Abstract

Summary Gessner's sources for the pictures in his Historia animalium were varied in kind and in quality. This should be understood within the larger context of the Historia animalium in which Gessner sought to collect everything ever written about animals, an enterprise that could not be completed by a single individual. Just as Gessner did not distil or reduce similar texts but retained these as well as contradictory or false textual descriptions as part of a repository of knowledge, so also Gessner included several pictures of the same animal, false or badly drawn ones, and juxtaposed erroneous and ?true? images. The attribution of images to witnesses and correspondences also reflects Gessner's strategy to credit those who drew his attention to new information first. The sources of Gessner's images thus indicate how his visual world encompassed more than the strictly self-observable, and a pictorial practice that was intimately connected with textual traditions and intellectual networks