In Preparation
Schechner, Sara J., and Kenneth J. Launie. “Inside the Maker's Workshop: Alvan Clark and Robert B. Tolles in the Second Half of the Nineteenth Century” (In Preparation).
Schechner, Sara J.Glass and Power: Sourcing Scientific Glass in North America, 1600-1850” (In Preparation).
Schechner, Sara J. “Telescopes in Colonial and Federal America, 1620-1820” (In Preparation).
Schechner, Sara J., and Susanna Cecilia Berger. “Observations on Niccolò Tornioli’s The Astronomers” (Submitted).Abstract
We analyze the iconography of the painting, paying special attention to the scientific instruments, diagrams, celestial phenomena, and individuals, in order to show the limitiations of an iconographic approach as well as to offer new interpretations.  We suggest that the painting highlights the importance of visual representations and guided conversation in scientific observational practices in early modern Europe,
Stork, David G., Christopher W. Tyler, and Sara J. Schechner. “Did Tim Paint a Vermeer?Journal of Imaging Science and Technology 64, no. 6 (2020): 60403-1 - 60403-12. Publisher's VersionAbstract

Tim’s Vermeer is a recent documentary feature film following engineer and self-described non-artist Tim Jenison’s extensive efforts to “paint a Vermeer” by means of a novel optical telescope and mirror-comparator procedure. His efforts were inspired by the controversial claim that some Western painters as early as 1420 secretly built optical devices and traced passages in projected images during the execution of some of their works, thereby achieving a novel and compelling “optical look.” We examine the proposed telescope optics in historical perspective, the difficulty and efficacy of the mirror comparator procedure as revealed by an independent artist/copyist’s attempts to replicate the procedure, and the particular visual evidence adduced in support of the comparator hypothesis. Specifically, we find that the luminance gradient along the rear wall in the duplicate painting is far from being rare or difficult to achieve, as was claimed; in fact, such gradients appear in numerous Old Master paintings that show no ancillary evidence of having been executed with optics. There is indeed a slight bowing of a single contour in the Vermeer original, which one would nominally expect to be straight; however, the optical explanation for this bowing implies numerous other lines would be similarly bowed, but in fact all are straight. The proposed method does not explain some of the most compelling “optical” evidence in Vermeer’s works, such as the small disk-shaped highlights, which appear like the blur spots that arise in an out-of-focus projected image. Likewise, the comparator-based explanations for the presence of pinprick holes at central vanishing points, and the presence of underdrawings and pentimenti in several of Vermeer’s works, have more plausible non-optical explanations. Finally, an independent experimental attempt to replicate the procedure fails overall to provide support for the telescope claim. In light of these considerations and evidence we conclude that it is extremely unlikely that Vermeer used the proposed mirror-comparator procedure.

Schechner, Sara J.Instrumentation.” In A Companion to the History of American Science, edited by Georgina M. Montgomery and Mark A. Largent, 408-419. Chichester: Wiley Blackwell, 2015. Wiley Blackwell instrumentation_schechner_companion_to_history_of_am_sci.pdf
Schechner, Sara J.How Telescopes Came to New England, 1620-1740.” In Scientific Instruments in the History of Science: Studies in Transfer, Use and Preservation, 69-78. Rio de Janeiro: Museu de Astronomia e Ciências Afins (M.A.S.T.), 2014. Full book online schechner_how_telsecopes_came_to_new_england_2014_p69-78.pdf
Stork, David G, Jacob Collins, Marco Duarte, Yasuo Furuichi, Dave Kale, Ashutosh Kulkarni, Dirk M Robinson, Sara J Schechner, Christopher W Tyler, and Nicholas C Williams. “Did Early Renaissance Painters Trace Optically Projected Images? The Conclusion of Independent Scientists, Art Historians, and Artists.” In Digital Imaging for Cultural Heritage Preservation: Analysis, Restoration, and Reconstruction of Ancient Artworks , 215-242. Boca Raton: CRC Press, Taylor & Francis Group, 2011. Barnes & Noble proof copy of text
Schechner, Sara J. “Early American Telescopes.” Bulletin of the American Astronomical Society 41, no. 1 (2009): 186. Abstract at SAO/NASA Astrophysics Data System (ADS)
Schechner, Sara J., Jean-Francois Gauvin, and others. “Waywiser.” Online database of the Harvard Collection of Historical Scientific Instruments, 2007. Link to Waywiser Abstract
Waywiser, is the online database of the Collection of Historical Scientific Instruments, Harvard University. It was first developed by Jean-François Gauvin and Sara J. Schechner in 2007--2008, and has since been updated in format by Juan Andres Leon and other museum staff. As curator of the Collection, Schechner is the contributor of thousands of object entries and biographies, particularly in the areas of astronomy, microscopy, optics, time finding, horology, surveying, navigation, psychology, and radio. Work on the database is ongoing. The database is named after an ancient instrument for measuring distance, also called a hodometer.
Surveyor using a waywiser
Schechner, Sara J. “Between Knowing and Doing: Mirrors and Their Imperfections in the Renaissance.” Early Science and Medicine 10 (2005): 137-162.
Schechner, Sara J. “Against the Hockney-Falco thesis: Glass and metal mirrors of the 15th century could not project undistorted images.” In Technical Digest: Frontiers in Optics 2004. Vol. 88th OSA Annual Meeting. Washington, DC: Optical Society of America, 2004.