2722. A NATURAL HISTORY PANOPTICON- M. J. Curley 2009, Physiologus: A Medieval Book of Nature Lore (Chicago: University
of Chicago Press), ix. - Ibid.
- M. R. James 1931, “The Bestiary,” History: The Quarterly Journal of the Historical As-
sociation 16, no. 61 (April): 1–11 and 3. - Ibid., 141.
- F. Klingender 1971, Animals in Art and Thought to the End of the Middle Ages (Ca m-
bridge: MIT Press), 341. - Ibid., 4.
- R. J. Allen 1887, Lecture VI: The Medieval Bestiaries—The Rhind Lectures in Archaeol-
ogy for 1885 (London: Whiting). - Ibid., 18.
- As argued by art historian John Richards, Christianity appropriated artistic pro-
duction for funerary purposes, and “the selective use of the naturalistic modes of
antiquity in Early Christian and Byzantine art reflects a profound shift in the under-
standing of art. Representation of the material world was embraced where appropri-
ate, but the overall purpose of images... was directed at an experience transcending
nature and the world of appearances.” J. Richards 2000, “Early Christian Art,” in M.
Kemp, ed., The Oxford History of Western Art (Oxford: Oxford University Press),
70–75, ref. on 71. - According to Klingender, the impact of these new cultural optics produced represen-
tations of animals “whose distorted forms at best do no more than suggest the charac-
ter of some living species, while more often they depart from nature altogether to shape
some awe-inspiring monster.” Klingender 1971:117. - W. Worringer 1953, Abstraction and Empathy: A Contribution to the Psychology of Style
(Chicago: Ivan R. Dee, 1997), 44. - W. B. Ashworth 1996, “Emblematic Natural History in the Renaissance,” in J. Jardine,
A. Secord, and E. C. Spary, eds., Cultures of Natural History (Cambridge: Cambridge
University Press), 17–37, ref. on 17. - Ibid.
- W. B. Ashworth 2003, “The Revolution in Natural History,” in M. Hellyer, ed., The Sci-
entific Revolution (London: Blackwell), 130–156, ref. on 142. - C. Gesner 1551, Historia Animalium, I, g 1 v, as quoted in S. Kusu kawa 2010, “The Sources
of Gessner’s Pictures for the Historia Animalium,” Annals of Science 76, no. 3: 303–328,
quote on 307. - Ashworth 1996:27.
- Foucault 1966:140–141.
- H. Wölfflin 1932, Principles of Art History: The Problem of the Development of Style in
Later Art, trans. M. D. Hottinger (New York: Dover), 18–19. - Ibid., 73.
- Ibid., 124, 155, 196.
- Broglio 2011:xvii.