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Title: Title page of Newton’s “Opticks”
Format: photograph: print
Date: 1706
Description: 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.

Title: Revolving azimuth quadrant, from Tycho Brahe, Astronomiae Instauratae Mechanica
Format: photograph: negative
Date: 1602

Title: George Atwood - Atwood’s Machine from A treatise on the Rectilinear Motion and Rotation of Bodies (Cambridge, 1784)
Format: photograph: negative
Date: 1784
Description: 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.

Title: Illustration of water pump
Format: photograph: negative
Date: 1567
Description: From Ceredi, Giuseppe, Tre Discorsi.

Title: Equatorial armillary instrument, from Tycho Brahe, Astronomiae instauratae Mechanica
Format: photograph: negative
Date: 1602

Title: Custom House, from the River Thames
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 29a

Title: Virgo
Format: print: engraving
Date: 1603
Description: 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.

Title: Portrait of Tycho Brahe, from Astronomiae Instauratae Mechanica
Format: photograph: negative
Date: 1602
Description: 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.

Title: British Institution, Pall Mall
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 13

Title: Hospital, Middlesex
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 44

Title: Chemical apparatus in the 17th century
Format: photograph: negative
Date: 1662
Description: From Robert Boyle’s New Experiments Physico-Mechanical.

Title: Aquila
Format: print: engraving
Date: 1603
Description: 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.

Title: Frontispiece from book by Hevelius
Format: photograph: negative
Date: 1673
Description: Frontispiece from Hevelius’ “Machinae Coelestis Pars Prior.” (1673).

Title: Andromeda
Format: print: engraving
Date: 1603
Description: 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.

Title: Caseopeia
Format: print: engraving
Date: 1603
Description: 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.

Title: Cygnus
Format: print: engraving
Date: 1603
Description: 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.

Title: Thomas Burnet - fig 3 to Sacred Theory of the Earth
Format: photograph: negative
Date: 1684
Description: 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 ...”

Title: Perseus
Format: print: engraving
Date: 1603
Description: 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.

Title: William Whiston - fig.9 for A New Theory of the Earth (London, 5th edn., 1737)
Format: photograph: negative
Date: 1737
Description: Whiston’s representation of the solar system, including a prominent 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.”

Title: Guild Hall
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 40