Category Archives: Renaissance Science

Renaissance Science – XXI

One of the products of the Republic of Letters during the Humanist Renaissance was the beginning or the foundation of the modern European library. Naturally they didn’t invent libraries; the concept of the library goes back quite a long way into antiquity. To a great extent, libraries are a natural consequence of the invention of writing. When you have writing, then you have written documents. If you preserve those written documents then at some point you have a collection of written documents and when that collection becomes big enough, then you start to think about storage, sorting, classification, listing, cataloguing and you have created an archive or a library. I’m not going try and sort out the difference between an archive and a library and will from now on only use the term library, meaning a collection of books, without answering the question, what constitutes a book?

The oldest know libraries are the collections of clay tablets found in the temples of Sumer, some of which date back to the middle of the third millennium BCE. There were probably parallel developments in ancient Egypt but as papyrus doesn’t survive as well as clay tablets there is less surviving evidence for early Egyptian libraries. There is evidence of a library in the Sumerian city of Nippur around two thousand BCE and a library with a classification system in the Assyrian city of Nineveh around seven hundred BCE. The Library of Ashurbanipal in Nineveh contained more than thirty thousand clay tablets containing literary, religious, administrative, and scientific works. Other ancient cultures such as China and India also developed early libraries.

Library of Ashurbanipal Mesopotamia 1500-539 BC Gallery, British Museum, Source: Wikimedia Commons

The most well-known ancient library is the legendary Library of Alexandria, which is clouded in layers of myth. The library was part of the of the Mouseion, a large research institute, which was probably conceived by Ptolemy I Soter (c. 367–282 BCE) but first realised by his son Ptolemy II Philadelphus (309–246 BCE). Contrary to popular myth it was neither destroyed by Christian zealots nor by Muslim ones but suffered a steady decline over a number of centuries. For the full story read Tim O’Neill’s excellent blog post on the subject, which also deals with a number of the other myths. As Tim points out, Alexandria was by no means the only large library during this period, its biggest rival being the Library of Pergamum founded around the third century BCE. The Persian Empire is known to have had large libraries as did the Roman Empire.

Artistic rendering of the Library of Alexandria, based on some archaeological evidence Source: Wikimedia Commons

With the gradual decline of the Western Roman Empire, libraries disappeared out of Europe but continued to thrive in the Eastern Empire, the future Byzantium. The Islamic Empire became the major inheritor of the early written records of ancient Greece, Egypt, Persia, and Rome creating in turn their own libraries throughout their territories. These libraries became to source of the twelfth century translation movement, also known as the scientific renaissance, when those books first began to re-enter medieval Europe. 

During the Early Middle Ages, the only libraries still in existence in what had been the Western Roman Empire were those that existed in the Christian monasteries. Here we must once again dispose of two connected myths. The first more general one is the widespread myth that Christians deliberately destroyed pagan literature i.e., the texts of the Greeks and Romans. In fact, as Tim O’Neill points out in another excellent blog post, we have Christians to thank for those texts that did survive the general collapse of an urban civilisation. The second, closely related myth, spread by the “the Church is and always was anti-science brigade”, is that the Church deliberately abandoned Greek science because it was ant-Christian. Once again as Stephen McCluskey has documented in his excellent, Astronomies and Cultures in Early Medieval Europe, (CUP; 1998) it was the monasteries that keep the flame of the mathematical science burning during this period even if only on a low flame.

The manuscript collections of the medieval libraries were very small in comparison to the great Greek libraries such as Alexandria and Pergamum or the many public libraries of Rome, numbering in the best cases in the hundreds but often only in the tens. However, the guardians of these precious written documents did everything in their power to keep the books safe and in good condition and also endeavouring to acquire new manuscripts by copying those from other monastery libraries, often undertaking very arduous journeys to do so. 

