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Title
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William Blake’s “Jerusalem,” plate 26
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Format
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photograph: print
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Description
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Blake’s last great epic poem was engraved by the author on 100 copper plates. In this image, Jerusalem in the form of a woman appears as an emanation from the male figure representing Albion, variously intepreted as Great Britain or all of humankind. The Archives’copy is number 43 of a limited facsimile edition of 516 prints by the Trianon Press, 1950. George W. Housner book collection.
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Title
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Navis
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Format
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print: engraving
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Date
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1603
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Description
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From Johann Bayer’s “Uranometria” (1603), the first ‘true’ star-atlas. This and other copper-engraved images from the book demonstrate a notable feature of this atlas: the sheer beauty of the plates. Alexander Mair, the artist, clearly found some inspiration in the De Gheyn engravings in the Aratea published by Hugo Grotius in 1600, but most of Bayer’s constellation figures have no known prototype. Significantly, each plate has a carefully engraved grid, so that star positions can be read off to fractions of a degree. These positions were taken, not from Ptolemy’s catalog, but from the catalog of Tycho Brahe, which had circulated in manuscript in the 1590s, yet not printed until 1602. Another important feature of the atlas was the introduction of a new system of stellar nomenclature, Bayer assigning Greek letters to the brighter stars, generally in the order of magnitude.
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Title
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Thomas Burnet - frontispiece to Sacred Theory of the Earth
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Format
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photograph: negative
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Date
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1684
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Description
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Thomas Burnet was master of Clare Hall, Cambridge, chaplain to King William, and master of Charterhouse. He was also a contemporary of Isaac Newton, who studied Burnet’s works very closely. His Sacred Theory was composed as “an apology for and exposition of the idea of Providence in an age increasingly dominated by mechanism and scepticism.” It proposed that with respect to the most important biblical events - notably Creation, the Flood, and final conflagration - scripture and mechanical philosophy could be reconciled. Burnet also insisted that the colossal scale of Providential superintendence was appropriate to the degradation of mankind’s moral virtue.
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Title
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Kepler - preliminary diagram relating to the orbits of Saturn and Jupiter, from Mysterium cosmographicum
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Format
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photograph: negative
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Date
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1596
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Description
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With this first diagram, Kepler thought that he had discovered the key to unlocking a geometrical secret about the creation of the universe. His education at the university of Tubingen with Michael Maestlin had already convinced him of the truth of the Copernican system, and starting in 1595, he was trying to explain the relationship among the distances of the planets from the sun and the length of their revolutionaround the sun. The diagram came to Kepler as a revelation. As he was explaining some astrological matters to his students, he drew triangles inscribed in the same circle - or nearly triangles since the end of one made up the beginning of the next one. The crossing points of these triangles formed another circle, half the size of the first one. That proportion, he realized, was the same as the proportion between the orbits of Saturn and Jupiter. The importance of the Mysterium Cosmographicum doesn’t lie in its scientific value, but more in Kepler’s processes since he didn’t just present the result of his researches (such as the world system inscribed in the five regular bodies, which he considered at that time as an real achievement in favor of the Copernican system), but he also shows to the reader all his beginnings and errors, as it is the case with that diagram.
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Title
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Bartholomew Fair
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Format
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photograph: negative
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Date
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1808
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Description
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Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 8
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Title
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Serpentarius
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Format
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print: engraving
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Date
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1603
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Description
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From Johann Bayer’s “Uranometria” (1603), the first ‘true’ star-atlas. This and other copper-engraved images from the book demonstrate a notable feature of this atlas: the sheer beauty of the plates. Alexander Mair, the artist, clearly found some inspiration in the De Gheyn engravings in the Aratea published by Hugo Grotius in 1600, but most of Bayer’s constellation figures have no known prototype. Significantly, each plate has a carefully engraved grid, so that star positions can be read off to fractions of a degree. These positions were taken, not from Ptolemy’s catalog, but from the catalog of Tycho Brahe, which had circulated in manuscript in the 1590s, yet not printed until 1602. Another important feature of the atlas was the introduction of a new system of stellar nomenclature, Bayer assigning Greek letters to the brighter stars, generally in the order of magnitude.
