Minggu, 14 November 2010

Celestial Mechanics

The images below are cropped and cleaned up somewhat from a newly digitised hand-written manuscript, online at Harvard University's Houghton Library: [MS Typ 57] 'La Sphere du Monde..', 1549, by Oronce Fine.




Le sphere du monde by Oronce Fine, 1549 a
Geocentric (Ptolemaic) model of the universe



Le sphere du monde by Oronce Fine, 1549 b



Le sphere du monde by Oronce Fine, 1549 c
The interaction between the four classical (Hellenic) elements
and their properties : earth fire air water -- hot dry cold wet



Le sphere du monde by Oronce Fine, 1549 d



Le sphere du monde by Oronce Fine, 1549 e
Compass rose with compass points



Le sphere du monde by Oronce Fine, 1549 fMeridians and circles of latitude



Le sphere du monde by Oronce Fine, 1549 gThis is a global map projection: attempting to render spherical surface
in a 2-dimensional plane (the last image below shows Fine's
most famous world map in cordiform -- heart-shaped -- projection)



Le sphere du monde by Oronce Fine, 1549 h



Le sphere du monde by Oronce Fine, 1549 i



Le sphere du monde by Oronce Fine, 1549 j



Fine, Oronce, 1494-1555. Le sphere du monde



Le sphere de monde by Oronce Fine, 1549 nAstrological calendar



Le sphere du monde by Oronce Fine, 1549 m



Le sphere de monde by Oronce Fine, 1549 k Sundial designs



Oronce Fine (or Orance Finé) (1494-1555) was a third generation physician from France. He was also a teacher and prolific author in the fields of mathematics, geography, cartography and astronomy and he held the chair in mathematics at the Collège Royal in Paris for more than twenty years.
"Fine was a quintessential polymath, equally at home in the workshop as in the study. Not only did he make and sell his own instruments, he also designed
maps, prepared the illustrations for his many books, and worked as an editor and
overseer in Paris’s bustling printing houses."1
Fine's prodigious output allowed for errors to appear in his published works however, and it was wildly exaggerated claims - for instance, he claimed to have squared the circle in myriad ways - that attracted contemporary criticism of his intellectual powers.

Until recently1, Fine's achievements in the history of scientific enquiry have been judged closer to footnote status than significant offerings. It has long been held that Fine was a mere populariser of scientific tenets outlined by his own teachers and predecessors and that he had made few, if any, original contributions to scientific thought. But a more sympathetic view of Fine has emerged with a re-evaluation of the leading role he played in elevating mathematics, in particular, to a position of high intellectual merit in Renaissance-era France.

Given his energetic pursuit of both theoretical and practical disciplines, Fine was uniquely placed to attract serious attention from royalty and nobility whose patronage was obviously important in advancing 17th century French scientific pursuits. Fine also published, or contributed towards the publication of, more than seventy books, in Latin, that were widely read in his own country and also throughout much of the Holy Roman Empire.
"Fine was much more representative of the mathematical culture of the period than the extraordinary figures who have tended to monopolise historians’ attention. Arguably, indeed, he did much more to shape the nature of that culture than many of those who are now more famous than him." [A Mosley]1
The current manuscript, dedicated to Henri II, from which the images above were drawn, is simply one example of Oronce Fine's diverse interests. The illustrations, in addition to the text, were produced by Fine himself. It was published in book form in the early 1550s but breaks no particular new ground and simply recycles ideas proposed by Aristotle, Ptolemy and Sacrobosco*.



16th century world map - mappa mundi / terra australis
'Mappemonde Cordiforme d'Oronce Fine' {about 1534}
[this map is not in Fine's astronomy manuscript]

{Fine was noted for his cordiform or heart-shaped maps of the world. Another of his heart-shaped maps included the mysterious Terra Australis land mass - albeit joined to Antarctica - for the first time: LINK}
"Oronce Fine was one of the rare French geographers in the Renaissance to prepare maps of the world. This map is bordered with a handsome Renaissance decoration: two columns support a pediment bearing a Latin inscription signifying "A new and complete description of the world," interrupted in the middle by a coat of arms of France. Also to be noted is a vast southern land mass (Terra Australis), recently discovered but not yet explored." [source]

Senin, 08 November 2010

Mollusca

Octopus ornatus



Octopus furvus



Octopus mimus (detail)




Octopus megalocyathus



Octopus tetricus




Onychoteuthis rutilus



These illustrations are details taken from plates out of 'Molluscs and Shells' (1852-1856) at Botanicus by conchologist, malacologist and physician, Augustus Addison Gould. The book was part of a multi-volume series resulting from the United States Exploring Expedition of 1838-1842.

There can never be too many cephalopods.

Addit: Oops, forgot to say, previously: CEPHALOPODA

Mollusca

Octopus ornatus



Octopus furvus



Octopus mimus (detail)




Octopus megalocyathus



Octopus tetricus




Onychoteuthis rutilus



These illustrations are details taken from plates out of 'Molluscs and Shells' (1852-1856) at Botanicus by conchologist, malacologist and physician, Augustus Addison Gould. The book was part of a multi-volume series resulting from the United States Exploring Expedition of 1838-1842.

There can never be too many cephalopods.

