Rethinking Sylva Sylvarum: Francis Bacon's Use of Giambattista Della
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Wunderkammer In the 1550s a new kind of collecting emerged among wealthy Europeans as they confronted the explosion of knowledge following the discovery of distant lands and new, basic scientific principles. Emperors, princes, nobles, and merchants assembled paintings, precious objects, scientific instruments, games, and natural wonders to create individualized micro- cosms. In these chambers of wonder (Wunderkammern)—and their smaller counterparts, the cabinets of wonder (Wunderkabinette)—rare and unusual natural specimens co-existed with exquisite artificial pro- ductions and the latest technological inventions. Designed as store- houses of knowledge and instruments for learning, these all-embracing collections also provided occasions for intellectual amusement, med- itation on God’s creation, and the display of wealth and status. Playful and profound, compact yet universal, these singular spaces encouraged visitors to assemble objects into ever-changing configu- rations—like their cyber equivalent, the Internet. Both invite constant visual engagement as the primary mode of interaction. By bringing the exceptional into the world at hand, Wunderkammern accustomed the eye to visual stimulations not unlike those dominating our contemporary life. Leading toward the modern public museum, Wunderkammern inspired the mind to expand the limits of imagination and to be transported beyond the here and now. Little Epiphanies With the invention of the microscope in the early 1600s, viewers could experience sudden insight (epiphanies) into a formerly invisible universe of minute things. The multiple-lens compound microscope, initially produced by Dutch opticians and commercialized about 1660, was the first such instrument. Paradoxically, the single-lens microscope seems to have been invented after the compound microscope. Even though chromatic aberration—caused by the differences in refraction of the colored rays of the spectrum—often blurred and distorted the images, fundamental scientific discoveries were enabled by both types of early microscopes. -
Richard Von Mises's Philosophy of Probability and Mathematics
“A terrible piece of bad metaphysics”? Towards a history of abstraction in nineteenth- and early twentieth-century probability theory, mathematics and logic Lukas M. Verburgt If the true is what is grounded, then the ground is neither true nor false LUDWIG WITTGENSTEIN Whether all grow black, or all grow bright, or all remain grey, it is grey we need, to begin with, because of what it is, and of what it can do, made of bright and black, able to shed the former , or the latter, and be the latter or the former alone. But perhaps I am the prey, on the subject of grey, in the grey, to delusions SAMUEL BECKETT “A terrible piece of bad metaphysics”? Towards a history of abstraction in nineteenth- and early twentieth-century probability theory, mathematics and logic ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie in het openbaar te verdedigen in de Agnietenkapel op donderdag 1 oktober 2015, te 10:00 uur door Lukas Mauve Verburgt geboren te Amersfoort Promotiecommissie Promotor: Prof. dr. ir. G.H. de Vries Universiteit van Amsterdam Overige leden: Prof. dr. M. Fisch Universitat Tel Aviv Dr. C.L. Kwa Universiteit van Amsterdam Dr. F. Russo Universiteit van Amsterdam Prof. dr. M.J.B. Stokhof Universiteit van Amsterdam Prof. dr. A. Vogt Humboldt-Universität zu Berlin Faculteit der Geesteswetenschappen © 2015 Lukas M. Verburgt Graphic design Aad van Dommelen (Witvorm) -
Folke Gernert Fictionalizing Heterodoxy
