Camilla Caporicci is a post-doctoral fellow at the University of Padova, adjunct professor at the University of Perugia, and a former Humboldt fellow at the Ludwig-Maximilians-Universität. Among her many publications are The Dark Lady: La rivoluzione Shakespeariana nei Sonetti alla Dama Bruna (2013), the edited volume Sicut Lilium inter Spinas: Literature and Religion in the Renaissance (2018), and the Introduction and Notes to the Bompiani edition of Shakespeare’s Sonnets (2019). Armelle Sabatier is Lecturer at the University of Paris Panthéon Assas. She is the author of Shakespeare and Visual Culture. A Dictionary (Bloomsbury, 2016). She has published varied articles on the interrelation of visual arts and early modern drama, and on the representation of colour on the Elizabethan stage.

• List of FiguresList of ContributorsAknowledgementsIntroduction. Camilla Caporicci and Armelle Sabatier.PART I: To Look or not to Look at Pictures?Chapter 1. Cristiano Ragni. An Edifying "Pictura Loquens": Alberico Gentili’s Commentatio and his Defence of Drama in Elizabethan OxfordChapter 2. James A. Knapp. Looking At and Through Pictures in Donne’s LyricsChapter 3. Chloe Porter. "A Painted Devil": The Matter and Making of Images in MacbethChapter 4. B. J Sokol. Mirrors, Pictures, Optics, ShakespearePART II: Confluences: English Texts and European PaintingsChapter 5. Rocco Coronato. Over the Edge: Shakespeare, Judith, and the Virtuous Use of Female Indiscretion and DeceptionChapter 6. Fiammetta Dionisio. "Be Her Sense but as a Monument": Lost Icons and Substitutive Figures in Shakespeare’s CymbelineChapter 7. Raphaëlle Costa de Beauregard. The Notion of Picturing in Early Modern Literature: The Case of the Miniaturist Isaac Oliver (c.1585-1617)PART III: Portraits on the Page and the StageChapter 8. Camilla Caporicci. "Take this picture which I heere present thee": The Art of Portraiture in the Elizabethan Sonnet SequencesChapter 9. Catherine Belsey. Narrative Portraiture Chapter 10. Armelle Sabatier. Picturing in Little or in Stone? Miniature versus Monument in The Triall of Chevalry (Anonymous, 1605)Chapter 11. Emanuel Stelzer. Performing Portraits: The Portrait as Prop and Its Performative Dimension in Early Modern English DramaPART IV: The Power of Visual and VerbalChapter 12. Rosanna Camerlingo. Prospero’s Rainbow: Political Miracles in The TempestChapter 13. Keir Elam. "Picture is the invention of heaven": Ben Jonson and the Paradox of the VisualIndex

Camilla Caporicci is a post-doctoral fellow at the University of Padova, adjunct professor at the University of Perugia, and a former Humboldt fellow at the Ludwig-Maximilians-Universität. Among her many publications are The Dark Lady: La rivoluzione Shakespeariana nei Sonetti alla Dama Bruna (2013), the edited volume Sicut Lilium inter Spinas: Literature and Religion in the Renaissance (2018), and the Introduction and Notes to the Bompiani edition of Shakespeare’s Sonnets (2019). Armelle Sabatier is Lecturer at the University of Paris Panthéon Assas. She is the author of Shakespeare and Visual Culture. A Dictionary (Bloomsbury, 2016). She has published varied articles on the interrelation of visual arts and early modern drama, and on the representation of colour on the Elizabethan stage.

