As architectural images became vehicles for natural philosophical thinking and practices, they also challenged certain conventions of architectural design. Dietterlin’s Architectura upended enduring principles of architectural naturalism and stability promoted in Leon Battista Alberti’s De re aedificatoria by developing a genre of amorphous ornaments that resembled the internal forms of the human body while effacing the conventional distinctions between architectural structure and surface, interior and exterior. Dietterlin derived these corporeal ornaments from empirically oriented images such as anatomical flap prints and the woodcuts of Vesalius’s De corporis fabrica. As architects and artists in northern Europe adopted the Architectura’s anatomical ornaments, they revealed the limits of architectural naturalism. Paradoxically, the waxing role of architectural images as tools for studying and embodying nature destabilized architecture’s long-standing traditions of naturalistic design.