Notes on Contributors
Gordon Campbell
is Lecturer in Ancient Classics at Maynooth University. He works on ancient philosophical poetry (in particular Lucretius and Empedocles), animals in the ancient world, and ancient cosmology and anthropology. He has published two monographs and an edited book: Lucretius on Creation and Evolution (2003), Strange Creatures: Anthropology in Antiquity (2006), and the Oxford Handbook of Animals in Classical Thought and Life (ed., 2014). He is currently working on ‘Lucretius on Music and Dance’.
Dennis Geronimus
is Associate Professor and Chair of the Department of Art History at New York University, where he specializes in Italian Renaissance art. His publications include the monograph, Piero di Cosimo: Visions Beautiful and Strange (2006), and an edited volume, Piero di Cosimo: Painter of Faith and Fable (2018). In 2015, he co-curated with Gretchen Hirschauer the first-ever exhibition on Piero at the National Gallery of Art, Washington, DC: Piero di Cosimo: The Poetry of Painting in Renaissance Italy. His current book project with Yale University Press reexamines the life and visionary art of Jacopo da Pontormo (1494–1557).
Guy Hedreen
is Amos Lawrence Professor of Art at Williams College, where he teaches the history of art, as well as the art, archaeology, literature, and culture of antiquity. His most recent book is: The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity (2016); other publications related to this anthology include: ‘On the Magnitude of the Gods in Materialist Theology and Greek Art’, Journal of Hellenic Studies, forthcoming, 2021; ‘The Question of Centaurs: Ovid and Lucretius in Piero di Cosimo’, in Piero di Cosimo: Painter of Faith and Fable, ed. Dennis Geronimus (2018).
Domenico Laurenza
is a science and art historian and an expert on Leonardo da Vinci and on the history of scientific illustration. Among his books available in English are: Leonardo on Flight (John Hopkins University Press, 2007), Art and Anatomy in Renaissance Italy (The Metropolitan Museum of Art, New York, 2012) and, with Martin Kemp, Leonardo da Vinci’s Codex Leicester. A New Edition (Oxford University Press, 2019–2020). He is scientific consultant of the Museo Galileo, Florence and Schroeder Arts Consulting, New York.
Sarah Blake McHam
is Distinguished Professor of Art History at Rutgers University. Her publications related to the theme of this anthology include Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the Natural History (2013); ‘L’artiste amoureux de son modèle’, in Le Mythe de la peinture antique, Centre National de Recherche Scientifique, Paris; ‘Erudition on Display: The “Scientific” Illustrations in Pico della Mirandola’s Manuscript of Pliny the Elder’s Natural History’, in Visualizing Medieval Medicine, 1200–1550 (2006); ‘Reflections of Pliny in Giovanni Bellini’s Woman with a Mirror’, 2008, and ‘Pliny’s Influence on Vasari’s First Edition of the Lives’, 2011, both in Artibus et Historiae.
Morgan Ng
is Assistant Professor of Italian Renaissance Art at Yale University. His research focuses on the interplay between architecture, visual culture, and the technical sciences in early modern Europe. His forthcoming book reconstructs the morphological links between military architecture and other domains of sixteenth-century art and design: palaces, gardens, and urban infrastructure. He has also published on early modern architectural glass, sculptural illumination, landscape, cartography, and the graphic arts.
Marden Fitzpatrick Nichols
is Associate Professor of Classics, Georgetown University. She is an art historian and scholar of Latin literature. Her publications include Author and Audience in Vitruvius’ De architectura (2017). She is currently completing a monograph with co-author Jeanne Pansard-Besson for Routledge, which reconsiders the significance of images of Rome’s foundation within ancient visual culture. She is also working on a single-authored monograph on theater and painting in ancient Rome, under contract with University of Michigan Press.
Ernesto Paparazzo
is a senior research scientist and associate at the Institute for the Structure of Matter (ISM-CNR), Rome. He is a chemist specializing in surfaces and in various aspects of antiquity. His publications include: ‘Pliny the Elder on metals: philosophical and scientific issues’, Classical Philology 103 (2008): 40–54; ‘It’s a World Made of Triangles: Plato’s Timaeus 53B–55C’, Archiv für Geschichte der Philosophie 97 (2015): 135–59; ‘A Note on the Construction of the Equilateral Triangle with Scalene Elementary Triangles in Plato’s Timaeus: Pl. Ti. 54A–B’, Classical Quarterly 65 (2015): 552–8; ‘A Study of Varro’s Account of Roman Civil Theology in the Antiquitates Rerum Divinarum and its Reception by Augustine and Modern Readers’, Harvard Studies in Classical Philology 111 (in press): 1–66.
Verity Platt
is Professor of Classics and History of Art at Cornell University. Relevant recent publications include: ‘Ecology, Ethics and Aesthetics in Pliny the Elder’s Natural History’, Journal of the Clark Art Institute, special issue on Ecologies, Agents, Terrains (2018); ‘Orphaned Objects: Pliny’s Natural History and the Phenomenology of the Incomplete’, Art History 41 (2018); ‘Of Sponges and Stones: Matter and Ornament in Roman Painting’, in Ornament and Figure in Graeco-Roman Art: Rethinking Visual Ontologies in Classical Antiquity, ed. Nicholas Dietrich and Michael Squire (2018). She is currently writing a monograph entitled Imprint and Line: Making and Mediating between Classical Art and Text, which examines text-object relations through a focus on medium, process, and matter.
Courtney Roby
is Associate Professor of Classics at Cornell University. Her research interests include the literary dimension of Greco-Roman scientific and technical texts; embodiment and distributed cognition in ancient technical texts, and Renaissance and early modern reception of Greco-Roman technical texts. Relevant publications include: Technical Ekphrasis in Ancient Science and Literature: The Written Machine between Alexandria and Rome (2016); ‘Framing Technologies in Hero and Ptolemy’, in The Frame in Classical Art: A Cultural History, ed. Michael Squire and Verity Platt (2017); ‘Geometer, in a landscape: Hero’s embodied mathematics’, in Revolutions and Continuity in Greek Mathematics, ed. Michalis Sialaros (2018).
Carolyn Yerkes
is Associate Professor in the Department of Art and Archaeology at Princeton University. Her first book was Drawing after Architecture: Renaissance Architectural Drawings and Their Reception (2017). She has also co-authored Piranesi Unbound (2020) with Heather Hyde Minor. She is currently working on a monograph that explores how seventeenth-century architects used buildings to investigate the natural world.