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Most of her sources have not been studied in great depth before, like Giovanni Marinello's "The Ornaments of Ladies", published in Venice in 1562. In it "women's bodies are presented as forever-unfinished projects", writes Ms Burke.
大部分的资料以前都未曾经过深入研究，比如1562年在威尼斯出版的乔瓦尼·马里内洛的《女士的装饰品》。伯克写道，在这本书中，"女性的身体被呈现为永远未完成的项目"。
Marinello promised readers the kind of physique described by poets and painters, such as Titian's female nude "Venus of Urbino".
马里内洛向读者承诺，会让她们拥有诗人和画家所描述的那种身材，比如提香的女性裸体绘画《乌尔比诺的维纳斯》。
He offered 1,400 recipes to improve imperfections such as stretch marks (ladies would "do well" to "remove this defect after the birth and make your belly look like it should"); grey hair (women with "younger husbands" might be especially concerned); and extra flab (he suggested wrapping the troublesome area in wax overnight).
马里内洛提供了1400种办法来改善不完美的地方，比如妊娠纹（如果"消除这种产后缺陷，肚子就能恢复原样"，女士们也能"过上幸福生活")、灰白头发（有着年下丈夫的女性可能会尤其在意这个问题）和肌肉松弛（他建议晚上用蜡把松弛的地方包起来）。
Visual culture was evolving rapidly. The Renaissance era's technologies--the full-length mirror and the printed book--shaped views of femininity.
当时视觉文化发展迅速。文艺复兴时代的技术----全身镜和印刷书籍----塑造了人们对女性气质的看法。
So too have 21st-century innovations: social media and photo-editing apps. Social-media users see Botox-smoothed features and photoshopped bodies.
21世纪的创新也有同样的影响：社交媒体和修图APP。社交媒体用户看到的是如同打了肉毒杆菌一般光滑的肌肤和精修过后的身材。
In the same way, argues Ms Burke, the popularity of single-point perspective and naturalism in drawing meant Renaissance women were bombarded with "endless images of newly realistic naked goddesses being churned out in sculptures, painting and prints".
伯克认为，以同样的方式，单点透视和自然主义在绘画中的流行，意味着文艺复兴时期的女性被"在雕塑、绘画和版画中大量涌现的新写实主义风格的无数裸体女神形象"所轰炸。
Some women pushed back. Blond hair was idealised in art, and bleaching was common.
一些女性予以回击。金发在艺术上被理想化了，给头发漂色也很常见。
But as a teenager, the painter Giovanna Garzoni, famous for her meticulous flowers and insects, depicted herself in a self-promotional portrait as Apollo, the Greek god of the sun, with tousled brown hair.
但以精细的花卉和昆虫画闻名的画家乔瓦娜·加尔佐尼，在青少年时期的一幅自我宣传肖像中将自己描绘成希腊太阳神阿波罗，画中的她有着一头蓬乱的棕发。
Artemisia Gentileschi, who once proclaimed "as long as I live I will have control over my being", painted herself with wayward strands of black hair framing her face.
画家阿特米希娅·津迪勒奇曾宣称"只要我活着，我的自身存在就只能由我自己掌控"，她在自画像中用随性的几缕黑发勾勒出她的脸庞。
In Ms Burke's view female artists chose to present themselves like this to toy with the stereotypes that equated unruly dark hair with "interior imagination...melancholy creativity and a ‘masculine' temperament".
在伯克看来，女性艺术家选择这样展示自己，是为了戏弄把乱糟糟的深色头发和"内在想象力、忧郁的创造力和‘男性'气质"画等号的刻板印象。
Whether with a make-up brush or a paintbrush, women wanted to control how the world would see and remember them.
无论手持化妆刷还是画笔，女性都想将世界对她们的看法和记忆掌握在自己手中。
