Ingenuity in the Making: Matter and Technique in Early Modern Europe PDF
Preview Ingenuity in the Making: Matter and Technique in Early Modern Europe
INGENUITY in the MAKING Ingenuity Making in the Matter and Technique in Early Modern Europe Edited by Richard J. Oosterhoff, José Ramón Marcaida, and Alexander Marr University of Pittsburgh Press Published by the University of Pittsburgh Press, Pittsburgh, Pa., 15260 Copyright © 2021, University of Pittsburgh Press All rights reserved Manufactured in the United States of America Printed on acid- free paper 10 9 8 7 6 5 4 3 2 1 Cataloging-in-Publicaiton data is available from the Library of Congress ISBN 13: 978-0-8229-4688-5 ISBN 10: 0-8229-4688-2 Cover art: Peter Paul Rubens, Vulcan forging the thunderbolts of Jupiter, 1636–1638. Oil on canvas, 182.5 x 99.5 cm. Museo Nacional del Prado, Madrid, Spain © Photographic Archive Museo Nacional del Prado Cover design: Melissa Dias-Mandoly for Carmen, Judah, Luis, Norah, Poppy, Sydney Contents ix Acknowledgments 3 Introduction RichaRd J. OOsteRhOff PART I: THE NATURES OF MATTER 13 1. Spirited Matter and Ingenious Nature: Accounting for Alchemical Change JennifeR M. RaMpling 25 2. Deceiving the Senses: The Role of Vapors in Francis Bacon’s Natural Philosophy dOina- cRistina Rusu 36 3. Robert Boyle’s Restless Gems Michael BycROft 50 4. Handsteine: The Generative Powers of a Mineral Artifact andRés Vélez- pOsada PART II: BODIES, LABOR, AND TECHNIQUE 65 5. Ingenuity, Sweat, and Bloodsour Work in Sixteenth- Century Mining Literature tina asMussen 79 6. Calligraphy and Metamorphosis: Invention and Imitation in a Sixteenth- Century Craft hannah MuRphy 94 7. Ingeniosa peritia: The Languages of Ingenuity in Italian Renaissance Anatomy Viktoria Von Hoffmann 112 8. The Contested Ingenia of Early Modern Anatomy: Continuities and Conflicts in Medical Training at Leiden University, 1592–1678 EVan r. ragland 131 9. From Ingenuity to Genius and Technique: Shifting Concepts in Eighteenth- Century Theories of Art and Craft mariEkE m. a. HEndriksEn COLOR PLATES FOLLOW PAGE 142 PART III: CRAFTY MAKERS ON DISPLAY 145 10. Ingenious Monks and Their Machines: Trickery and Wonder in Sculptures with Movable Parts in Pre- and Reformation-Era Europe CHristina nEilson 156 11. Ingenuity in the Garden: From the Poetics of Grafting to Divine Mathematics dEnis ribouillault 174 12. A Charlatan’s Ingenuity: Juggling, Joking, and Medical Reform in Johann Ernst Burggrav’s Lamp of Life and Death VEra kEllEr 189 13. New World Feathers and the Matter of Early Modern Ingenuity: Digital Microscopes, Period Hands, and Period Eyes stEfan Hanß 203 14. Unpacking Foreign Ingenuity: The German Conquest of Artful Objects with “Indian” Provenance anna grasskamp 219 Notes 313 Bibliography 371 Contributors 377 Index Acknowledgments Late in the editing process of this book, Richard approached José tri- umphantly clutching a promising ingenuity reference— only to dis- cover that he had gotten the reference from José to begin with, years earlier. This captures the ways our worlds have come to overlap during the years of collaboration on this and related works. The rationes seminales of this book were set in a three- day conference of the same title, hosted at Trinity Hall and CRASSH, University of Cambridge, May 10–12, 2017, as part of the project Genius before Romanticism (2014–2019) led by Alex and funded by the European Research Council under the European Union’s Sev- enth Framework Programme (FP7/2007–2013)/ERC grant agreement no. 617391. We are grateful to all of the participants in that conference for their rich contributions. One of the pleasures of this project has been working with such a talented gathering of cutting- edge, up- and- coming scholars. A side effect was that some chapters got hung up as people took new jobs or responded to other exigencies. We wish to thank all the authors for their kindness and endurance as the book took form. Thank you to Puck Fletcher for expert, swift editing of copy at an early stage, and to Judy Loeven later on. The School of Art His- tory at the University of St Andrews, and the School of History, Classics and Archaeology at the University of Edinburgh have generously helped to fund the images featured in this book; we are grateful for their support. We also owe particular thanks to our heroic anonymous reviewers, who managed to return thorough, enthusiastic, and helpful comments at the height of a global pandemic. And we’re grateful to our commissioning editor, Abby Collier, whose patience we have surely stretched. Most of all, we all have depended on the patience and kindness of our fam- ilies during these years. A profound thank you to them.
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