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Title
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Pillory Cross, Charing Cross
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Format
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photograph: negative
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Date
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1809
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Description
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Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 62
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Title
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Orion
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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 of Newton’s “Opticks”
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Format
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photograph: print
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Date
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1706
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Description
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Latin editon. Newton published his first edition in 1704 in English, but without his name on the title page, it is thought in order to avoid controversy. Knighted by Queen Anne in the following year, he displayed his name linked to his new title here for the first time in print, “Isaaco Newton, Equite aurato” (golden knight); his new rank entitled him to gild his armor. The Latin edition was intended for distribution outside of England. This copy, in an old and well-preserved binding, bears inside the bookplate of an aristocratic German family, probably dating from the 18th century. Purchased in Rome following World War II by George W. Housner.
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Title
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Board of Trade
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Format
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photograph: negative
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Date
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1809
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Description
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Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 86
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Title
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George Atwood - Atwood’s Machine from A treatise on the Rectilinear Motion and Rotation of Bodies (Cambridge, 1784)
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Format
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photograph: negative
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Date
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1784
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Description
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As mathematics tutor at Cambridge University in the 1770s and 80s, George Atwood was responsible for introducing students to Newtonianism. To help with this task -- and to quell lingering debates about inertia and the living force of matter -- Atwood fashioned a machine that soon became known eponymously. The machine employed an ingenious system of weights, pulleys and a pendulum clock which demonstrated Newton’s laws of motion.
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Title
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Royal Exchange
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Format
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photograph: negative
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Date
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1809
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Description
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Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 67
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Title
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Virgo
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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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Portrait of Tycho Brahe, from Astronomiae Instauratae Mechanica
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Format
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photograph: negative
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Date
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1602
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Description
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The engraved portrait by Jacob de Gheyn first appeared as a frontispiece in Tycho’s Astronomical Letters of 1596 and was later reprinted. It was done in 1586 when Tycho was 40 years old. He is shown wearing the Danish Order of the Elephant.
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Title
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Aquila
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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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Andromeda
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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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Caseopeia
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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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Cygnus
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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 - fig 3 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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Burnet’s “general idea” of the primeval Earth: “Because it pleaseth more, and makes a greater impression on us, to see things represented to the Eye, than to read their description in words, we have ventur’d to give a model of the Primaeval Earth, with its Zones or greater Climates, and the general order and tracts of its Rivers ...”
