John Shannon Hendrix is a Professor of Architectural History at the University of Lincoln, UK, and a Lecturer at the Rhode Island School of Design and at Roger Williams University, USA. Charles Carman is an Associate Professor of Art History at the University at Buffalo, USA.

'This is a rich and innovative collection. The sum of its parts confidently asserts that there is an underlying correspondence between philosophical and theological concepts, their transformation into images by visual mechanisms and the linguistic mechanisms which read and interpret the images in Renaissance culture. Such correspondence is certainly mirrored in the exciting interdisciplinary writing of this collection.’ - Journal of European Studies 'This volume is a testament to the interdisciplinary nature of art history, particularly in the author’s consistent problematization of the standard separation of the empirical from the spiritual and their ability to present and answer complicated questions about Renaissance theories of vision.' - Sixteenth Century Studies

• Chapter 1 Introduction, John S.Hendrix, Charles H.Carman; Chapter 2 Classical optics and the perspectivae traditions leading to the Renaissance, NaderEl-Bizri; Chapter 3 Meanings of perspective in the Renaissance, Charles H.Carman; Chapter 4 Criminal vision in early modern Florence, AllieTerry; Chapter 5 Donatello’s Chellini Madonna, light, and vision, Amy R.Bloch; Chapter 6 Perception as a function of desire in the Renaissance, John S.Hendrix; Chapter 7 Leonardo da Vinci’s theory of vision and creativity, Liana De GirolamiCheney; Chapter 8 At the boundaries of sight, ChristianKleinbub; Chapter 9 Gesture and perspective in Raphael’s School of Athens, NicholasTemple; Chapter 10, ThijsWeststeijn; Chapter 11 “All in him selfe as in a glass he sees”, FayeTudor; Chapter 12 “Nearest the tangible earth”, Alice CrawfordBerghof;

John Shannon Hendrix is a Professor of Architectural History at the University of Lincoln, UK, and a Lecturer at the Rhode Island School of Design and at Roger Williams University, USA. Charles Carman is an Associate Professor of Art History at the University at Buffalo, USA.

'This is a rich and innovative collection. The sum of its parts confidently asserts that there is an underlying correspondence between philosophical and theological concepts, their transformation into images by visual mechanisms and the linguistic mechanisms which read and interpret the images in Renaissance culture. Such correspondence is certainly mirrored in the exciting interdisciplinary writing of this collection.’ - Journal of European Studies 'This volume is a testament to the interdisciplinary nature of art history, particularly in the author’s consistent problematization of the standard separation of the empirical from the spiritual and their ability to present and answer complicated questions about Renaissance theories of vision.' - Sixteenth Century Studies

• Chapter 1 Introduction, John S.Hendrix, Charles H.Carman; Chapter 2 Classical optics and the perspectivae traditions leading to the Renaissance, NaderEl-Bizri; Chapter 3 Meanings of perspective in the Renaissance, Charles H.Carman; Chapter 4 Criminal vision in early modern Florence, AllieTerry; Chapter 5 Donatello’s Chellini Madonna, light, and vision, Amy R.Bloch; Chapter 6 Perception as a function of desire in the Renaissance, John S.Hendrix; Chapter 7 Leonardo da Vinci’s theory of vision and creativity, Liana De GirolamiCheney; Chapter 8 At the boundaries of sight, ChristianKleinbub; Chapter 9 Gesture and perspective in Raphael’s School of Athens, NicholasTemple; Chapter 10, ThijsWeststeijn; Chapter 11 “All in him selfe as in a glass he sees”, FayeTudor; Chapter 12 “Nearest the tangible earth”, Alice CrawfordBerghof;

John Shannon Hendrix is a Professor of Architectural History at the University of Lincoln, UK, and a Lecturer at the Rhode Island School of Design and at Roger Williams University, USA. Charles Carman is an Associate Professor of Art History at the University at Buffalo, USA.

'This is a rich and innovative collection. The sum of its parts confidently asserts that there is an underlying correspondence between philosophical and theological concepts, their transformation into images by visual mechanisms and the linguistic mechanisms which read and interpret the images in Renaissance culture. Such correspondence is certainly mirrored in the exciting interdisciplinary writing of this collection.’ - Journal of European Studies 'This volume is a testament to the interdisciplinary nature of art history, particularly in the author’s consistent problematization of the standard separation of the empirical from the spiritual and their ability to present and answer complicated questions about Renaissance theories of vision.' - Sixteenth Century Studies

• Chapter 1 Introduction, John S.Hendrix, Charles H.Carman; Chapter 2 Classical optics and the perspectivae traditions leading to the Renaissance, NaderEl-Bizri; Chapter 3 Meanings of perspective in the Renaissance, Charles H.Carman; Chapter 4 Criminal vision in early modern Florence, AllieTerry; Chapter 5 Donatello’s Chellini Madonna, light, and vision, Amy R.Bloch; Chapter 6 Perception as a function of desire in the Renaissance, John S.Hendrix; Chapter 7 Leonardo da Vinci’s theory of vision and creativity, Liana De GirolamiCheney; Chapter 8 At the boundaries of sight, ChristianKleinbub; Chapter 9 Gesture and perspective in Raphael’s School of Athens, NicholasTemple; Chapter 10, ThijsWeststeijn; Chapter 11 “All in him selfe as in a glass he sees”, FayeTudor; Chapter 12 “Nearest the tangible earth”, Alice CrawfordBerghof;