston, Boston Public Library, inv. no. G1028.B7 1572 vol. 1. Image © The Norman B. Leventhal Map Center 212
6.4 Pieter Coecke van Aelst, Resurrection (ca. 1530). Oil on panel, central panel 72.5 × 56 cm; wings each 71 × 23.5 cm. Karlsruhe, Staatliche Kunsthalle, inv. no. 153. Image © Staatliche Kunsthalle, Karlsruhe 214
6.5 Designed by Pieter Coecke van Aelst, The Stoning of St Stephen from the Life of St Paul (ca. 1529). Tapestry woven under the direction of Frans van den Bossche, Brussels, before 1563. Munich, Bayerisches Nationalmuseum, inv. no. T 71/8. Image © Bayerisches Nationalmuseum 216
6.6 Circle of Pieter Coecke van Aelst, Crucifixion (ca. 1530–1550). Oil on panel, 34.5 × 22.5 cm. Location unknown (auctioned at Sotheby’s, London, 9 March 1983). Image © Sotheby’s 217
6.7 Circle of Jan van Hemessen and Pieter Aertsen, Jesus’s Triumphal Entry into Jerusalem (ca. 1540). Oil on panel, 56 × 72 cm. Location unknown (sold at Galleria Luigi Caretto, Turin, 1994). Image © Galleria Luigi Caretto 218
6.8 Herri met de Bles, The Conversion of St Paul (ca. 1530–1550). Oil on panel, 111 × 142 cm. Namen, Musée provincial des Arts anciens du Namurois. Image © KIK – IRPA 219
7.1 Giovanni d’Enrico perhaps with polychromy by Melchiorre d’Enrico (sculptures) and Antonio d’Enrico ‘Tanzio da Varallo’ (frescoes), Pilate Washes His Hands [Chapel 34] (ca. 1608–1621). Polychromed sculpture and other media. Varallo, Sacro Monte. Detail of right wall. Image © Riserva Naturale Speciale del Sacro Monte di Varallo 225
7.2 Studio of Giovanni d’Enrico (sculpture), Melchiorre d’Enrico (polychromy), Gaudenzio and Bartolomeo Ravelli (painted wooden architecture) and Pierfrancesco Mazzucchelli ‘il Morazzone’ (frescoes), Ecce Homo [Chapel 33] (ca. 1608–1616). Varallo, Sacro Monte. Polychromed sculpture and other media. Image © Riserva Naturale Speciale del Sacro Monte di Varallo 226
7.3 Viewing screen at the Ecce Homo [Chapel 33] 227
7.4 Juan de Wespin ‘il Tabacchetti’ (sculpture) and Pierfrancesco Mazzucchelli ‘il Morazzone’ (frescoes), Way to Calvary [Chapel 36] (ca. 1597–1617). Varallo, Sacro Monte. Polychromed sculpture and other media. Image © Riserva Naturale Speciale del Sacro Monte di Varallo 241
7.5 Giovanni d’Enrico (sculpture), St Jerome in Penitence (ca. 1617). Varallo Sesia, Italy. Polychromed sculpture and other media. Image © Riserva Naturale Speciale del Sacro Monte di Varallo 242
7.6 Giovanni Ambrogio De Donati, Giovanni Pietro De Donati and Giovanni d’Enrico (sculpture) and Antonio Orgiazzi the Elder (frescoes), Last Supper [Chapel 20] (ca. 1490–1779). Varallo, Sacro Monte. Polychromed sculpture and other media. Image © Riserva Naturale Speciale del Sacro Monte di Varallo 243
8.1 Girard Thibault, Tabula 1, from Academie de l’Espee […] (Leiden, Elzevier: 1630). Copperplate engraving, 90 × 55 cm. London, Wellcome Library 250
8.2 Girard Thibault, detail of the cercle mysterieux from Tabula 1, from Academie de l’Espee […] (Leiden, Elzevier: 1630). Copperplate engraving, 90 × 55 cm. London, Wellcome Library 253
8.3 Girard Thibault, detail of the empty cercle mysterieux from Tabula 1, from Academie de l’Espee […] (Leiden, Elzevier: 1630). Copperplate engraving, 90 × 55 cm. London, Wellcome Library 257
8.4 Girard Thibault, Emblema Tabula, from Academie de l’Espee […] (Leiden, Elzevier: 1630). Copperplate engraving, 90 × 55 cm. London, Wellcome Library 259
8.5 Robert Recorde, diagram of different forms of geometrical line, illustration to The Pathway to Knowledge […] (London, Reynold Wolfe: 1551). Woodcut. Cambridge, Cambridge University Library, classmark Syn.7.55.45 263
10.1 Abraham Blooteling after Gérard de Lairesse, Portrait of Govard Bidloo. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685). Image © Wellcome Library, London 296