Folke Gernert Fictionalizing heterodoxy Folke Gernert Fictionalizing heterodoxy Various uses of knowledge in the Spanish world from the Archpriest of Hita to Mateo Alemán ISBN 978-3-11-062872-2 e-ISBN (PDF) 978-3-11-062877-7 e-ISBN (EPUB) 978-3-11-062878-4 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019941632. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Folke Gernert, published by Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents Acknowledgements VII Introduction 1 The Tratado de la divinança by Lope de Barrientos, in the European Context 7 PhysiognomyinPrintand its Readers 20 The Legitimacy of the Partially Occult Sciences, Physiognomyand Chiromancy in the Face of the Inquisition 35 The Precariousness of Knowing the Occult: The Problematic Status of Physiognomy 59 The Physiognomic Knowledge of the Archpriest of Hita 81 The Problematic Competences of the Female Rogue: La LozanaAndaluza and La pícara Justina 100 Predictive Astrology: From King Alcaraz to La Lozana Andaluza 112 Miscellaneous Knowledge, Good and Bad, in aBookofChivalry: the Baldo of 1542 127 The Accumulation of (un)useful Knowledge in the Moralistic Commentaries of the Baldo and the Guzmán de Alfarache 153 Bibliography 173 Index 198 Acknowledgements The essays collected in this book are English translations of previouslypub- lished material. -
Federico Cesi E L'accademia Dei Lincei
GIUSEPPE MONTALENTI Federico Cesi e l’Accademia dei Lincei Con scritti di GIOVANNI CONSO, FRANCESCO GABRIELI GIOVANNI PUGLIESE CARRATELLI Nella sede dell’Istituto Napoli 2006 copertina 2 ISTITUTO ITALIANO PER GLI STUDI FILOSOFICI QUADERNI DEL TRENTENNALE 1975-2005 11 1 2 GIUSEPPE MONTALENTI Federico Cesi e l’Accademia dei Lincei Con scritti di GIOVANNI CONSO, FRANCESCO GABRIELI GIOVANNI PUGLIESE CARRATELLI Nella sede dell’Istituto Napoli 2006 3 A cura di Antonio Gargano, Segretario generale dell’Istituto Italiano per gli Studi Filosofici © Istituto Italiano per gli Studi Filosofici Palazzo Serra di Cassano Napoli - Via Monte di Dio, 14 4 INDICE GIUSEPPE MONTALENTI, Federico Cesi e l’Accademia dei Lincei 7 GIOVANNI CONSO, Indirizzo di saluto al Convegno “La ricerca in Italia” 29 FRANCESCO GABRIELI, L’Istituto Italiano per gli Studi Filosofici e gli studi sulle civiltà orientali 35 FRANCESCO GABRIELI, La mostra delle pubblicazioni dell’Istituto Italiano per gli Studi Filosofici 41 GIOVANNI PUGLIESE CARRATELLI, Libertà di ricerca e di insegnamento e funzione dell’Università di Stato 43 APPENDICE FEDERICO CESI, Del natural desiderio di sapere et Institutione dei Lincei per adempimento di esso 61 5 6 GIUSEPPE MONTALENTI FEDERICO CESI E L’ACCADEMIA DEI LINCEI * Con vivo piacere ho accettato l’onorifico incarico di inaugurare l’edizione napoletana della mostra che l’Accademia Nazionale dei Lincei ha organizzato ed esposto a Roma nelle prestigiose stanze della Farnesina in occasione del quarto centenario della nascita del fondatore dell’Accademia dei Lincei, Federico Cesi. Sono lieto di avere l’occasione di ritrovarmi a prendere la parola in questa città, Napoli, nella quale ho vissuto per piú di venti anni, lavorando sia alla Stazione Zoologica, sia all’Università, alla cattedra di genetica. -
La Magie Naturelle De Giovan Battista Della Porta Donato Verardi
La science et les secrets de la nature à Naples à la Renaissance : la magie naturelle de Giovan Battista Della Porta Donato Verardi To cite this version: Donato Verardi. La science et les secrets de la nature à Naples à la Renaissance : la magie naturelle de Giovan Battista Della Porta. Histoire. Université Paris-Est, 2017. Français. NNT : 2017PESC0091. tel-01938280 HAL Id: tel-01938280 https://tel.archives-ouvertes.fr/tel-01938280 Submitted on 28 Nov 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÀ DI PISA – UNIVERSITÉ PARIS EST (École doctorale Cultures et Sociétés) Dottorato di ricerca in cotutela in / Doctorat de recherche en FILOSOFIA (XXIX Ciclo): Storia della Filosofia / HISTOIRE : Histoire du Moyen Âge DONATO VERARDI La scienza e i segreti della natura a Napoli nel Rinascimento: la magia naturale di Giovan Battista Della Porta Direttori di ricerca/ Directeurs de recherche: Prof. NICOLAS WEILL-PAROT Prof. ALFONSO M. IACONO Componenti della commissione/ Membres du jury: Nicolas Weill-Parot, Roberto Poma, Alfredo Perifano, Stéphane Toussaint, Alfonso M. Iacono, Vittoria Perrone Compagni, Simonetta Bassi, Sandra Plastina 1 Ringraziamenti Al momento di consegnare la presente tesi dottorale sono lieto di ringraziare in primis i miei direttori di ricerca, il professor Nicolas Weill-Parot, che ha seguito costantemente il mio lavoro, e il professor Alfonso M. -
TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. -
Inside the Camera Obscura – Optics and Art Under the Spell of the Projected Image
MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science 2007 PREPRINT 333 Wolfgang Lefèvre (ed.) Inside the Camera Obscura – Optics and Art under the Spell of the Projected Image TABLE OF CONTENTS PART I – INTRODUCING AN INSTRUMENT The Optical Camera Obscura I A Short Exposition Wolfgang Lefèvre 5 The Optical Camera Obscura II Images and Texts Collected and presented by Norma Wenczel 13 Projecting Nature in Early-Modern Europe Michael John Gorman 31 PART II – OPTICS Alhazen’s Optics in Europe: Some Notes on What It Said and What It Did Not Say Abdelhamid I. Sabra 53 Playing with Images in a Dark Room Kepler’s Ludi inside the Camera Obscura Sven Dupré 59 Images: Real and Virtual, Projected and Perceived, from Kepler to Dechales Alan E. Shapiro 75 “Res Aspectabilis Cujus Forma Luminis Beneficio per Foramen Transparet” – Simulachrum, Species, Forma, Imago: What was Transported by Light through the Pinhole? Isabelle Pantin 95 Clair & Distinct. Seventeenth-Century Conceptualizations of the Quality of Images Fokko Jan Dijksterhuis 105 PART III – LENSES AND MIRRORS The Optical Quality of Seventeenth-Century Lenses Giuseppe Molesini 117 The Camera Obscura and the Availibility of Seventeenth Century Optics – Some Notes and an Account of a Test Tiemen Cocquyt 129 Comments on 17th-Century Lenses and Projection Klaus Staubermann 141 PART IV – PAINTING The Camera Obscura as a Model of a New Concept of Mimesis in Seventeenth-Century Painting Carsten Wirth 149 Painting Technique in the Seventeenth Century in Holland and the Possible Use of the Camera Obscura by Vermeer Karin Groen 195 Neutron-Autoradiography of two Paintings by Jan Vermeer in the Gemäldegalerie Berlin Claudia Laurenze-Landsberg 211 Gerrit Dou and the Concave Mirror Philip Steadman 227 Imitation, Optics and Photography Some Gross Hypotheses Martin Kemp 243 List of Contributors 265 PART I INTRODUCING AN INSTRUMENT Figure 1: ‘Woman with a pearl necklace’ by Vermeer van Delft (c.1664). -
The Influence of Renaissance Thought on the Scientific Revolution
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/264443219 The Influence of Renaissance Thought on the Scientific Revolution Conference Paper · March 2010 DOI: 10.13140/2.1.2778.4324 CITATIONS READS 0 1,628 1 author: Marina P. Banchetti Florida Atlantic University 70 PUBLICATIONS 36 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: The Concept of ‘Rational Program’ in Nature from Logoi Spermatikoi to the Double Helix View project The Discovery of the Weak Neutral Current: A Case Study Against the Kuhnian Notion of Incommensurability View project All content following this page was uploaded by Marina P. Banchetti on 15 October 2017. The user has requested enhancement of the downloaded file. [Not for publication – Please do not cite] Lecture sponsored by: The National Library of Medicine and the National Institute of Health THE INFLUENCE OF RENAISSANCE THOUGHT ON THE SCIENTIFIC REVOLUTION Marina P. Banchetti Florida Atlantic University Introduction Throughout the course of the 20th century, the majority of philosophers and historians of science traditionally conceived of the Scientific Revolution as representing a radical break with