- Sarah Abrevaya Stein, Ostrich Feathers: Jews and a Lost World of Global Commerce (New Haven: Yale University Press, 2008).
- Jan Rath, Unravelling the Rag Trade: Immigrant Entrepreneurship in Seven World Cities (New York and Oxford: Berg, 2002).
- Anna Epstein, ‘Jews in the Melbourne Garment Trade’, Berg Encyclopaedia of World Dress and Fashion vol. 7 (New York and Oxford: Berg, 2010), 95–9.
- Margaret Maynard, ‘What Is Australian Fashion Photography: A Dilemma’, Fashion Theory 13, no. 4 (2009): 448–9.
- Yve-Alain Bois, ‘Fontana's Base Materialism’, Art in America 77, no. 4, April 1989; 247–8.
- Lucio Fontana, ‘The White Manifesto’ (1946), in Art in Theory 1900–1990; An Anthology of Changing Ideas, ed. Charles Harrison and Paul Wood (Oxford: Basil Blackwell, 1992), 643.
- See Joy Damousi and Marylin Lake, eds., Gender and War: Australians at War in the Twentieth Century (New York: Press Syndicate of the University of Cambridge, 1995).
- Roland Penrose, Home Guard Manual of Camouflage (London: Routledge, 1941).
- Frank Hinder, ‘Records of Lt F.C. Hinder Camoufleur’, Australian War Memorial, PR 88/133, File 895/4/182.
- Max Dupain, Max Dupain's Australia (Ringwood, Vic.: Viking, 1986), 15–6.
- The bibliography based on Hans Belting's own literatur Verzeichnis is large and influential. It extends from Byzantine art to video art.
- Tzvetan Todorov, Éloge de l'individu: Essai sur la Peinture Flamande de la Renaissance (Paris: Éditions Adam Biro, 2004).
- See The Optics of Ibn Al-Haytham, trans., ed., and annot. I.A. Sabra, vols. 1 and 2 (London: Warburg Institute, 1989). Sabra also advised Samuel Y. Edgerton. See Edgerton, The Renaissance Re-Discovery of Linear Perspective (New York: Basic Books, 1975), 175n23.
- See Norman Daniel's Islam and the West: The Making of an Image (Edinburgh: Edinburgh University Press, 1960), and The Arabs and Medieval Europe (London: Longman, 1975).
- See ‘Toledo School of Translators’, Wikipedia, last modified 15 March 2013, http://en.wikipedia.org/wiki/Toledo_School_of_Translators; ‘Latin Translations of the 12th Century’, Wikipedia, last modified 2 March 2013, http://en.wikipedia.org/wiki/Latin_translations_of_the_12th_century.
- Edgerton's review is in The American Historical Review 117, no. 2 (2012): 486–7, and his book is The Renaissance Re-Discovery of Linear Perspective (see note 3). On Alhazen, see 72–4. Belting's position is significantly different, as signalled by his not using the term ‘re-discovery’, which features in Edgerton's title. Further, Belting claims that the assimilation of Alhazen's understanding of light by renaissance art theory did not accept how Alhazen, by his own thought and experimentation, had significantly developed and changed the inherited Greek knowledge. Another, insightful review is by Julian Bell, ‘Don't Look’, London Review of Books, 25 October 2012.
- A.I. Sabra, Theories of Light from Descartes to Newton (London: Oldbourne, 1967).
- A.I. Sabra, The Optics of Ibn Al-Haytham vol. 2, 73.
- See John Onians, Neuroarthistory from Aristotle and Pliny to Baxandall and Zeki (New Haven: Yale University Press, 2007) and David Summers, Real Spaces: World Art History and the Rise of Western Modernism (London: Phaidon Press, 2003).
- By contrast, both discourses, at times, simultaneously conceal and reveal the trace of the brush. The mark-ness of the tool imprint varies according to different viewing conceptions, based, in part, on their script systems and mark-making techne, and, in part, on the architectural habits passed on to the frame of viewing.
- See Sheila S. Blair, Jonathan M. Bloom, ‘The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field’, Art Bulletin 85, no. 1, March 2003; 152–84. An illustration of an image of the Prophet of 1314–5, now in Edinburgh, is on page 176.
- See the range of human figurations found in L'Étrange et Merveilleux en Terre d'Islam (Paris: Musée du Louvre, 2001).
- Some Chinese scholars and artists have speculated on the resemblance between ‘Tang’ Chinese visual-narrative and Byzantine compositional schema, thus suspecting a Christian influence on Chinese visual-narrative constructions. Liu Kaiye, ‘Gu hua xin kao: Wei Zhongguo mei shu shi bu bai’, unpublished manuscript, 2005. However, the Indian connections are much more secure and well demonstrated via textual and visual analysis, see Victor H. Mair, Painting and Performance: Chinese Picture Recitation and Its Indian Genesis (Honolulu: University of Hawai'i Press, 1988).
- Belting cites from Alfred Neumeyer, Das Blick aus dem Bilde (Berlin: Gebr. Mann, 1964).
- See also I.A. Sabra, The Optics of Ibn Al-Haytham vol. 2, 45–52, plates 1–4.