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First Published in 1967. Routledge is an imprint of Taylor & Francis, an informa company.
The Swiss physician and polymath Conrad Gessner (1516-1565) was one of the most prominent scientists of the early modern period and wrote numerous important works. During the last two decades were discovered nearly 400 titles from his private library. They give an interesting insight into his interests and his sources. The present book contains not only an introduction and a catalogue of these books, but also inventories of the lost works as well as the still extant and lost manuscripts possessed by Gessner. They open the door to Gessner's study and to the intellectual world of a fascinating Renaissance scholar.
Explores the development of natural history since the Renaissance and contextualizes current discussions of biodiversity.
The flood of information brought to us by advancing technology is often accompanied by a distressing sense of "information overload," yet this experience is not unique to modern times. In fact, says Ann M. Blair in this intriguing book, the invention of the printing press and the ensuing abundance of books provoked sixteenth- and seventeenth-century European scholars to register complaints very similar to our own. Blair examines methods of information management in ancient and medieval Europe as well as the Islamic world and China, then focuses particular attention on the organization, composition, and reception of Latin reference books in print in early modern Europe. She explores in detail the sophisticated and sometimes idiosyncratic techniques that scholars and readers developed in an era of new technology and exploding information.
Since its invention by Andrea Alciato, the emblem is inextricably connected to the natural world. Alciato and his followers drew massively their inspiration from it. For their information about nature, the emblem authors were greatly indebted to ancient natural history, the medieval bestiaries, and the 15th- and 16th-century proto-emblematics, especially the imprese. The natural world became the main topic of, for instance, Camerarius’s botanical and zoological emblem books, and also of the ‘applied’ emblematics in drawings and decorative arts. Animal emblems are frequently quoted by naturalists (Gesner, Aldrovandi). This interdisciplinary volume aims to address these multiple connections between emblematics and Natural History in the broader perspective of their underlying ideologies – scientific, artistic, literary, political and/or religious. Contributors: Alison Saunders, Anne Rolet, Marisa Bass, Bernhard Schirg, Maren Biederbick, Sabine Kalff, Christian Peters, Frederik Knegtel, Agnes Kusler, Aline Smeesters, Astrid Zenker, Tobias Bulang, Sonja Schreiner, Paul Smith, and Karl Enenkel.
For centuries, some of the most brilliant minds in Europe searched for the rules of nature's game. In a world full of plagues and poisons, many medicines were made from plant extracts and there was a practical need to differentiate between one plant and another. Alongside this was an overwhelming desire to make sense of the natural world. Scholars, aided by the artists who painted the first pictures of plants, set out looking, writing and classifying, but 2,000 years were to pass before any rules became clear. Anna Pavord takes us on an exhilarating and fascinating journey through botanical history, travelling from Athens in the third century BC, through Constantinople and Venice, Padua and Pisa to the present day.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Fantasie; Gestaltungstechnik; Holzschnitt; Motiv; Tier.
How the nature illustrations of a Renaissance polymath reflect his turbulent age This pathbreaking and stunningly illustrated book recovers the intersections between natural history, politics, art, and philosophy in the late sixteenth-century Low Countries. Insect Artifice explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At its center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Marisa Anne Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. Bass reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age.