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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: 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: 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: 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: 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

Title: Title page: Benjamin Franklin “Experiments and Observations on Electricity”, 5th ed., London.
Format: photograph: negative
Date: 1774
Description: Supervised by Franklin himself, this is the most accurate 18th century edition of his famous work on electricity. Cast in the form of letters to the English Quaker, Peter Collinson, these letters were presented by Collinson to the Royal Society and published in their Philosophical Transactions. History of Science.

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: William Blake’s “Jerusalem,” plate 26
Format: photograph: print
Description: Blake’s last great epic poem was engraved by the author on 100 copper plates. In this image, Jerusalem in the form of a woman appears as an emanation from the male figure representing Albion, variously intepreted as Great Britain or all of humankind. 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: View of Westminster Hall and Bridge
Format: photograph: negative
Date: 1810
Description: Ackermann, R., The Microcosm of London, Vol. III, London 1809-1810 Plate no. 104

Title: Hevelius with his 140′ telescope
Format: photograph: print
Date: 1673
Description: From Hevelius’ “Machinae Coelestis Pars Prior.” (1673).

Title: Otto von Guericke, “Experimenta Nova...” (New Magdeburg Experiments)
Format: photograph: negative
Date: 1672
Description: Illustration showing experiment of the Magdeburg hemispheres in which horses could not pull apart the vacuum created within the hemispheres. Watson Collection, History of Science.

Title: Thomas Burnet - frontispiece to Sacred Theory of the Earth
Format: photograph: negative
Date: 1684
Description: Thomas Burnet was master of Clare Hall, Cambridge, chaplain to King William, and master of Charterhouse. He was also a contemporary of Isaac Newton, who studied Burnet’s works very closely. His Sacred Theory was composed as “an apology for and exposition of the idea of Providence in an age increasingly dominated by mechanism and scepticism.” It proposed that with respect to the most important biblical events - notably Creation, the Flood, and final conflagration - scripture and mechanical philosophy could be reconciled. Burnet also insisted that the colossal scale of Providential superintendence was appropriate to the degradation of mankind’s moral virtue.