Chained library in Hereford Cathedral Most of the books in the collection date to about 1100. Source: Wikimedia Commons

Things began to improve in the twelfth century with the scientific renaissance and the translation movement, which coincided with the founding of the European universities. The number of works available in manuscript increased substantially but they still had to be copied time and again to gradually spread throughout Europe. Like the monasteries the universities also began to collect books and to establish libraries but if we look at the figures for Cambridge University founded in 1209. The university library has its roots in the beginning of the fifteenth century, there would have been earlier individual college libraries earlier. The earliest surviving catalogue from c. 1424 list 122 volumes in the library. By 1473 a second catalogue lists 330 volumes. It is first in the sixteenth century that things really take off and the library begins to grow substantially. The equally famous Oxford University Bodleian Library was first founded in 1600 by the humanist scholar Thomas Bodley in 1600, replacing the earlier university library from 1444, which had been stripped and dissipated during the Reformation. 

Thomas Bodley Artist unknown Source: Wikimedia Commons 

We have of course now reached the Humanist Renaissance and it is here that the roots of the modern library were laid. The Humanist Renaissance was all about written texts. The humanists read texts, analysed the content of texts, annotated texts, translated texts, and applied philological analysis to texts to correct and/or eliminate errors introduced into texts by repeated copying and translations. The text was everything for the humanists, so they began to accumulate collections of manuscripts. Both humanist scholars and the various potentates, who sponsored the humanist movement began to create libraries, as new spaces of learning. 

The Malatestiana Library was founded by Malatesta Novello of Cesena (1418–1485) in 1454.

Malatestiana Library of Cesena, the first European civic library Source: Wikimedia Commons

The foundations of the Laurentian Library in Florence were laid by Cosimo de’ Medici (1389–1464), as one of a sequence of libraries that he funded.

Reading room of the Laurentian Library Source: Wikimedia Commons

Pope Nicholas V (1397–1455) brought the papal Greek and Latin collections together in separate libraries in Rome and they were then housed by Pope Sixtus IV (1414–1484), who appointed the humanist Bartolomeo Platina (1421–1481) librarian of the Bibliotheca Apostolica Vaticana.

Sixtus IV appointing Bartolomeo Platina librarian of the Bibliotheca Apostolica Vaticana. From left Giovanni della Rovere, Girolamo Riario, Bartolomeo Platina, later Julius II (Giuliano della Rovere), Raffaele Riario, Pope Sixtus IV Source: Wikimedia Commons

This was followed by the establishment of many private libraries both in Rome and in other Italian cities. As with other aspects of the Humanist Renaissance this movement spread outside of Italy to other European Countries. For example, the Bibliotheca Palatina was founded by Elector Ludwig III (1378–1436) in Heidelberg in the 1430s.

Elector Ludwig III. Contemporary image on the choir ceiling of the  Stiftskirche (Neustadt an der Weinstraße). Source: Wikimedia Commons

These new humanist libraries were not just book depositories but as stated above new spaces for learning. The groups of humanist scholars would meet regularly in the new libraries to discuss, debate or dispute over new texts, new translations, or new philological corrections to old, corrupted manuscripts. 

The (re)invention of movable type printing in about 1450 meant that libraries began to collect printed books as well as manuscripts. The first printer publishers in Italy concentrated on publishing the newly translated texts of the humanists even creating a new type face, Antiqua, which imitated the handwriting that had been developed and propagated by the first generations of humanist scholars. 

The spread of libraries during the Renaissance is a vast subject, too much to deal with in a blog post, but one can get a perspective on this development by looking at a sketch of the career of Johannes Müller (1436–1476) aka Regiomontanus or as he was known during his live time, Johannes de Monte Regio. 

Smithsonian “Print Artist: Braeht” (whereby the signature appears to be rather Brühl sculps[it] possibly Johann Benjamin Brühl (1691-1763) ) – Smithsonian Institution Libraries Digital Collection Source: Wikimedia Commons

Regiomontanus is, today, best known as the most significant European mathematician, astronomer, and astrologer of the fifteenth century, so it comes as something of a surprise to discover that he spent a substantial part of his life working as a librarian for various humanist book collectors. 

