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Divine Diagrams
This is the first monograph on the painter Paul Lautensack (1477/78-1558) who explained his revelations on God s nature with hundreds of highly sophisticated diagrams that allow us a rare glimpse into the visual world of a Reformation period urban craftsman."
Divine Diagrams
After the Reformation the successful painter Paul Lautensack (1477/78-1558) dedicated himself to spreading revelations on the nature of God. Lautensack was besides Dürer the only German artist who wrote against the iconoclasts, and he believed that he as a painter could explain the images of Revelation better than theologians like Luther. He presented his insights in hundreds of highly sophisticated diagrams that display a wide range of material accessible to an urban craftsman, from the vernacular Bible to calendar illustrations. This study is the first monograph on this extraordinary man, it presents a corpus of his surviving works, analyzes his peculiar theology of the image and locates the elements of his diagrams in the visual world of the Reformation period.
Christianity, Book-Burning and Censorship in Late Antiquity
It is estimated that only a small fraction, less than 1 per cent, of ancient literature has survived to the present day. The role of Christian authorities in the active suppression and destruction of books in Late Antiquity has received surprisingly little sustained consideration by academics. In an approach that presents evidence for the role played by Christian institutions, writers and saints, this book analyses a broad range of literary and legal sources, some of which have hitherto been little studied. Paying special attention to the problem of which genres and book types were likely to be targeted, the author argues that in addition to heretical, magical, astrological and anti-Christia...
Spiritual Alchemy
"This book traces the continued existence of the spiritual alchemy of rebirth in heterodox and specifically Boehmist circles from around 1600 to the early twentieth century. The basic claim of continuity from Boehme to Atwood argued here is not new. A particularly apt expression may be found in F. Sherwood Taylor's The Alchemists of 1949, in which the founding editor of Ambix notes 'the existence of a school of mystical alchemists whose purpose was self-regeneration.' With Boehme as an important early exponent, this 'tendency culminated in 1850' with Atwood's Suggestive Inquiry into the Hermetic Mystery. Taylor's statement, it turns out, could hardly have been more accurate yet has so far lacked the support of a comprehensive presentation. This led Principe and Newman to describe such claims of continuity regarding spiritual alchemy as mere 'conjecture' without 'clear historical evidence.' This book marshals that hitherto elusive evidence, much of it found in obscure manuscript sources, and thus documents the continuity of spiritual alchemy that links the early-modern to the modern era"--
The Throne of the Great Mogul in Dresden
A masterful deciphering of an extraordinary art object, illuminating some of the biggest questions of the eighteenth century The Throne of the Great Mogul (1701–8) is a unique work of European decorative art: an intricate miniature of the court of the Mughal emperor Aurangzeb depicted during the emperor’s birthday celebrations. It was created by the jeweler Johann Melchior Dinglinger in Dresden and purchased by the Saxon prince Augustus the Strong for an enormous sum. Constructed like a theatrical set made of gold, silver, thousands of gemstones, and amazing enamel work, it consists of 164 pieces that together tell a detailed story. Why did Dinglinger invest so much time and effort in ma...
The Image of Restoration Science
This book is about a single image - the frontispiece to Thomas Sprat’s History of the Royal-Society of London (1667). Designed by John Evelyn, and etched by Wenceslaus Hollar, it is arguably the best-known representation of seventeenth-century English science. The use of such plates to celebrate and legitimise the ‘new’ science of the period falls into a tradition that was well-established both in Britain and in Europe more generally, and which has increasingly attract attention from historians. Nevertheless, there are many questions to be asked about it and how it came into being. Was it an original composition by Evelyn, or is it based on earlier exemplars? Can all the scientific ins...
Printing Colour 1400-1700
In Printing Colour 1400–1700, Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art. It unveils a corpus of thousands of individual colour prints from across early modern Europe, proposing art historical, bibliographical, technical and scientific contexts for understanding them and their markets. The twenty-three contributions represent the state of research in this still-emerging field. From the first known attempts in the West until the invention of the approach we still use today (blue-red-yellow-black/‘key’, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.
Visual Cultures of Death in Central Europe
In Visual Cultures of Death in Central Europe, Aleksandra Koutny-Jones explores the emergence of a remarkable cultural preoccupation with death in Poland-Lithuania (1569-1795). Examining why such interests resonated so strongly in the Baroque art of this Commonwealth, she argues that the printing revolution, the impact of the Counter-Reformation, and multiple afflictions suffered by Poland-Lithuania all contributed to a deep cultural concern with mortality. Introducing readers to a range of art, architecture and material culture, this study considers various visual evocations of death including 'Dance of Death' imagery, funerary decorations, coffin portraiture, tomb chapels and religious landscapes. These, Koutny-Jones argues, engaged with wider European cultures of contemplation and commemoration, while also being critically adapted to the specific context of Poland-Lithuania.
Planet Narnia
For over half a century, scholars have laboured to show that C. S. Lewis's famed but apparently disorganised Chronicles of Narnia have an underlying symbolic coherence, pointing to such possible unifying themes as the seven sacraments, the seven deadly sins, and the seven books of Spenser's Faerie Queene. None of these explanations has won general acceptance and the structure of Narnia's symbolism has remained a mystery. Michael Ward has finally solved the enigma. In Planet Narnia he demonstrates that medieval cosmology, a subject which fascinated Lewis throughout his life, provides the imaginative key to the seven novels. Drawing on the whole range of Lewis's writings (including previously ...
Alphanumeric Cosmology From Greek into Arabic
Juan Acevedo embarks on a semantic journey to track the origin and adventures of the Greek term stoicheion, which for at least eighteen centuries, from Pythagoras to Fibonacci, simultaneously meant "element", "letter", and "numeral". Focusing on this triple meaning and on how it was translated and interpreted in Latin, Hebrew, and Arabic - especially in key texts of the Abrahamic faiths- a metaphysical study takes shape. With touches of alchemy and theology, it reveals how a shared fundamental alphanumeric cosmology underlay many basic paradigms of science and faith around the Mediterranean until the advent of the Indo-Arabic numerals broke the "marriage" of letter and numeral. Careful readings of Plato, Philolaos, Nicomachus and Philo, of Genesis and the Sefer Yetsira, of the Qur'an, the Ikhwan al-Safa', and Ibn 'Arabi are all woven together into a synthesis full of implications for many disciplines.
