1543 and All That: Image and Word, Change and Continuity in the Proto-Scientific Revolution

408 Pages·2000·8.664 MB·English

by  Guy Freeland (auth.), Guy Freeland, Anthony Corones (eds.)

1543 AND ALL THAT
AUSTRALASIAN STUDIES
IN HISTORY AND PHILOSOPHY OF SCIENCE
VOLUME 13
General Editor:
R. W HOME, University o[ Melboume
Editorial Advisory Board:
W R. ALBURY, University o[ New South Wales
D. W CHAMBERS, Deakin University
S. GAUKROGER, University o[ Sydney
H. E. LEG RAND, University o[ Melboume
A. MUSGRAVE, University o[Otago
G. C. NERLICH, University o[ Adelaide
D. R. OLDROYD, University o[ New South Wales
E. RICHARDS, University o[ Wollongong
J. SCHUSTER, University o[ Wollongong
R. YEO, Griffith University
The titles published in this series are listed at the end o[ this volurne.
D E H VMA NI CORPO R 15 FAll RIC,," L 10 ER I I. '117
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Frontispiece. Andreas Vesalius, Sixth Plate of the Muscles, woodcut, designed by lan
Steven van Kalkar, from De humani corporis fabrica (Basel, 1543).
1543 AND ALL TRAT
Image and Word, Change and Continuity
in the Proto-Scientific Revolution
Edited by
GUY FREELAND
ANTHONY CORONES
School of Science and Technology Studies,
The University of New South Wales
Springer-Science+Business Media, B.Y.
Library of Congress Cataloging-in-Publication data is available.
ISBN 978-90-481-5302-2 ISBN 978-94-015-9478-3 (eBook)
DOI 10.1007/978-94-015-9478-3
Printed on acid-free paper
All Rights Reserved
© 2000 by Springer Science+Business Media Dordrecht
Originally published by Kluwer Academic Publishers in 2000.
Softcover reprint ofthe hardcover 1st edition 2000
No part of this publication may be reproduced or
utilized in any form or by any means, electronic, mechanical,
including photocopying, recording or by any information storage and
retrieval system, without written permission from the copyright owner.
TABLE OF CONTENTS
FOREWORD ................................................. IX
LIST OF ILLUSTRATIONS ..................................... xi
ACKNOWLEDGEMENTS ...................................... xv
GUY FREELAND / Introduction: In Praise of Toothing-Stones ......... 1
MARTIN KEMP / Vision and Visualisation in the Illustration
of Anatomy and Astronomy from Leonardo to Galileo .............. 17
lAMES FRANKLIN / Diagrammatic Reasoning and Modelling in the
Imagination: The Secret Weapons of the Scientific Revolution ........ 53
lOHN SUITON / Body, Mind, and Order: Local Memory and the
Control of Mental Representations in Medieval and Renaissance
Sciences of Self ............................................ 117
lAMIE C. KASSLER / On the Stretch: Hobbes, Mechanics and
the Shaking Palsy ........................................... 151
GUY FREELAND / The Lamp in the Temple: Copernicus and the
Demise of a Medieval Ecclesiastical Cosmology .................. 189
ANTHONY CORONES / Copernicus, Printing and the Politics
of Knowledge .............................................. 271
NEIL THOMASON / 1543-The Year that Copernicus Didn't Predict
the Phases of Venus ......................................... 291
KEITH HUTCHISON / The Natural, the Supernatural, and the Occult
in the Scholastic Universe .................................... 333
KIRSTEN BIRKETT / Early English Reformers and Magical Healing .. 357
BARRY BRUNDELL / Bellarmine to Foscarini on Copernicanism:
A Theologian's Response .................................... 375
NOTES ON CONTRIBUTORS ................................ 395
INDEX OF NAMES .......................................... 399
FOREWORD
Australia and New Zealand boast an active community of scholars working in
the field of history, philosophy and social studies of science. Australasian Studies
in History and Philosophy of Seien ce aims to provide a distinctive publication
outlet for their work. Each volume comprises a group of essays on a connected
theme, edited by an Australian or a New Zealander with special expertise in
that particular area. In each volume, a majority of the contributors is from
Australia or New Zealand. Contributions from elsewhere are by no means
ruled out, however, and are indeed actively encouraged wherever appropriate
to the balance of the volume in question. Earlier volumes in the series have
been welcomed for significantly advancing the discussion of the topics they
have dealt with. I believe that the present volume will be greeted equally
enthusiastically by readers in many parts of the world.
R. W Horne
General Editor
Australasian Studies in History
and Philosophy of Science
ix
LIST OF ILLUSTRATIONS
Frontispiece. Andreas Vesalius, Sixth Plate ofthe Muscles, woodcut, designed by Jan Steven van
Kalkar, from De humani corporis fabrica (Basel, 1543). (Photo. Scientific Illustration; repr. by
kind permission of the University of New South Wales Library.)
In: GUY FREELAND, 'Introduction: In Praise of Toothing-Stones'