Regiomontanus graduated MA at the University of Vienna on his twenty-first birthday in 1457. He had actually completed the degree requirements much earlier, but university regulations required MA graduates to be at least twenty-one years old. He then joined his teacher Georg von Peuerbach as a teacher at the university, lecturing on optics amongst other things. Both Regiomontanus and Peuerbach were convinced humanists. In 1460 Basilios Bessarion (1403–1472) came to Vienna.

Basilios Bessarion Justus van Gent and Pedro Berruguete Source: Wikimedia Commons

He was a Greek Orthodox monk, who had converted to Catholicism, been elevated to Cardinal and was in Vienna as papal legate to negotiate with the Holy Roman Emperor Frederick III on behalf of Pope Pius II. Pius II, civil Aeneas Silvius Piccolomini (1405–1464), was a humanist scholar well acquainted with Frederick and Vienna from his own time as a papal legate. Bessarion, a Neo-Platonist, was a very active humanist, setting up and sponsoring humanist circles wherever his travels took him. In Vienna he sought out Peuerbach to persuade him to undertake a new Latin translation of Ptolemaeus’ Mathēmatikē Syntaxis from the original Greek. Peuerbach couldn’t read Greek but he, and after his death Regiomontanus, produced their Epitome of the Almagest, the story of which I have told elsewhere. Bessarion asked Peuerbach to return to Italy with him. Peuerbach agreed on the condition that Regiomontanus could also accompany them. Peuerbach died in 1461, so only Regiomontanus accompanied Bessarion back to Italy and it is here that his career as librarian began.

Bessarion was an avid book collector and Regiomontanus’ job in his personal entourage was to seek out and make copies of new manuscripts for Bessarion’s collection. A task that he fulfilled with esprit. Bessarion had in the meantime also taught him Greek. In 1468, Bessarion presented his personal library to the Senate of Venice in 1468 and the 482 Greek manuscripts and 264 Latin manuscripts today still form the core of the St. Mark’s Biblioteca Marciana.

Cardinal Bessarion’s letter to Doge Cristoforo Moro and the Senate of Venice, announcing the donation of his library. BNM Lat. XIV, 14 (= 4235), fol. 1r. Source: Wikimedia Commons

Regiomontanus left Bessarion’s entourage around 1465 and reappears in 1467 at the court of János Vitéz Archbishop of Esztergom (German, Gran) in Hungary. 

János Vitéz frontispiece of a manuscript Source: Wikimedia Commons

Vitéz, an old friend of Peuerbach, was a humanist scholar and an avid book collector. Although Regiomontanus served as court astrologer, his Tabulae Directionum, one of the most important Renaissance astrological texts was produced at Vitéz’s request, his main function at Vitéz’s court was as court librarian. From Esztergom he moved to the court of the Hungarian King, Matthias Corvinus (1443–1490), who had been educated by Vitéz.

Matthias Corvinus of Hungary portrait by Andrea Mantegna Source: Wikimedia Commons

Like his teacher, Corvinus was a humanist scholar and a major book collector. Once more, Regiomontanus served as a court librarian. The Bibliotheca Corviniana had become one of the largest libraries in Europe, second only to the Bibliotheca Apostolica Vaticana, when Corvinus died. Unfortunately, following his death, his library was dissipated. 

Long before Corvinus’ death, Regiomontanus had left Hungary for Nürnberg, with Corvinus’ blessing and a royal pension, to set up a programme to reform astronomy in order to improve astrological divination. During his travels, Regiomontanus had not only made copies of manuscripts for his patrons, but also for himself, so he arrived in Nürnberg with a large collection of manuscript in 1471. His aim was to set up a printing house and publish philologically corrected editions of a long list of Greek and Latin mathematical, astronomical, and astrological texts, which he advertised in a publisher’s list that he printed and published. Unfortunately, he died in 1476 having only published nine texts including his publishers list and to the shame of the city council of Nürnberg, his large manuscript collection was not housed in a library but dissipated. 

To close a last example of a lost and dissipated Renaissance library. The English mathematicus John Dee (1527–1609) hoped to establish a national library, but he failed to get the sponsorship he wished for.

