Guy Hedreen, Ph.D. (1988, Bryn Mawr College) is Amos Lawrence Professor of Art at Williams College. He is the author of three books, most recently The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity (Cambridge University Press, 2015).

• Director’s RemarksMichael W. KwakkelsteinAcknowledgementsList of FiguresNotes on ContributorsIntroduction: The Material World and Its LimitsGuy Hedreen1 Plato’s Attitude toward Painting and MathematicsErnesto Paparazzo2 The Vitruvian Body in De architectura’s Third Preface: Architecture and Rhetoric between Nature and ArtMarden Fitzpatrick Nichols3 Cera d’api: la storia naturale di un medium archetipicoVerity Platt4 ‘We Penetrate the Earth’s Innards and Search for Riches’: Pliny’s Hierarchy of Materials and Its Influence in the RenaissanceSarah Blake McHam5 Moving Wood, Man Immobile: Hero’s Automata at the Urbino CourtCourtney Roby6 Terremoti artificiali. La sismologia aristotelica nella guerra sotterranea del RinascimentoMorgan Ng7 The Heptaphonon and the Architecture of EchoesCarolyn Yerkes8 A Changing Earth: Strabo and Leonardo’s Scientific HumanismDomenico Laurenza9 Into the Wild: Living Landscape and Wonderment in Renaissance ArtDennis Geronimus10 Botticelli’s Venus and Mars, Lucretius and EmpedoclesGordon Campbell11 Fantasia and Speciation: Traces of Empedocles in Ancient Poetry and Renaissance ArtGuy HedreenCoda: Temporality and the Reception of Ancient Culture: An Example from DürerGuy HedreenIndex of Primary Literary SourcesIndex of Works of ArtGeneral Index

Guy Hedreen, Ph.D. (1988, Bryn Mawr College) is Amos Lawrence Professor of Art at Williams College. He is the author of three books, most recently The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity (Cambridge University Press, 2015).

• Director’s RemarksMichael W. KwakkelsteinAcknowledgementsList of FiguresNotes on ContributorsIntroduction: The Material World and Its LimitsGuy Hedreen1 Plato’s Attitude toward Painting and MathematicsErnesto Paparazzo2 The Vitruvian Body in De architectura’s Third Preface: Architecture and Rhetoric between Nature and ArtMarden Fitzpatrick Nichols3 Cera d’api: la storia naturale di un medium archetipicoVerity Platt4 ‘We Penetrate the Earth’s Innards and Search for Riches’: Pliny’s Hierarchy of Materials and Its Influence in the RenaissanceSarah Blake McHam5 Moving Wood, Man Immobile: Hero’s Automata at the Urbino CourtCourtney Roby6 Terremoti artificiali. La sismologia aristotelica nella guerra sotterranea del RinascimentoMorgan Ng7 The Heptaphonon and the Architecture of EchoesCarolyn Yerkes8 A Changing Earth: Strabo and Leonardo’s Scientific HumanismDomenico Laurenza9 Into the Wild: Living Landscape and Wonderment in Renaissance ArtDennis Geronimus10 Botticelli’s Venus and Mars, Lucretius and EmpedoclesGordon Campbell11 Fantasia and Speciation: Traces of Empedocles in Ancient Poetry and Renaissance ArtGuy HedreenCoda: Temporality and the Reception of Ancient Culture: An Example from DürerGuy HedreenIndex of Primary Literary SourcesIndex of Works of ArtGeneral Index