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Title
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William Whiston - fig.4 for A New Theory of the Earth (London, 5th edn., 1737)
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Format
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photograph: negative
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Date
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1737
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Description
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The path of the Earth through the Atmosphere and Tail of a Comet. Newton and Edmond Halley had worked hard to demonstrate that comets were predictable, periodic bodies which therefore could not be used to prognosticate divine interventions in the natural order. Yet they also suggested that comets deposited aethers to revitalize a spiritually depleted Earth. Whiston liked this mixture of close geometrical analysis with divine mechanism, and extended the discussion. He argued that comets had been responsible for key moments in the Earth’s natural and biblical history - for instance, it was a great comet that had caused the Deluge. He even equated comets with Hell: as they moved in their highly eccentric orbits, they alternated between the “Darkness of Torment” and the “ungodly Smoak of Fire.” For Whiston, comets thus became “the place of Punishment for wicked Men after the general Resurrection.”
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Title
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Aquarius
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Format
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print: engraving
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Date
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1603
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Description
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From Johann Bayer’s “Uranometria” (1603), the first ‘true’ star-atlas. This and other copper-engraved images from the book demonstrate a notable feature of this atlas: the sheer beauty of the plates. Alexander Mair, the artist, clearly found some inspiration in the De Gheyn engravings in the Aratea published by Hugo Grotius in 1600, but most of Bayer’s constellation figures have no known prototype. Significantly, each plate has a carefully engraved grid, so that star positions can be read off to fractions of a degree. These positions were taken, not from Ptolemy’s catalog, but from the catalog of Tycho Brahe, which had circulated in manuscript in the 1590s, yet not printed until 1602. Another important feature of the atlas was the introduction of a new system of stellar nomenclature, Bayer assigning Greek letters to the brighter stars, generally in the order of magnitude.
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Title
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Title page: Euclid, “The Elements of Geometrie”, London
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Format
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photograph: negative
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Date
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1570
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Description
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First English edition. Translated into English for the first time by Sir Henry Billingsley, with preface by M. Dee. Based on earlier Latin versions. Watson Collection, History of Science.
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Title
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Aries
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Format
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print: engraving
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Date
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1603
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Description
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From Johann Bayer’s “Uranometria” (1603), the first ‘true’ star-atlas. This and other copper-engraved images from the book demonstrate a notable feature of this atlas: the sheer beauty of the plates. Alexander Mair, the artist, clearly found some inspiration in the De Gheyn engravings in the Aratea published by Hugo Grotius in 1600, but most of Bayer’s constellation figures have no known prototype. Significantly, each plate has a carefully engraved grid, so that star positions can be read off to fractions of a degree. These positions were taken, not from Ptolemy’s catalog, but from the catalog of Tycho Brahe, which had circulated in manuscript in the 1590s, yet not printed until 1602. Another important feature of the atlas was the introduction of a new system of stellar nomenclature, Bayer assigning Greek letters to the brighter stars, generally in the order of magnitude.
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Title
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Libra
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Format
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print: engraving
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Date
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1603
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Description
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From Johann Bayer’s “Uranometria” (1603), the first ‘true’ star-atlas. This and other copper-engraved images from the book demonstrate a notable feature of this atlas: the sheer beauty of the plates. Alexander Mair, the artist, clearly found some inspiration in the De Gheyn engravings in the Aratea published by Hugo Grotius in 1600, but most of Bayer’s constellation figures have no known prototype. Significantly, each plate has a carefully engraved grid, so that star positions can be read off to fractions of a degree. These positions were taken, not from Ptolemy’s catalog, but from the catalog of Tycho Brahe, which had circulated in manuscript in the 1590s, yet not printed until 1602. Another important feature of the atlas was the introduction of a new system of stellar nomenclature, Bayer assigning Greek letters to the brighter stars, generally in the order of magnitude.