John Dee artist unknown Source: Wikimedia Commons

Instead, he collected books and manuscripts in his own house in Mortlake, acquiring the largest library in England and one of the largest in Europe. In the humanist tradition, this became a research centre, with other scholars coming to Mortlake to consult the books and to discuss their research with Dee and other visitors. However, when Dee left England for the continent, in the 1580s with Edward Kelly, to try and find sponsors for his occult activities, his house was broken into, and his library pillaged and sold off. 

Despite the loss of some of the largest Renaissance book collections and libraries, the period saw the establishment of the library both public and private, as a centre for collecting books and a space for learning from them. 

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Renaissance Science – XX

The term the Republic of Letters is one that one can often encounter in the history of Early Modern or Modern Europe, but what does it mean and to whom does it apply? Republic comes from the Latin res publica and means res “affair, matter, thing” publica “public, people.” However, here it is the “people” or “men”, as they mostly were, of letters. So, our Republic of Letters is the affairs of the men of letters or literati, as they are today more often known. Most often the Republic of Letters is used, as for example on Wikipedia, to refer to the long-distance intellectual community in the late 17th and 18th centuries in Europe and the Americas. However, the earliest known appearance of the term in Latin, respublica literaria, appeared in a letter from the Italian politician, diplomat, and humanist Francesco Barbaro (1390–1454)

Chiesa di Santa Maria del Giglio Venezia – Francesco Barbaro Source: Wikimedia Commons

written to his fellow country man the scholar and humanist Poggio Bracciollini (1380–1459)

Riproduzione novecentesca del ritratto di Poggio Bracciolini, inciso da Antonio Luciani nel 1715. Source: Wikimedia Commons

in 1417, so the original Republic of Letters was the Renaissance literary humanist movement of Northern Italy. Here, we also have a second interpretation of the Letters part of the term, meaning literally the letters that the members of the community wrote to each other to communicate their ideas, to announce their discoveries and to comment on the ideas and discoveries of others. In fact, that first use of the term came about when Poggio was off searching through monastery libraries and sent news of one of his discoveries back to Florence. Barbaro replied to his news thanking him for the gift offered to the literaria res publica for the greater progress of humanity and culture.

Initially this community of communication by letter was restricted to the comparatively small group of the literary humanists of Northern Italy, but with time came to embrace an ever-widening community from China to the Americas and including, as we will see, the whole world of science. Such a community didn’t exist in the Middle Ages, so what changed in the Renaissance that made this happen or indeed possible? 

One simple, partial answer was the change of available writing material, when paper replaced parchment and velum. Parchment and velum were much too expensive to be used for large scale letter writing and correspondence. As I sit at my desk writing this post I’m surrounded by an abundance of paper, piles of books printed on paper, delivery notes, invoices and bank statements printed on paper, notebooks and note slips made of paper, a printer/scanner/copier filled with paper waiting to be printed and other bits and bobs made of paper. Paper is ubiquitous in our lives, and we seldom think about its history. 

If we ignore the fact that wasps were making paper millions of years before humans emerged on the Earth, then paper has only existed for about 0.1% (approximately two thousand years) of the approximately two million years that the genus Homo has been around. It has only been present in Europe for about half of that time. Invented in China sometime before the second century BCE,

Woodcuts depicting the five seminal steps in ancient Chinese papermaking. From the 1637 Tiangong Kaiwu of the Ming dynasty. Source: Wikimedia Commons

paper making was transmitted into the Islamic Empire sometime in the eighth century CE. It first appeared in Europe in Spain in the eleventh century CE. This is of course during the High Middle Ages but the knowledge and use of paper remained restricted to Spain, Italy, and Southern France until well into the fourteenth century, when paper making began to slowly spread into Northern France, The Netherlands, and Germany. The first English paper mill wasn’t built until 1588. 

Ulman Stromer’s Paper-mill. First permanent paper-mill north of the Alps 1390 (From Schedel’s Buch der Chroniken of 1493.)

New production technics and new raw materials for paper production vastly increased output and reduced costs, so that by the fifteenth century paper was much more widely available and by many factors cheaper than parchment and a growing letter writing culture could and did develop. However, before that culture could truly develop, another aspect that we take for granted had to be developed, a delivery system. 

