“Representing Nature” argues that the “return to nature” in early modern Europe depended on print technology in new ways. Conventional acts of reading the book of nature as an emblem of God’s creation gave way in this period to new efforts to understand the ordo creationis as a complex system of signs. Surveying a range of books printed in early modern England and elsewhere in Europe, this chapter shows that the divine order of nature was a radical revisioning of the order of knowledge and the human arts (ars naturam), reflecting the growing power of print as a mode of visual and textual representation. It also argues that important “books of nature” printed in the sixteenth century reshaped relations between words and images as modes of knowledge about the natural world. For example, the widely popular herbals of William Turner and John Gerard helped to establish print as a new mode of mirroring nature by remapping relations between text and image. Shakespeare’s portrait of Friar Laurence in Romeo and Juliet reflects this historical reframing of nature, as do printed editions of Pliny and a range of books of natural philosophy printed in England and elsewhere. The chapter focuses on such books as they illuminate questions about nature as a source of divine knowledge.