• List of FiguresList of ContributorsAknowledgementsIntroduction. Camilla Caporicci and Armelle Sabatier.PART I: To Look or not to Look at Pictures?Chapter 1. Cristiano Ragni. An Edifying "Pictura Loquens": Alberico Gentili’s Commentatio and his Defence of Drama in Elizabethan OxfordChapter 2. James A. Knapp. Looking At and Through Pictures in Donne’s LyricsChapter 3. Chloe Porter. "A Painted Devil": The Matter and Making of Images in MacbethChapter 4. B. J Sokol. Mirrors, Pictures, Optics, ShakespearePART II: Confluences: English Texts and European PaintingsChapter 5. Rocco Coronato. Over the Edge: Shakespeare, Judith, and the Virtuous Use of Female Indiscretion and DeceptionChapter 6. Fiammetta Dionisio. "Be Her Sense but as a Monument": Lost Icons and Substitutive Figures in Shakespeare’s CymbelineChapter 7. Raphaëlle Costa de Beauregard. The Notion of Picturing in Early Modern Literature: The Case of the Miniaturist Isaac Oliver (c.1585-1617)PART III: Portraits on the Page and the StageChapter 8. Camilla Caporicci. "Take this picture which I heere present thee": The Art of Portraiture in the Elizabethan Sonnet SequencesChapter 9. Catherine Belsey. Narrative Portraiture Chapter 10. Armelle Sabatier. Picturing in Little or in Stone? Miniature versus Monument in The Triall of Chevalry (Anonymous, 1605)Chapter 11. Emanuel Stelzer. Performing Portraits: The Portrait as Prop and Its Performative Dimension in Early Modern English DramaPART IV: The Power of Visual and VerbalChapter 12. Rosanna Camerlingo. Prospero’s Rainbow: Political Miracles in The TempestChapter 13. Keir Elam. "Picture is the invention of heaven": Ben Jonson and the Paradox of the VisualIndex

Camilla Caporicci is a post-doctoral fellow at the University of Padova, adjunct professor at the University of Perugia, and a former Humboldt fellow at the Ludwig-Maximilians-Universität. Among her many publications are The Dark Lady: La rivoluzione Shakespeariana nei Sonetti alla Dama Bruna (2013), the edited volume Sicut Lilium inter Spinas: Literature and Religion in the Renaissance (2018), and the Introduction and Notes to the Bompiani edition of Shakespeare’s Sonnets (2019). Armelle Sabatier is Lecturer at the University of Paris Panthéon Assas. She is the author of Shakespeare and Visual Culture. A Dictionary (Bloomsbury, 2016). She has published varied articles on the interrelation of visual arts and early modern drama, and on the representation of colour on the Elizabethan stage.

• List of FiguresList of ContributorsAknowledgementsIntroduction. Camilla Caporicci and Armelle Sabatier.PART I: To Look or not to Look at Pictures?Chapter 1. Cristiano Ragni. An Edifying "Pictura Loquens": Alberico Gentili’s Commentatio and his Defence of Drama in Elizabethan OxfordChapter 2. James A. Knapp. Looking At and Through Pictures in Donne’s LyricsChapter 3. Chloe Porter. "A Painted Devil": The Matter and Making of Images in MacbethChapter 4. B. J Sokol. Mirrors, Pictures, Optics, ShakespearePART II: Confluences: English Texts and European PaintingsChapter 5. Rocco Coronato. Over the Edge: Shakespeare, Judith, and the Virtuous Use of Female Indiscretion and DeceptionChapter 6. Fiammetta Dionisio. "Be Her Sense but as a Monument": Lost Icons and Substitutive Figures in Shakespeare’s CymbelineChapter 7. Raphaëlle Costa de Beauregard. The Notion of Picturing in Early Modern Literature: The Case of the Miniaturist Isaac Oliver (c.1585-1617)PART III: Portraits on the Page and the StageChapter 8. Camilla Caporicci. "Take this picture which I heere present thee": The Art of Portraiture in the Elizabethan Sonnet SequencesChapter 9. Catherine Belsey. Narrative Portraiture Chapter 10. Armelle Sabatier. Picturing in Little or in Stone? Miniature versus Monument in The Triall of Chevalry (Anonymous, 1605)Chapter 11. Emanuel Stelzer. Performing Portraits: The Portrait as Prop and Its Performative Dimension in Early Modern English DramaPART IV: The Power of Visual and VerbalChapter 12. Rosanna Camerlingo. Prospero’s Rainbow: Political Miracles in The TempestChapter 13. Keir Elam. "Picture is the invention of heaven": Ben Jonson and the Paradox of the VisualIndex