Once again, as I sit in front of my computer, I can communicate almost instantly with people all over the world by email or at least a dozen different social media channels. I can also grab my mobile telephone and either telephone with it or send an SMS. Or I can phone them with my landline telephone and if I want to send something tangible, I can resort to the post service or anyone of a dozen international delivery companies. We live in a thoroughly network society. Most of this simply didn’t exist forty years ago but even then, the landline telephones and the postal services connected people worldwide if at much higher costs. Of course, none of this existed in the Middle Ages.

In the High Middle Ages only the rulers and the Church had courier services to deliver their missives, others were dependent on the infrequent long distant traders and travellers. This began to change in the late Middle Ages/Renaissance as long distant trade began to become more and more frequent and the large North Italian and Southern German finance house became established. Traders and financiers built up communications networks throughout Europe, which also functioned as commercial post services. Big trading centres such as Nürnberg, Venice, and the North German Hansa cities had their own major, highly efficient courier services.

Late in the fourteenth century the Dutchy of Milan set up a postal service and in the second half of the fifteenth century Louis XI set up a post service in France. In 1490 the Holy Roman Emperor Maximilian I gave the von Taxis family a licence to set up a postal service for the whole of the empire. This is claimed to be the start of the modern postal series.

Taxis postal routes 1563 Source: Wikimedia Commons

By fifteen hundred it was possible for scholars throughout Europe to communicate with each other by letter and they did so in increasing numbers, setting up their own informal networks of those interested in a given academic discipline: Natural historians communicated with natural historians, mathematici with mathematici, humanist with humanists and not least artists with artists.

Augsburg Postoffice 1600 Source: Wikimedia Commons

With the advent of the of the so-called age of discovery the whole thing took on a new dimension with missionaries and scholars exchanging information with their colleagues at home in Europe from the Americas, Africa, India, China, and other Asian lands. Here it was the big international trading companies such as the Dutch East India Company and English East India Company, who served as the courier service.

A modern replica of the VOC Duyfken a small ship built in the Dutch Republic. She was a fast, lightly armed ship probably intended for shallow water, small valuable cargoes, bringing messages, sending provisions, or privateering. Source: Wikimedia Commons

There is another important aspect to this rising exchange of letters between scholars and that is the open letter meant for sharing. This was an age when the academic journal still didn’t exist, so if a scholar wished to announce a new discovery, theory, speculation, or whatever he could only do so by word of mouth or by letter if what he wished to covey was not far enough developed or extensive enough for a book or even a booklet. A scholar would write his thoughts in a long letter to another scholar in his field. If the recipient thought that the contained news was interesting or important enough, he would copy it and send it on to another scholar in the field or even sometimes several others. 

Through this process ideas gradually spread through a chain of letters within an informal network, throughout Europe.  By the seventeenth century several significant figures became living post offices each at the centre of a network of correspondence in their respective field. I recently wrote about Marin Mersenne (1588–1648), the Minim friar, who served such a function and who left behind about six hundred such letters from seventy-nine different scientific correspondence in his cell when he died.

Marin Mersenne Source: Wikimedia Commons

His younger contemporary the Jesuit professor of mathematics at the Collegio Romano, Athanasius Kircher (1602–1680), sat at the centre of a world spanning network of some seven hundred and sixty correspondents, collecting information from Jesuit missionaries throughout the world and redirecting it to other, not just Jesuit, scholars throughout Europe.

Athanasius Kircher portrait by Cornelis Bloemaert Source: Wikimedia Commons

One of his European correspondents, for example, was Leibniz (1646–1716), who himself maintained a network of about four hundred correspondents. 

Leibniz portrait by Christoph Bernhard Francke Source: Wikimedia Commons

Two members of Mersenne network, who had extensive correspondence networks of their own were Ismaël Boulliau (1605–1694), of whose correspondence, about five thousand letters written by correspondents from all over Europe and the Near East still exist although many of his letters are known to have been lost

Ismaël Boulliau portrait by Pieter van Schuppen Source: Wikimedia Commons

and Nicolas-Claude Fabri de Peiresc (1580–1637), who certainly holds the record with ten thousand surviving letters covering a wide range of scientific, philosophical, and artistic topics.

