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.”

中文翻译：

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文艺复兴的足迹：从杜勒到斯宾塞的印刷文化中的物质痕迹

本文认为，文艺复兴时期的印刷文化挪用了足迹的文化意义。印刷机和印刷脚之间的有力类比为宗教改革关于基督脚印作为奉献对象和代表主题的辩论提供了依据。在 16 世纪的英格兰，乔治·加斯科因和埃德蒙·斯宾塞的印刷项目中开发了一种由 Erasmian 人文主义启发的调查性阅读模型。对印刷机效果和页面物质环境的实验最终在斯宾塞的“阿莫雷蒂”中对印刷脚的物质和隐喻符号进行了广泛的发挥。