| Description |
1 online resource (337 pages) |
| Series |
Early Modern Catholicism and the Visual Arts ; v. 4 |
|
Early Modern Catholicism and the Visual Arts
|
| Contents |
Cover; Title Page; Copyright Page; Contents; Chapter 1. Introduction: A Cross-Disciplinary Approach to Title Engravings; 1.1 On the conceptual framework: mathematical sciences, legitimization, and visual communication; 1.2 On pictures; 1.3 Approaches to title engravings; 1.4 Concluding remarks -- What of the Scientific Revolution?; Chapter 2. Catholic Biblical Exegesis and the Origins of the Galileo Affair: The Engraved Title Page of Clavius's Opera mathematica (1612); 2.1 The established facts: 1610 to 1616; 2.2 Christoph Clavius S.J. (1538-1612) |
|
2.3 Catholic Biblical Exegesis between the Fourth Session of the Council of Trent in 1546, and 16162.4 Copernican Theory and Catholic Exegesis; 2.5 "Sun, stand thou still": Anti-Copernican Biblical Exegesis and the Engraved Title Page of Clavius' Opera mathematica; 2.6 Implications of the Interpretation; 2.7 Conclusion; Chapter 3. The Dispute over the World Systems: Visualizations in the Copernican Debate of the 17th Century; 3.1 Johannes Kepler and John Wilkins: variations of Brahe's "Quid si sic?" |
|
3.2 Galileo and the reception of the iconography of the Dialogus de systemate of mundi of 16353.3 The Unity of Knowledge: Jesuit Worldviews; 3.3.1 The Unity of Knowledge I: the Frontispiece of Chistopher Scheiner's Rosa ursina (1630); 3.3.2 The Unity of Knowledge II: the Frontispiece of Giovanni Battista Riccioli's Almagestum novum (1651); 3.4 In Conclusion: the world of title pictures, worldviews and symbols; Chapter 4. Visual Patterns of Legitimization: The Mathematical Sciences, War and Trade; 4.1 The mathematical sciences and war; 4.2 The visible context: the mathematical sciences and war |
|
4.3 Visualizing Profit: the mathematical sciences and trade4.4 Conclusion; Chapter 5. The Visual Legitimization of Astronomy during the 16th and 17th Centuries: Atlas, Hercules and Tycho's Nose; 5.1 Johannes Bayer's use of Atlas and Hercules; 5.2 Atlas and Hercules: the story of an encounter; 5.3 Tycho Brahe and the use of images; 5.4 Brahe's legacy: Atlas and Hercules as representatives of the old and the new astronomy; 5.5 Conclusion: newness, power and images; Chapter 6. Picturing the Founders: Inventing a Visual Tradition for Astronomy in the 17th Century |
|
6.1 Tycho Brahe and the invention of a visual tradition for astronomy6.2 One picture and three authors: Nicolaus Mulerius, Adriaan Metius and Philip Lansbergen; 6.3 The heritage in the Netherlands: Andreas Cellarius and Jan Luyts; 6.4 Conclusion: Pictures, migrating titles, traditions and meanings; Chapter 7. Lightheartedly Playing with Pictures: Jesuit Authors' Visual Patronage Strategies; 7.1 Christoph Scheiner, and the art of visual homage; 7.2 Mario Bettini: putting the garden of the mathematical sciences on the 'stage' of title pictures; 7.3 Kaspar Schott: Princes and gardens |
| Notes |
7.4 Francesco Eschinardi: playing with tradition and the usefulness of the 'palle' |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Print version record |
| Subject |
Scientific illustration -- History -- 17th century
|
|
Science -- Europe -- History -- 17th century
|
|
Illustration of books -- Europe -- History -- 17th century
|
|
Illustration of books
|
|
Science
|
|
Scientific illustration
|
|
Europe
|
| Genre/Form |
History
|
| Form |
Electronic book
|
| LC no. |
2010042509 |
| ISBN |
9781945402104 |
|
1945402105 |
|