Nicolas-Claude Fabri de Peiresc portrait by Louis Finson Source: Wikimedia Commons

Later in the century the European mathematical community was served by the very active English mathematics groupie John Collins (1626–1683), collecting and distributing mathematics news. His activities would contribute to the calculus priority dispute and accusations of plagiarism between Newton and Leibniz, he, having supposedly shown Newton’s unpublished work to Leibniz. Another active in England at the same time as Collins was the German, Henry Oldenburg (c. 1618–1677), who maintained a vast network of correspondents throughout Europe.

Henry Oldenburg portrait by Jan van Cleve (III)

Oldenburg became Secretary of the newly founded Royal Society and used his letters to found the society’s journal, one of the first scientific journals, the Philosophical Transactions, the early issues consisting of collections of the letters he had received. Oldenburg’s large number of foreign correspondents attracted the attention of the authorities, and he was for a time arrested and held prisoner in the Tower of London on suspicion of being a spy.

The simple letter, written on comparatively cheap paper and delivered by increasingly reliable private and state postal services, made it possible for scholars throughout Europe to communicate and cooperate with each other, starting in the Early Modern period, in a way and on a level that had not been possible for their medieval predecessors. In future episodes of this series, we will look at how these correspondence networks helped to further the development of various fields of study during the Renaissance. 

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Filed under History of Technology, Renaissance Science, Uncategorized

Renaissance Science – XIX

The publication of Vesalius’ De fabrica certainly marks a major change in the study and teaching of anatomy at the medieval university, but, as I hope is clear, that change did not come out of thin air but was the result of a couple of centuries of gradual developments in the discipline. It also didn’t trigger an instant revolution in the discipline throughout the university system but spread slowly, as is almost always the case with major innovations in a branch of knowledge. In the case of Vesalius’ anatomy, it was not just the normal inertia inherent in theory change, but also a long-prolonged opposition by neo-Galenists. 

The beginnings of the acceptance of Vesalius anatomy took place, naturally, in his own university of Padua and other North Italian universities resulting in a dynasty of excellent professors at those universities, leading to a major influx of eager students from all over Europe. 

Following Vesalius, the first of the significant Paduan anatomists was Gabriele Falloppio (1523–1562). Born in Modena, the son of an impoverished noble family. Lacking money, he joined the clergy, was appointed a canon of Modena Cathedral, and received an education in medicine at the University of Ferrara, graduating in 1548. In the same year he was appointed professor for anatomy at the university. In 1549 he was appointed professor for anatomy at the University of Pisa and in 1551 he received the same position at the University of Padua. Although, most well know today for his study of the reproductive organs leading to the naming of the Fallopian tubes after him, he made major contributions to our knowledge of bones and muscles. His major area of research was, however, the anatomy of the head where he systematically expanded our knowledge.

Portrait of Gabriele Falloppio artist unknown Source: Wikimedia Commons

Earlier that Falloppio was Matteo Realdo Colombo (c. 1515 – 1559), who was a colleague of Vesalius at Padua. The son of apothecary born in Cremona he initially apprenticed to his father but then became apprentice to the surgeon Giovanni Antonio Lonigo for seven years. In 1538 he enrolled as a medical student at Padua, where he quickly acquired a reputation for the study of anatomy. He became friends with Vesalius and was appointed to teach his courses while Vesalius was in Basel overseeing the publication of De fabrica. Vesalius attributes many of the discoveries in De fabrica to Colombo. Their relationship declined, when Colombo pointed out errors in Vesalius’ work, leading to them becoming rivals. 

Matteo Realdo Colombo artist unknown Source: Wikimedia Commons

Colombo left Padua in 1544 and went to the University of Pisa and from 1548 he worked at the papal university teaching anatomy until his death in 1459. Colombo was also involved in priority disputes with Falloppio. His only published text, De re anotomica issued posthumously in 1559 contains many discoveries also claimed by Falloppio, most notably the discovery of the clitoris and its sexual function.