Addit: Oops, forgot to say, previously: CEPHALOPODA

Kamis, 04 November 2010

Architectura Regia

Architectura Regia (Boars, lion + bear)



Architectura Regia (Bull)



Architectura Regia (Pegasus)



Architectura Regia (Lions + dragon)



Architectura Regia (America)



Architectura Regia (building)



Architectura Regia (building) a



Architectura Regia (building) b



Architectura Regia (Goats + lion)



Architectura Regia (Elephant)



Architectura Regia (Bear + camel)



Architectura Regia (stairs)



Architectura Regia (building) c



Architectura Regia (frontispiece - titlepage)



'Architectura Regia' is a 2-volume ink and ink wash manuscript in Latin produced in 1683 by Frederik Coenders van Helpen and available online at the Bavarian State Library in Munich.

All of the images above were spliced together, -- 'best fit' from varying magnifications -- cropped and (mostly) extensively background cleaned from single manuscript page images.

'Architectura Regia' is a treatise on the five classical orders of architecture : Ionic, Doric, Corinthian (Greek); Tuscan and Mixed (Roman) --
"Each style has its proper entablature, consisting of architrave, frieze and cornice." [W]
-- the dominating features seen in the images above. These are accompanied by heroic, mythological and even New World figures drawn within the arches of the architectural order sketches.

Van Helpen was an important government official from Groeningen in Holland who was well-travelled in Europe. From the scant information around online, it appears he was a cartographer and draughtsman by trade. As he died in 1618(?), this 1683 manuscript is presumably a copy or expansion of van Helpen's original work. (I remain confused about this {addit: see comments below}, as I also am about whether the online manuscript is actually a combination of both treatises or simply the first volume.). The manuscript is dedicated to Louis XIV, the Sun King, as seen in that final image above.

Manuscript catalogue pages: One [T] & Two [T]. {note: the majority of illustrations are found in the last 100 of the 500 web pages of manuscript images}

Previously in general: Architecture from the delicious bookmarks for BibliOdyssey, where classifying tags and post summaries can be found for all 1000+ entries on this site.

Architectura Regia

Architectura Regia (Boars, lion + bear)



Architectura Regia (Bull)



Architectura Regia (Pegasus)



Architectura Regia (Lions + dragon)



Architectura Regia (America)



Architectura Regia (building)



Architectura Regia (building) a



Architectura Regia (building) b



Architectura Regia (Goats + lion)



Architectura Regia (Elephant)



Architectura Regia (Bear + camel)



Architectura Regia (stairs)



Architectura Regia (building) c



Architectura Regia (frontispiece - titlepage)



'Architectura Regia' is a 2-volume ink and ink wash manuscript in Latin produced in 1683 by Frederik Coenders van Helpen and available online at the Bavarian State Library in Munich.

All of the images above were spliced together, -- 'best fit' from varying magnifications -- cropped and (mostly) extensively background cleaned from single manuscript page images.

'Architectura Regia' is a treatise on the five classical orders of architecture : Ionic, Doric, Corinthian (Greek); Tuscan and Mixed (Roman) --
"Each style has its proper entablature, consisting of architrave, frieze and cornice." [W]
-- the dominating features seen in the images above. These are accompanied by heroic, mythological and even New World figures drawn within the arches of the architectural order sketches.

Van Helpen was an important government official from Groeningen in Holland who was well-travelled in Europe. From the scant information around online, it appears he was a cartographer and draughtsman by trade. As he died in 1618(?), this 1683 manuscript is presumably a copy or expansion of van Helpen's original work. (I remain confused about this {addit: see comments below}, as I also am about whether the online manuscript is actually a combination of both treatises or simply the first volume.). The manuscript is dedicated to Louis XIV, the Sun King, as seen in that final image above.

Manuscript catalogue pages: One [T] & Two [T]. {note: the majority of illustrations are found in the last 100 of the 500 web pages of manuscript images}

Previously in general: Architecture from the delicious bookmarks for BibliOdyssey, where classifying tags and post summaries can be found for all 1000+ entries on this site.

Selasa, 26 Oktober 2010

Cranach's Saxon Nobility

Saxony lineage



Saxony lineage p



Saxony lineage i



Saxony lineage l



Saxony lineage k



Saxony lineage c



Saxony lineage f



Saxony lineage o


[all of these images have been background cleaned to one degree or another and the
colour saturation has been slightly boosted -- click through to see much larger versions]


'Das Sächsische Stammbuch' [subtitled as:] 'Sammlung von Bildnissen sächsischer Fürsten, mit gereimtem Text; aus der Zeit von 1500 - 1546' is available online from the State University Library in Dresden (click the book icon for thumbnail pages).

The Saxon pedigree book OR Collection of Saxon Prince portraits with rhyming verse from 1500 to 1546, contains sketches of some two hundred members of he nobility from the German state of Saxony, accompanied by the family or town crests and a snatch of descriptive text.

This is a significant manuscript for a couple of reasons. The charming sketches often present the people in informal poses, as though they are chatting with their friends. That lends the work a certain authenticity: it's more likely that the subjects have been drawn faithfully as opposed to the work being overly embellished to curry favour with the royal court for instance. So beyond tracking the nobility of the period, the sketch album offers a useful resource for historical costume research and particularly so because the figures are presented in full, half and three-quarter views.

What really marks this portrait and coats of arms series as a work of considerable distinction, however, is the belief that the figures were painted by none other than Lucas Cranach the Elder (d. 1553). Along with Albrecht Dürer, Hans Burgkmair, Albrecht Altdorfer and Hans Holbein, Cranach was one of the great German artists of the northern Renaissance during the first half of the 16th century.
"He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm, becoming a close friend of Martin Luther. He also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion." [W]