This article argues that Renaissance print culture appropriated the cultural meanings of the footprint. The potent analogy between the printing press and printing foot informed Reformation debates over Christ’s footprints as objects of devotion and subjects of representation. In sixteenth-century England a model for investigative reading informed by Erasmian humanism was developed in the print projects of George Gascoigne and Edmund Spenser. Experimentation with effects of the press and the material environment of the page culminated in extensive play upon the material and metaphorical sign of the printing foot in Spenser’s “Amoretti.”
FingerprintDive into the research topics of 'The Renaissance Footprint: The Material Trace in Print Culture from Durer to Spenser'. Together they form a unique fingerprint.
- School of Language, Literature, Music & Visual Culture, English - Personal Chair