10.2 After Gérard de Lairesse, Dissection of an arm and hand. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685) table 70. Image © Wellcome Library, London 299
10.3 After Gérard de Lairesse, Allegorical frontispiece. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685). Image © Wellcome Library, London 301
10.4 Gérard de Lairesse, Allegory of the sciences. Oil on canvas, 289 × 161 cm. Rijksmuseum, Amsterdam 306
10.5 After Gérard de Lairesse, Abdomen with fly. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685) table 52. Image © Wellcome Library, London 311
10.6 Woodcut illustration to Andreas Vesalius, De humani corporis fabrica libri septem (Basle, J. Oporinus: 1543) book 5, 365. Image © Wellcome Library, London 312
10.7 After Gérard de Lairesse, Abdomen. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685) table 33. Image © Wellcome Library, London 313
10.8 Gérard de Lairesse, Abdomen with fly. Ink and wash drawing. Paris, Bibliothèque interuniversitaire de santé. Image © BIU Santé / R. Caussimon 315
10.9 After Gérard de Lairesse, Multiple views of human skin and hair. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685) table 4. Image © Wellcome Library, London 317
10.10 After Gérard de Lairesse, Microscopic view of skin. Engraving in Govard Bidloo, Anatomia humani corporis (Amsterdam, Someren: 1685) table 4. Detail, 6 × 8 cm. Image © Wellcome Library, London 318
10.11 Gérard de Lairesse, Microscopic view of skin. Ink and wash drawing, 6 × 8 cm. Paris, Bibliothèque interuniversitaire de santé. Image © BIU Santé / R. Caussimon 319
10.12 Multiple views of the papillae of the dermis. Engraving in Govard Bidloo, Vindiciae quarundam delineationum anatomicarum, contra ineptas animadversiones Fred. Ruyschii (Leiden, J. Luchtmans: 1697) table 1. Image © Wellcome Library, London 321
10.13 Microscopic view of the structure of the bark of a tree. Engraving in Marcello Malpighi, Opera Omnia […] (London, Robert Scott: 1686) table 2, fig. 7. Image © Wellcome Library, London 323
11.1 Original woodblocks for “Centaurium magnum” (top), “Stellaria” (centre) and “Millefolium minus” (bottom) by Giorgio Liberale and Wolfgang Meyerpeck, used for the 1562 Czech edition of P. Mattioli, Commentarii in sex libros Pedacii Dioscordis (Prague: 1562). Pearwood. Image © and courtesy of Vasari Books and Fine Works of Art, Paris and Los Angeles, 2016 332
11.2 Portraits of illustrators, Heinrich Füllmaurer and Albrecht Meyer, and printer Veit Rudolph Specklin employed by Leonhart Fuchs, in L. Fuchs, De Historia stirpium commentarii insignes (Basle: 1542). Woodblock print on antique laid paper (RR.x.281). Image © Bodleian Library, University of Oxford, 2016 334
11.3 “Malva Hortensis”, in L. Fuchs, De Historia stirpium commentarii insignes (Basle: 1542). Woodblock print on antique laid paper (RR.x.281). Image © Bodleian Library, University of Oxford, 2016 335
11.4 Ferdinand Bauer, “Morino Persica” (1787–1794). Transparent and opaque watercolour on white laid paper (MS Sherard 243/19). Bodleian Libraries. Image © Bodleian Library, University of Oxford, 2016 343
11.5 Ferdinand Bauer, “Iris Germanicus” (1787–1794). Transparent and opaque watercolour on white antique laid paper (MS Sherard 245/70). Bodleian Libraries. Detail. Image © Bodleian Library, University of Oxford, 2016 344
11.6 Ferdinand Bauer, field sketch showing “Iris Germanicus” and numerical colour codes (1786–1787). Graphite pencil on off-white antique laid paper (MS Sherard 247/107). Bodleian Libraries. Detail. Image © Bodleian Library, University of Oxford, 2016 345
11.7 Early 140 colour chart used in Vienna (ca. 1780s) by the Bauer bothers, with additional colour swatches added by Thaddeus Haenke. Watercolour on off-white laid paper. Image © Archivo del Real Jardín Botánico, CSIC, Madrid, 2016 350