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Title: Galileo, title page from Discorsi e Dimostrazioni Matematiche (Discourses and Mathematical Demonstrations concerning the Two New Sciences of Mechanics and Local Motions), Leiden, 1638
Format: photograph: negative
Date: 1638
Description: After his condemnation by the Church, Galileo, though under house arrest, devoted himself to what would later be hailed as his greatest scientific work. He drew together in a systematic way his studies of dynamics, from which a whole new science of mechanics would grow. The last of his works to be published during his lifetime, the book was issued in Leiden and widely disseminated. It contained no mention of the Copernican system.

Title: Auriga
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 Blake’s “Jerusalem,” plate 6
Format: photograph: print
Description: Blake’s last great epic poem was engraved by the author on 100 copper plates. In this image, a black specter hovers over the figure of Los (anagram for Sol), who regularly appears in Blake’s mythological pantheon as a smith and a creative force. The Archives’copy is number 43 of a limited facsimile edition of 516 prints by the Trianon Press, 1950. George W. Housner book collection.

Title: Portrait of Galileo from Systema Cosmicum, Augustae Treboc. [Strasbourg], 1635
Format: photograph: negative
Date: 1635
Description: Like the engraving of the three astronomers, the portrait of Galileo has been altered in the Latin edition of his Dialogo. He faces in the opposite direction and his titles are given in Latin. Additionally, some of the ornamental detail in the portrait has been altered to make the overall effect more sober. The engraving is signed Jac. al Heyden.

Title: Engraving designed by Kepler
Format: photograph: negative
Date: 1627
Description: Engraved frontispiece to Kepler’s Rudolphine Tables (Tabulae Rudolphinae) showing the great astronomers (including Kepler) gathered in the temple of Urania. Designed by Kepler himself; engraved by Georg Celer.

Title: Eridanus
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: Triangulum
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: Hercules
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
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: Theatre of Anatomy, Cambridge University
Format: photograph: print
Date: 1815
Description: The Anatomical School at Cambridge University was opened in 1716, although anatomy had been taught since the founding in the 13th century. “The Anatomical School is a building...situated in Queen’s Lane, at the back of Catherine Hall. It contains a large collection of rare and valuable preparations, and is fitted up with a theatre, for the purpose of lectures, which are delivered annually in Lent term by the Professor of Anatomy.” From William Combe, A history of the University of Cambridge : its colleges, halls, and public buildings, v. 2. Published by R. Ackermann. Biology, medicine.

Title: Pavo
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: Gemini
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: Drawing from Life at the Royal Academy, Somerset House
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. I, London 1808 Plate no. 1

Title: Students sledding
Format: photograph: negative
Description: Attributed to: Johann Bussemacher, Etudiants de Cologne, ca 1600.

Title: Greenwich Hospital, The Painted Hall
Format: photograph: negative
Date: 1810
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 97

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: Guild Hall - Examination of a Bankrupt before his Creditors, Court of Kings Bench
Format: photograph: negative
Date: 1808
Description: Ackermann, R., The Microcosm of London, Vol. II, London 1809 Plate no. 41

Title: Portrait of Galileo, from Istoria e Dimostrazioni intorno alle Macchie Solari (History and Demonstration concerning Sunspots), Rome, 1613
Format: photograph: negative
Date: 1613
Description: The portrait first appeared in Galileo’s book on the sunspots and was later reprinted. It shows him at the height of his reputation. On the frame he is referred to as a member of the Lincean Academy and philosopher and mathematician to the Grand Duke of Tuscany (Cosimo II de’ Medici). The two cherubs above hold instruments used and perfected by Galileo for his studies and experiments: on the left, the military compass or sector; and on the right, the telescope.

Title: Kepler - Title page from De stella nova
Format: photograph: negative
Date: 1606