Source: Wikimedia Commons

Colombo made many contributions to the study of anatomy, perhaps his most important discovery was the rediscovery of the so-called pulmonary circulation, previously discovered by Ibn al-Nafis (1213–1288) and Michael Servetus (c. 1511–1553).

Bartolomeo Eustachi (c. 1510–1574), a contemporary of Vesalius, who belonged to the competition, was a dedicated supporter of Galen working at the Sapienza University of Rome. 

Bartolomeo Eustachi artist unknown Source: Wikimedia Commons

 However, he made many important anatomical discoveries. He collated his work in his Tabulae anatomicae in 1552, but unfortunately this work was first published in 1714. 

Bartolomaeus Eustachius, Tabulae Anatomicae. Credit: Wellcome Library, London.

Julius Caesar Aranzi (1529/30–1589) was born in Bologna and studied surgery under his uncle Bartolomeo Maggi (1477–1552), who lectured on surgery at the University of Bologna.

Portrait of Julius Caesar Arantius (Giulio Cesare Aranzi, 1530–1589). From the Collection Biblioteca Comunale dell’Archiginnasio, Bologna, Italy. Source.

He studied medicine at Padua, where he made his first anatomical discovery at the age of nineteen in 1548. He finished his studies at the University of Bologna graduating in 1556. At the age of twenty-seven he was appointed lecturer for surgery at the university. Like the others he made numerous small contributions to our understanding of human anatomy, of particular importance was his study of foetuses. However, his major contribution was in the status of anatomy as a discipline. As professor for anatomy and surgery in Bologna starting in 1556, he established anatomy as a major discipline in its own right. 

A very central figure in the elevation of anatomy as a discipline at the medieval university was Girolamo Fabrici d’Acquapendente (1533–1619). Fabrici studied medicine in Padua under Falloppio graduating in 1559. He went into private practice in Padua and was very successful, numbering many rich and powerful figures amongst his patients. From 1562 till 1565 he also lectured at the university on anatomy. In 1565 he succeeded Falloppi as professor for anatomy and surgery at the university, a post he retained until 1613. As an anatomist he is considered one of the founders of modern embryology and as also renowned for discovering the valves that prevent blood following backwards in the veins, an important step towards the correct description of blood circulation.

Girolamo Fabrizi d’Acquapendente artist unknown Source: Wikimedia Commons

Girolamo Fabrici is also renowned for several of the students, who studied under him in Padua. Giulio Cesare Casseri (1552 – 8 March 1616) not only studied under Fabrici but was also employed as his servant.

Giulio Cesare Casseri artist unknown Source: Wikimedia Commons

The two of them later had a major falling out, but Casseri still succeeded Fabrici as professor in Padua. His biggest contribution was his Tabulae anatomicae, containing 97 copperplate engravings, published posthumously in in Venice 1627, which became one of the most important anatomical texts in the seventeenth century. 

Casseri was succeeded as professor in Padua by another of Fabrici’s students the Netherlander, Adriaan van den Spiegel (1578–1625).

Adriaan van den Spiegel artist unknown Source: Wikimedia Commons

Van den Spiegel was born in Brussels but studied initially in Leuven and Leiden, in 1601 he transferred to Padua, where he graduated in 1604. His main text, his De humani corporis fabrica libri decem, which he saw as an updated version of Vesalius’ book of the same title, was also published in Venice in 1627.

Source: Wikimedia Commons

For English readers Girolamo Fabrici’s most well-known student was William Harvey (1578–1657). Born the eldest of nine children to the jurist Thomas Harvey and his wife Joan Halke.

William Harvey, after a painting by Cornelius Jansen Source: Wikimedia Commons

He was educated at King’s School Canterbury and matriculated at Gonville & Caius College Cambridge in 1593. He graduated BA in 1597 and then set off on travels through mainland Europe. He travelled through France and Germany and matriculated as a medical student at Padua in 1599. During his time in Padua, he developed a close relationship with Fabrici graduating in 1602. Upon graduation he returned to England and having obtained a medical degree from Cambridge University, he became a fellow of Gonville & Caius. The start of a very successful career. His major contribution was, of course, his Exercitatio Anatomica de Motu Cordis et Sanguinis in Animalibus (An Anatomical Exercise on the Motion of the Heart and Blood in Living Beings), the first correct account of the blood circulation and the function of the heart published in Frankfurt in 1628.

