Camelopardals
Rather unfamiliarly named "Camelopardals" are in fact giraffes as we know of today. Even though Teopsell put these two different-looking camelopardals together under the same category, they were originally placed under two different types of camelopardals in separate pages. It is questionable why Topsell brought the two illustrations into one because the two look slightly different from one another.
The one on the left has longer and sharper horns and its overall appearance looks more like that of horse rather than a giraffe as we know today. Even though Gesner emphasized the importance of Ad Vivum, it seems that he was not able to investigate this animal in person. (note 1) There are some possible sources for this illustration -- Erhard Reuwich's Animal of the Holy Land and a giraffe from Hieronymus Bosch's Garden of Earthly Delight from 1486 and 1503 respectively. Moerover, this camelopardal does not show any indication of its genital -- unclear whether it is male or female. The other one on the right is accompanying a man companion who is trying to controll the beast that is much taller than himself. The animal's relationship to human being does not only provide readers to understand the use of the animal and the scale of it compared to human beings, but also complements textual description about the animal's personality as a tractable and easily handled animal.
At the same time, text reads, "He has two little horns growing on his head of the colour of iron, his eyes rowling and frownin, his mouth but small like a Hart, his tongue is near three foot long, and with that he will so speedily gather in his meat, that he eyes of a man will fail to behold is hast, and his neck diversely colord, is fifteen foot long, which he holds up higher than a Camels, and far above the proportion of his other parts." Condensed textual description of the animal's visual appearance comes stronger with visual representation that clearly shows every aspect of this animal mentioned in the text. Illustration of camelopardals is one of those illustrations that accomplished the purpose of Gesner, which was to convey as much information as possible.
Notes
note 1: Frequently, the term Ad Vivum is brought up in several articles in the bibliography. As a natural historian, Gesner pursued the observation 'from the life' that would enhance the credibility, originality and the accuracy of his study. It was impossible for him to look at all the animals in person, including fictitious animals, so, him being relying on his friends and aquaintances for sources of his knowledge, which brought him to build a vast amount of books, illustrations, and specimens, could be explained by this idea. Kusukawa, S. "The Sources of Gessner's Pictures for the Historia Animalium." Annals of Science 67.3 (2010): p. 307