Supplementary Material of ‘GEA: Invisible Sienese Women Made Visible.’

2026-07-30 15:14:55 | Contributor(s): Elena Brizio, Luis Meneses | https://doi.org/10.25547/J9NG-HB25

Figure 1. Archivio di Stato di Siena, Pieve di San Giovanni Battista 23, fol. 19r. This is the baptismal record of Aurelia Petrucci, showing the date of her baptism and the names of her father, grandfather, and godparents.

Figure 2. Elena Brizio’s transcription of Archivio di...

Supplementary Material of ‘The Place of Reading in VR: Pedagogy, Spenser’s Kilcolman Castle, and Amoretti 65.’

2026-07-29 18:37:35 | Contributor(s): Thomas Herron | https://doi.org/10.25547/T3CB-P834

Figure 1. Ruins of Kilcolman Castle from the northwest, c. 1996. Image credit: Thomas Herron.

Figure 2. Overhead view from the south of the reconstructed Kilcolman Castle, from the digital model on the Centering Spenser website. Note both the tower house as well as surrounding...

Supplementary Material of ‘Designing an Educational Video Game for Shakespeare’s Hamlet’

2026-07-29 18:31:04 | Contributor(s): John Misak, Kevin LaGrandeur | https://doi.org/10.25547/VRSA-QS88

Figure 1. An aerial view of the courtyard of Perchance’s representation of Castle Elsinore.

Figure 2. The ramparts scene rendered in the Unity game engine, depicting character models for Hamlet, Marcellus, Bernardo, and Horatio.

Figure 3. An early,...

Supplementary Material of ‘Does the kunstkammer Need a Digital Future?’

2026-07-29 18:27:59 | Contributor(s): Andrea M. Gáldy | https://doi.org/10.25547/79VX-PW71

Figure 1. Plan of the Apartment of the Elementi, Palazzo Vecchio, Florence, second floor, including the Scrittoio of Calliope. E = Elements, S = Saturn, M = Minerva, H = Hercules, Jo = Jove, Ju = Juno, O = Ops, Ce = Ceres, Ca = Calliope. Image credit: Jessica Wright, based on a detail from...

Supplementary Material of “Penelope Rich: Mapping the Mobility of a Sixteenth-Century Aristocratic Woman”

2026-07-29 18:02:18 | Contributor(s): Gerit Quealy | https://doi.org/10.25547/CX1K-YP80

Figure 1. Penelope Devereux Rich Blount, Lady Rich, Baroness of Essex, Countess of Devonshire represented as a map. Each surname and title has attendant estates that become the baseline for Penelope’s personal map, anchoring her movement throughout her life. Chartley, for example, the...

Supplementary Material of ‘Interacting with Big Historical Data of the Dutch Golden Age: Golden Agents and Virtual Interiors.’

2026-07-29 14:34:49 | Contributor(s): Charles van den Heuvel | https://doi.org/10.25547/39TW-AJ76

Figure 1. Lenticular Lenses. User interface for disambiguation supported by network analysis. Image credit: Al Idrissou.

Figure 2. Pipeline for preprocessing archival data and representation in RDF annotations hereof. Image credit: Leon van Wissen.

Figure 3. Simplified RDF...

Supplementary Material of ‘Beyond a Digital Catalog: Rethinking Musical and Cartographic Sources through Digital Humanities.’

2026-07-29 14:25:40 | Contributor(s): Angela Fiore, Sara Belotti | https://doi.org/10.25547/D23Y-YP62

Figure 1. Screenshot of EsteWebGIS showing Vandelli’s map. The interactive map will permit users to compare Vandelli’s map (A) and the historical center of Modena as it appears today in the Google satellite web mapping service (B).

Figure 2. Screenshot of EsteWebGIS...

Supplementary Material of ‘Dear Galileo: Letters as Data on Astronomy’

2026-07-27 17:59:10 | Contributor(s): Caterina Agostini | https://doi.org/10.25547/P7G3-8Q33

Figure 1. A map visualization of the locations from where people wrote to Galileo, with points proportionally sized based on the numbers of letters sent locally. Therefore, more letters sent from a location correspond to a bigger dot, for a total of 2,700 letters written by 370 correspondents...

Supplementary Material of 'FRIDA: A Multilevel Digital Atlas for the Ephemeral Renaissance, La Serenissima Venice, 1450–1550'

2026-07-27 17:52:51 | Contributor(s): Francesca Bortoletti, Giuseppe Gerbino, Paolo Ciuccarelli, Beatrice Gobbo, Tommaso Elli | https://doi.org/10.25547/05Z9-SC19

Figure 1. FRIDA is divided into three fully interactive sections: Event, Backstage, and Memory.

Figure 2. (1) Cartographic visualizations of the festivals’ itineraries, recreating the multimediality of the “Event”; (2) Social network diagrams of...

Supplementary Material of ‘Moving Images and Text on Leonardo’s Codices: The Evolution of Drawing a Digital Edition.’

2026-07-27 17:46:28 | Contributor(s): Giuditta Cirnigliaro | https://doi.org/10.25547/CPWA-SJ25

Figure 1. Leonardo da Vinci, fables of the citron, the peach, and the nut, with corresponding illustrations. Codex Atlanticus, fol. 207r. c. 1490. Biblioteca Ambrosiana, Milan.

Figure 2. Left: Leonardo da Vinci, fable of the lily and dynamometers. Manuscript H, fol. 44r....

Supplementary Material of ‘The Republic of Tweets’

2026-07-27 17:41:13 | Contributor(s): Jessica Otis | https://doi.org/10.25547/1JY0-0W55

Figure 1. List of 25 node categories (excluding the final “unclear” category).

Figure 2. Conference network metrics, by hashtag.

Figure 3. Multi-year conference network metrics. Possible nodes = the total number of nodes that could be in the combined network if...

Supplementary Material of ‘Print Networks of Early Modern Astronomy in Galileo’s Library’

2026-07-27 17:34:21 | Contributor(s): Crystal Hall | https://doi.org/10.25547/7ZR9-8Z14

Figure 1. Title page of the first edition of Galileo’s Sidereus nuncius (1610), known in English as the Starry Messenger. Image credit: Sidereus nuncius magna, longeque admirabilia spectacula pandens [. . .] Galileo Galileo [. . .]: nuper a se...