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Title: Royal Cock Pit
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 18

Title: Canis 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: 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: Ursa 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: Title page: “Nova Reperta” (New Discoveries)
Format: photograph: negative
Description: Shows nine new discoveries of the time. The collection consists of twenty plates showing new discoveries, including navigation by compass. Watson Collection, History of Science.

Title: Workhouse, St. James’s Parish
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 96

Title: Galileo, title page from Le Operazione del Compasso Geometrico et Militare (The Operation of the Geometric and Military Compass), Padua, 1606
Format: photograph: negative
Date: 1606
Description: The Compasso was Galileo’s first published book and was printed in Padua, where he had taught mathematics at the University since 1592. Written in the vernacular, the book was directed to a wide audience. It was dedicated to Cosimo II de’ Medici, the Grand Duke of Tuscany, who had been one of Galileo’s students and who would hire him as his philosopher and mathematician a few years later.

Title: Sadlers Wells Theatre
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 69

Title: The Great Hall, Bank of England
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 7

Title: Water spout from Benjamin Franklin “Experiments and Observations on Electricity”, 5th ed., London.
Format: photograph: negative
Date: 1774

Title: Corvus
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 Subscription Room at Brooks’s, St. James’s Steet
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 39

Title: View of the Tower
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 85

Title: Coal Exchange
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 17

Title: William Whiston - fig.1 for A New Theory of the Earth (London, 5th edn., 1737)
Format: photograph: negative
Date: 1737
Description: This figure traces the path of a 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 reponsible 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: Excise Office, Broad St.
Format: photograph: negative
Date: 1810
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 103

Title: Queen’s Palace, St. James’s Park
Format: photograph: negative
Date: 1809
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 65

Title: Kings Bench Prison
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 46