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Title: Plan of the Uraniborg observatory and premises, from Tycho Brahe, Astronomiae Instauratae Mechanica
Format: photograph: negative
Date: 1602

Title: Great azimuth semicircle, from Tycho Brahe, Astronomiae Instauratae Mechanica
Format: photograph: negative
Date: 1602

Title: Galileo, the moon from Sidereus Nuncius (The Sidereal Messenger), Venice, 1610
Format: photograph: negative
Date: 1610
Description: An engraved illustration of features of the moon’s surface, as seen by Galileo with his telescope. He was able to describe the roughness of the moon’s surface and the position of spots and prominences on the light and dark sides.

Title: Heliocentric model of the universe
Format: photograph: negative
Date: 1543
Description: From Copernicus, “De Re. . .”, 1st ed. (pg. 10)

Title: Ant eggs and larvae
Format: photograph: negative
Date: 1684
Description: From Antoni van Leeuwenhoek’s Werken (vol. 2)

Title: Sagitta
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: 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: Galileo, title page from Dialogo...sopra i due Massimi Sistemi del Mondo, Tolemaico, e Copernicano (Dialogue concerning the Two Chief World Systems, the Ptolemaic and the Copernican), Florence, 1632
Format: photograph: negative
Date: 1632
Description: Galileo’s intent with this book was to present the two world systems, the Ptolemaic and the Copernican, in easy to understand, dialogue form. His optimism concerning the acceptance of the Copernican system was misplaced; one year later he was brought to trial and forced to abjure his ideas.

Title: Somerset House, Strand
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 73

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: The Mint
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 55

Title: Hamilton, Sir William, “Campi Phlegraei: Observations on the Volcanos of the Two Sicilies”, plate 37.
Format: photograph: negative
Date: 1779
Description: One of 54 plates by Peter Fabris illustrating volcanis activity in the region of Naples. Sir William Hamilton was at this time royal envoy to the Count of Naples and pubished his investigations of volcanos for the Royal Society.

Title: Chelsea Hospital
Format: photograph: negative
Date: 1810
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 98

Title: Kepler - “Ordo sphaerarum mundi”, from Mysterium cosmographicum
Format: photograph: negative
Date: 1596

Title: Fire in London
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 35

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: St. Stephen’s, Walbrook
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 90

Title: Galileo, the Pleiades from Sidereus Nuncius (The Sidereal Messenger), Venice, 1610
Format: photograph: negative
Date: 1610
Description: The observation of the Pleiades and of the previously invisible stars nearby was made possible by Galileo’s new telescope, presented to the scholars of Venice during the summer of 1609. In his published illustration of 1610 he outlined the stars that were already known and represented the others by single lines. He also tried to preserve the distinction in size.

Title: Lyra
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: Cepheus
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.