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Title: Hydra
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: Corona Merionalis
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: 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: Great steel quadrant confined in a square and standing on an azimuth horizon of steel, from Tycho Brahe, Astronomiae Instauratae Mechanica
Format: photograph: negative
Date: 1602

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: Cassini’s heliometer
Format: photograph: print
Date: 1695
Description: The church of San Petronio in Bologna was the site of a solar observatory as early as 1576 when Egnazio Danti, cosmographer to Cosimo I de’ Medici, installed the first meridian line there. Unfortunately it did not fulfill its purpose, which was to provide an accurate date for the spring equinox, thence Easter. In spite of uncertainties about the precise length of the solar year, the Gregorian calendar was promulgated anyway, in 1582. We still use it today. Almost 75 years later, the opportunity arose to reconstruct the meridian. Enter a 29-year-old astronomy professor named Giovanni Domenico Cassini. Cassini increased the height of Danti’s solar peephole—or gnomon hole—to 1000 inches (based on the French foot) or 27.07 meters above the church floor. The length of the meridian line was increased by x2.5 to 66.71 meters, or 1/600,000 of the Earth’s circumference, per Cassini’s calculation. The line had to run on the floor between the aisles and columns of the church on a north-south axis without obstruction. The instrument was tested with great fanfare at the summer solstice of 1655 and proved fully successful. Cassini’s illustrated account of his heliometer was published 40 years later in 1695 with the title La Meridiana del tempio di S. Petronio. The image shown here is taken from a large foldout plate depicting the design and details of installation.

Title: Zodiacal armillary instrument, from Tycho Brahe, Astronomiae Instauratae Mechanica
Format: photograph: negative
Date: 1602

Title: Hand-painted illustration from the autograph album of Johann Jakob Frisch
Format: photograph: negative
Date: 1624
Description: Frisch was a nephew of Johannes Kepler. The album was kept by Frisch while a law student at the University of Tubingen (from 1624 to 1631), where Kepler himself also had studied. Autograph entries are typicaly in Latin, and range from a few lines of verse or prose to elaborate miniature illustrations, comic and serious. Kepler’s autograph is included in the book within a Latin inscription dated 1625.

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: 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