the cosmological views of the Classical period and the Middle Ages and as representing the victory of reason and open inquiry over faith, mysticism, or dogma. When we examine the history of science more closely, however, we find that this traditional conception of the Scientific Revolution is not faithful to the actual historical phenomenon. When the history of the Scientific Revolution is examined in a more nuanced and complicated manner, we find that, far from being detached from mythical ways of thinking, the developments of both science and medicine were significantly influenced by the hermeticism and magical way of thinking that dominated the intellectual and cultural milieu of Renaissance Italy and other parts of Europe. -
Books, Gold and Elixir: Alchemy and Religious Orders in Early Modern Naples
Books, Gold and Elixir: Alchemy and Religious Orders in Early Modern Naples Lorenza Gianfrancesco School of Humanities, University of Chichester, United Kingdom Department of History and Politics, College Lane, University of Chichester, Chichester, PO19 6PE Email: [email protected] Abstract During the early modern period Naples was a European centre of learning where a number of scholars engaged with alchemy. Variously perceived as a legitimate scientific practice or as a mendacious trick for gullible minds, alchemy engaged Neapolitan scholars in a dispute that involved members of the clergy. In this article I look at convents as research centres mainly engaged with medical alchemy. Specifically, I reconstruct the activity of the Dominican friar Tommaso d'Eremita. Upon his arrival at the Neapolitan convent of Santa Caterina a Formello in 1609, d'Eremita set up a laboratory where he spent years working on alchemical procedures in order to produce an elixir of life for the benefit of all. Beyond this charitable mission, I also argue that members of religious orders in Naples engaged with alchemy for different purposes. In so doing, I discuss the cases of some members of religious orders in Naples who practised chrysopoeia with the aim of producing artificial noble metals. Introduction 1 On 5 February 1640, the Franciscan father Crisanto of Naples “spontaneously appeared before the General Inquisitor.” He alleged that a fellow friar, whom he identified as Pietro, “possessed a powder which he had used many times.”1 That powerful substance, explained the Franciscan friar, “sent Pietro into ecstasy thus leaving him unconscious.” Crisanto also confessed that other friars living in a convent located in the outskirts of Naples “had made use of that ecstatic powder.”2 Although Crisanto did not reveal the powder's composition to the Inquisitor, it is possible that it may have been made from mandrake roots: a powerful drug that was widely used in conventual apothecary shops. -
Robert Leslie Ellis, William Whewell and Kant: the Role of Rev
“A terrible piece of bad metaphysics”? Towards a history of abstraction in nineteenth- and early twentieth-century probability theory, mathematics and logic Lukas M. Verburgt If the true is what is grounded, then the ground is neither true nor false LUDWIG WITTGENSTEIN Whether all grow black, or all grow bright, or all remain grey, it is grey we need, to begin with, because of what it is, and of what it can do, made of bright and black, able to shed the former , or the latter, and be the latter or the former alone. But perhaps I am the prey, on the subject of grey, in the grey, to delusions SAMUEL BECKETT “A terrible piece of bad metaphysics”? Towards a history of abstraction in nineteenth- and early twentieth-century probability theory, mathematics and logic ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie in het openbaar te verdedigen in de Agnietenkapel op donderdag 1 oktober 2015, te 10:00 uur door Lukas Mauve Verburgt geboren te Amersfoort Promotiecommissie Promotor: Prof. dr. ir. G.H. de Vries Universiteit van Amsterdam Overige leden: Prof. dr. M. Fisch Universitat Tel Aviv Dr. C.L. Kwa Universiteit van Amsterdam Dr. F. Russo Universiteit van Amsterdam Prof. dr. M.J.B. Stokhof Universiteit van Amsterdam Prof. dr. A. Vogt Humboldt-Universität zu Berlin Faculteit der Geesteswetenschappen © 2015 Lukas M. Verburgt Graphic design Aad van Dommelen (Witvorm) -
