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Title: Cancer
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: Leo
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: Pscis Notius
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: Heralds College, The Hall
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 43

Title: Vauxhall Garden
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 88

Title: Sagittarius
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: The Hall, Blue Coat School
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 10

Title: Crater
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: Freemasons Hall, Great Queen Street
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 38

Title: Watch House
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 91

Title: Antoni van Leeuwenhoek (1632-1723)
Format: photograph: negative
Date: 1684
Description: Portrait from volume two of his four-volume Werken, published in 1689. Leeuwenhoek was the son of a middle-class shopkeeper in Delft, Netherlands. He began his professional life as a cloth merchant and then served in several civil service posts in Delft. As the Court Surveyor of Holland, he acquired an interest in lens grinding and fashioned his first microscope in 1671. He communicated his observations to other scientific practitioners in letters written in Dutch that were later collected together and published in four volumes

Title: Hevelius and wife--illustration
Format: photograph: negative
Date: 1673
Description: Hevelius and wife observing at sextant from Hevelius’ “Machinae Coelestis Pars Prior.” (1673).

Title: Galileo, table of observations of the Medicean Planets, from Istoria e Dimostrazioni intorno alle Macchie Solari (History and Demonstration concerning Sunspots), Rome, 1613
Format: photograph: print
Date: 1613
Description: The Medicean Planets was the name given to the moons of Jupiter which Galileo discovered with his telescope in 1610. This table of observations was made during the months of April and March, 1613, and is a daily record of the positions of the moons relative to Jupiter.

Title: Fleet Prison
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 36

Title: Mounting Guard, St. James’s Park
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 56

Title: Water Engine, Cold-Bath-Field’s Prison
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 19

Title: Oculus Enoch et Eliae, sive Radius Sideromysticus pars Prima
Format: photograph: negative
Date: 1645
Description: Anton Maria Schyrleus (1597-1660) was a Capuchin priest and professor, who worked in Bohemia, Trier and Ravenna. His astronomical work was completed in the low countries in the 1640s, and resulted in this rather unusual work -- a richly illustrated example of baroque natural philosophy. The Oculus might be considered a mystical work, reflecting the harmonies of an earth-centered, Tychonic cosmos in scriptural terms. The illustrations give a vivid impression of its combination of technical astronomy and mechanics with rich symbolism.

Title: Oculus Enoch et Eliae, sive Radius Sideromysticus pars Prima
Format: photograph: negative
Date: 1645
Description: Anton Maria Schyrleus (1597-1660) was a Capuchin priest and professor, who worked in Bohemia, Trier and Ravenna. His astronomical work was completed in the low countries in the 1640s, and resulted in this rather unusual work -- a richly illustrated example of baroque natural philosophy. The Oculus might be considered a mystical work, reflecting the harmonies of an earth-centered, Tychonic cosmos in scriptural terms. The illustrations give a vivid impression of its combination of technical astronomy and mechanics with rich symbolism.

Title: Equus Minor
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: New Covent Garden Theatre
Format: photograph: negative
Date: 1810
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 100