Fig.1. Michael Esson, Vesalian Interpretation 3 (1992). (Repr. by kind permission ofthe Artist.)
Fig. 2. Reliefs, University of Padua.
In: MARTIN KEMP, 'Vision and Visualisation in the Illustration ofA natomy andAstronomy [rom
Leonardo to Galileo'
Fig. 1. Leonardo da Vinci, Study of the Foetus and the Womb, with Optical and Mechanical
Diagrams. (Windsor, Royal Library, 19102, repr. by kind permission of Her Majesty the Queen.)
Fig. 2. Hans Wächtlin, Dissection of the Brain, Thorax and Abdomen, woodcut, 1517, from L.
Fries, Spiegel der Artzny (Strasbourg, 1518).
Fig. 3. Berengario da Carpi, Muscle-Man with Rope, woodcut (by Ugo da Carpi?), from
Commentaria super anatomia Mundini (Bologna, 1521).
Fig. 4. Charles Estienne, Dissection of the Abdomen of a Woman, woodcut, from La dissection
des parties du corps humain (Paris, 1546).
Fig. 5. Andreas Vesalius, Tools for Dissection, woodcut, designed by Jan Steven van Kalkar,
from De humani corporis fabrica (Basel, 1543).
Fig. 6. Andreas Vesalius, Skeleton [rom the Side, woodcut, designed by Jan Steven van Kalkar,
from De human i corporis fabrica (Basel, 1543).
Fig.7. Andreas Vesalius, Demonstration of a Hinge, woodcut, from De humani corporis fabrica
(Basel, 1543).
Fig. 8. Andreas Vesalius, Muscles of the Upper and Forearm and Tendons of the Wrist, woodcut,
designed by Jan Steven van Kalkar, from De humani corporis fabrica (Basel, 1543).
Fig. 9. Bartolommeo Eustachio, Superficial Disseetion 01 the Muscles [rom the Front, engraving
with annotations in ink, from Tabulae anatomicae (Rome, 1722). (Repr. by kind permission of
the Library, University of St Andrews.)
Fig. 10. Petrus Apianus, Chorography Compared to Pictures of the Eye and Ear, from
Astronomicum caesareum (Ingolstadt, 1540).
Fig. 11. Nicholas Copernicus, Diagram of the Orbits of the Earth and Planets, woodcut with
underlining in pen, and paste marks, from De revolutionibus orbium coelestium (Nuremberg,
1543). (Repr. by kind permission of the Library, University of St Andrews.)
Fig. 12. Nicholas Copernicus, Diagram of the Motions of the Pole around a Mean Position,
woodcut, from De revolutionibus orbium coelestium (Nuremberg, 1543).
Fig. 13. Petrus Apianus, Torquetum, woodcut, from Cosmographicus liber (Landshut, 1524).
Fig. 14. Tycho Brahe, Mural Quadrant or Tychonicus, engraving from Astronomiae instauratae
mechanica (Wandesburg, 1598).
Fig. 15. Tycho Brahe, Lesser Quadrant, engraving from Astronomiae instauratae mechanica
(Wandesburg, 1598).
xi
Xli LIST OF ILLUSTRATIONS
Fig. 16. Tycho Brahe, Elevation and Plan of the Palace of Uraniborg on the Island of Hven,
engraving from Astronomiae instauratae mechanica (Wandesburg, 1598).
Fig. 17. Johannes Kepler, Temple of the Astronomers, from Tabulae Rudolphinae (Ulm, 1627).
Fig. 18. Johannes Kepler, Demonstration of the Orbits of the Planets, from Mysterium
cosmographicum (Tübingen, 1596).
Fig. 19. Johannes Kepler, Demonstration of an Orbit by Analogy to a Boat in a Stream, from
Astronomia nova (Heidelberg, 1609).
In: JAMES FRANKLIN, 'Diagrammatic Reasoning and Modelling in the Imagination: The Secret
fJeapons of the Scientific Revolution'
Fig.1. Villard's Wheel ofFortune, from T. Bowie (ed.), The Sketchbook ofViliard de Honnecourt
(Bloomington, Ind., 1959). (Repr. by kind permission of Indiana University Press.)
Fig. 2. Apuleius' Square of Opposition.
Fig. 3. Classification ofp ictures.
Fig. 4. Pacioli's Classification of Ratios. EB. Geijsbeek, Ancient Double-Entry Bookkeeping
(Denver, Colorado, 1914, repr. Osaka, 1975). (Repr. by kind permission of Nihon Shoseki Ltd.)
Fig. 5. Stevin 's Wreath of Spheres, from S. Stevin, De beghinselen der weeghconst (Leiden, 1586).
Fig. 6. Euclid I.l.
Fig.7. Euclid XI.3I, from The 'Heiberg' Manuscript.
Fig. 8. Duccio's 'Perspective'.
Fig. 9. Table of developments.
In: JAMIE C. KASSLER, 'On the Stretch: Hobbes, Mechanics and the Shaking Palsy'
Fig. 1. Bass viol, from M. Mersenne, Harmonie universelle (Paris, 163617).
In: GUY FREELAND, 'The Lamp in the Temple: Copemicus and the Demise of a Medieval
Ecclesiastical Cosmology'
Fig. 1. Ground plan of San Marco, Venice. Adapted from plan in Opera di San Marco, in O.
Demus, The Mosaic Decoration of San Marco, Venice (Washington, DC, ©1988, Dumbarton
Oaks). (Repr. by kind permission of Dumbarton Oaks.)
Fig. 2. Christ in Majesty. Apse of St Michael and All Angels, Copford, Essex. (Repr. by kind
permission of the Rector and Churchwardens of St Michael and All Angels Church, Copford).
Fig. 3. Christos Helios, based on the mosaic in the Chapel of the Fisherman, grottoes of St
Peter's, Rome. (Drawing by J. Weiner.)
Fig. 4. Cimabue and others, Christ Pantocrator, based on the mosaic in the apse of Pisa
Cathedral. (Drawing by J. Weiner.)
Fig.5. Halffigure Pantocrator, based on the apse mosaic of Cefalu Cathedral, Sicily. (Drawing
by J. Weiner.)
Fig.6. Theotokos and Child, based on the apse mosaic of Hosios Lucas, Phocis. (Drawing by J.
Weiner.)