Reexamining the Top of Samuel Van Hoogstraten's London Perspective
Volume 12, Issue 2 (Summer 2020) Seeing Outside the Box: Reexamining the Top of Samuel van Hoogstraten’s London Perspective Box Jun P. Nakamura [email protected] Recommended Citation: Jun P. Nakamura, “Seeing Outside the Box: Reexamining the Top of Samuel van Hoogstraten’s London Perspective Box,” Journal of Historians of Netherlandish Art 12:2 (Summer 2020) DOI: 10.5092/jhna.12.2.3 Available at https://jhna.org/articles/seeing-outside-the-box-reexamining-the-top-of-samuel-van- hoogstratens-london-perspective-box Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 Seeing Outside the Box: Reexamining the Top of Samuel van Hoogstraten’s London Perspective Box Jun P. Nakamura The anamorphosis decorating the top of Samuel van Hoogstraten’s perspective box in London has long puzzled art historians; some prescribe a viewing position at the bottom right of the image, which only corrects some of its distortions, while others have dismissed it as a failed attempt. But rather than being a failure, the anamorphosis instead requires a corrective apparatus to mediate its viewing: either a concave lens or a viewing aperture originally mounted atop the box. This article argues for the necessity of such an apparatus and analyzes its implications in the context of the box’s exterior decoration and ideas expounded in the artist’s writings. -
Contents Pages Vii-X (Corrected)
Contents Opening remarks 1 1. The notion of probability 1.1 A historical sketch 7 The birth of probability 7 The dual character of probability 12 Jakob Bernoulli and direct probability 13 Nikolaus and Daniel Bernoulli 15 Thomas Bayes and inverse probability 17 Probability and social mathematics: Condorcet and Quetelet 18 The rise of contemporary statistics: Galton, Pearson, Fisher 21 The advent of probability in physics 25 1.2 Probability and induction 27 Francis Bacon 28 Induction as ampliative inference 29 Hume’s problem of induction 31 Mill, Herschel, Whewell 34 2. The laws of probability 2.1 The fundamental properties of probability 39 2.2 Bayes’ rule 47 2.3 Kolmogorov’s axiomatization 52 vii viii A PHILOSOPHICAL INTRODUCTION TO PROBABILITY 3. The classical interpretation 3.1 Laplace and the Principle of insufficient reason 57 Determinism 57 The ‘Principle of insufficient reason’ 60 The ‘Rule of succession’ 62 Expectation and certainty 64 3.2 Problems of the classical definition 66 4. The frequency interpretation 4.1 Robert Leslie Ellis 71 4.2 John Venn 74 Probability as limiting frequency 74 Criticism of the rule of succession 77 Probability and belief 78 4.3 Richard von Mises and the theory of ‘collectives’ 81 Von Mises’ approach 81 Collectives 83 Randomness 85 Collective-based probability 87 Applications to science 89 4.4 Hans Reichenbach’s probabilistic epistemology 91 Reichenbach’s frequentism 91 The theory of posits 95 The justification of induction 98 Causality 99 4.5 Ernest Nagel’s ‘truth-frequency’ theory 101 5. The propensity interpretation 5.1 Peirce, the forerunner 105 5.2 Popper’s propensity interpretation 106 Falsificationism 106 The propensity interpretation of probability 109 CONTENTS ix A world of propensities 112 5.3 After Popper 114 Single-case and long-run propensity theories 114 Humphrey’s paradox 118 Propensity as an ingredient of the description of chance phenomena 121 5.4 Digression on chance and randomness 125 Historical remarks 125 Poincaré’s views on chance 126 The riddle of randomness 128 Is chance objective? 132 6.