Nancy Kollmann is the William H. Bonsall Professor in History at Stanford University. Kollmann's research focuses on Russia in the early modern period, and she holds particular interests in politics, law, empire in action, and the role of the visual. Previous publications include The Russian Empire 1450-1801 (2017) and Crime and Punishment in Early Modern Russia (Cambridge, 2012).

• Introduction: early modern print culture; Part I. Encountering Russia Visually: 1. Imagery in an ocularcentric century; 2. Humanism encounters Russia; Part II. Sigismund von Herberstein: 3. Rerum Moscoviticarum Commentarii (1549) as humanist chorography; 4. Herberstein's use of the visual; Part III. The Muscovy Company Maps Eurasia: 5. The Muscovy company as knowledge network; 6. Map as chorography; 7. Visuality explodes: Russians in turn of the century sources; 8. Adam Olearius: eyewitness extraordinaire; 9. Olearius: text and image order the world; Conclusion.

'For nearly two hundred years West Europeans had a collection of images of a society both familiar and different, a familiarity reinforced by the images of the much more alien forest and steppe peoples of Russia's frontiers. Nancy Kollmann shows how extensively these images circulated, and how their use says as much about the European print market as it does about Russia. That conclusion is an important correction to the common idea that European accounts of Russia and the accompanying images are nothing more than the construction of an image of an exotic neighbor.' Paul Bushkovitch, Yale University

Nancy Kollmann is the William H. Bonsall Professor in History at Stanford University. Kollmann's research focuses on Russia in the early modern period, and she holds particular interests in politics, law, empire in action, and the role of the visual. Previous publications include The Russian Empire 1450-1801 (2017) and Crime and Punishment in Early Modern Russia (Cambridge, 2012).

• Introduction: early modern print culture; Part I. Encountering Russia Visually: 1. Imagery in an ocularcentric century; 2. Humanism encounters Russia; Part II. Sigismund von Herberstein: 3. Rerum Moscoviticarum Commentarii (1549) as humanist chorography; 4. Herberstein's use of the visual; Part III. The Muscovy Company Maps Eurasia: 5. The Muscovy company as knowledge network; 6. Map as chorography; 7. Visuality explodes: Russians in turn of the century sources; 8. Adam Olearius: eyewitness extraordinaire; 9. Olearius: text and image order the world; Conclusion.

'For nearly two hundred years West Europeans had a collection of images of a society both familiar and different, a familiarity reinforced by the images of the much more alien forest and steppe peoples of Russia's frontiers. Nancy Kollmann shows how extensively these images circulated, and how their use says as much about the European print market as it does about Russia. That conclusion is an important correction to the common idea that European accounts of Russia and the accompanying images are nothing more than the construction of an image of an exotic neighbor.' Paul Bushkovitch, Yale University

Nancy Kollmann is the William H. Bonsall Professor in History at Stanford University. Kollmann's research focuses on Russia in the early modern period, and she holds particular interests in politics, law, empire in action, and the role of the visual. Previous publications include The Russian Empire 1450-1801 (2017) and Crime and Punishment in Early Modern Russia (Cambridge, 2012).

• Introduction: early modern print culture; Part I. Encountering Russia Visually: 1. Imagery in an ocularcentric century; 2. Humanism encounters Russia; Part II. Sigismund von Herberstein: 3. Rerum Moscoviticarum Commentarii (1549) as humanist chorography; 4. Herberstein's use of the visual; Part III. The Muscovy Company Maps Eurasia: 5. The Muscovy company as knowledge network; 6. Map as chorography; 7. Visuality explodes: Russians in turn of the century sources; 8. Adam Olearius: eyewitness extraordinaire; 9. Olearius: text and image order the world; Conclusion.

'For nearly two hundred years West Europeans had a collection of images of a society both familiar and different, a familiarity reinforced by the images of the much more alien forest and steppe peoples of Russia's frontiers. Nancy Kollmann shows how extensively these images circulated, and how their use says as much about the European print market as it does about Russia. That conclusion is an important correction to the common idea that European accounts of Russia and the accompanying images are nothing more than the construction of an image of an exotic neighbor.' Paul Bushkovitch, Yale University