Source

He also published an important work on the development of chicken embryos in the egg, Exercitationes de generatione animalium (On Animal Generation) published in 1651.

L0010265 W. Harvey, Exercitationes de generatione animalium Credit: Wellcome Library, London.

It could be argued that Girolamo Fabrici’s most important contribution to the history of anatomy was the erection of the university’s anatomical theatre. We saw in the last episode that the universities had been erecting temporary wooden dissecting spaces in winter for a couple of centuries, as described by Alessandro Benedetti (1450?–1512) in his Anatomicesivede historia corporis humani libri quique (AnatomyorFive Books on the History of the Human Body) in 1502:

A temporary theatre should be built at a large and well-ventilated place, with seats arranged in a circle, as in the Colosseum in Rome and the Area in Verona, sufficiently large to accommodate a great number of spectators in such a manner that the teacher would not be inconvenienced by the crowd… The corpse has to be put on a table in the centre of the theatre in an elevated and clear place easily accessible to the dissector. 

During the second half of the sixteenth century several institutions began to assign a permanent room for such spaces, the University of Montpellier in 1556, the Company of Barber Surgeons in London in 1557 and so on. Girolamo Fabrici raised the stakes by having the first ever purpose-built anatomical theatre designed and built in Padua in 1594. The project was the work of the Venetian polymath Paolo Sarpi (1552–1623) and the artist-architect Dario Varotari (c. 1539–1596). A closed elliptical shape with tiers of standing spaces for the observers rising steeply up the sides, giving a clear view of the dissecting table in the centre. 

Anatomical Theatre Padua design Source: Wikimedia Commons
Anatomical Theatre Padua as it is today Source: Wikimedia Commons

In Northern Italy the first to follow suit was the University of Bologna, which one year later opened its Anatomical Theatre of the Archiginnasio now situated in the Archiginnasio Palace the main building of the university.

A general view of the Anatomical theatre reconstructed after WWI when it was destroyed by bombing. Source: Wikimedia Commons

Originally situated elsewhere, it was rebuilt in its current setting between 1636 and 1638. The Bolognese rejected the Paduan Ellipse for a rectangular room claiming it to be superior.

Of greatest interest however was the Theatrum Anatomicum built far away from Northern Italy in 1596 in the still young university of Leiden. The University of Leiden was established in 1575, in the early phases of the Eighty Years’ War, as the first university of the newly founded United Provinces.

The Academy building of Leiden University in 1614. Source: Wikimedia Commons

Leuven, the original alma mater of Vesalius, was located in the remaining Spanish Netherlands. Home to both Rudolph Snel (1546–1613) and his son Willebrord (1580–1626) as well as Simon Stevin (1548–1629), who founded its school of engineering, the university was strong on the sciences for its early days. However, it was its school of medicine that would become most influential in the seventeenth century, and this school of medicine had deep connections to Padua and Girolamo Fabrici. 

The connections start with Johannes Heurnius (Jan van Heurne) (1543–1601), born in Utrecht, he initially studied in Leuven and Paris before going to Padua to study under Fabrici, where he graduated MD in 1566. Returning to the Netherlands he became a town physician in Utrecht before being appointed professor of medicine at the new University of Leiden in 1581. He introduced anatomy in the tradition of Vesalius into the still young Dutch university, as well as the Paduan emphasis on anatomical demonstrations and practical clinical work. 

Source: Wikimedia Commons

The anatomical theatre was introduced by Pieter Pauw (1564–1617), born in Amsterdam the son of the politician Pieter Pauw and his wife Geertruide Spiegel, he studied medicine at the University of Leiden, under Johannes Heurnius and Gerard Bontius (c. 1537–1599), another Padua graduate, graduating in 1584.

Pieter Pauw Source: Wikimedia Commons

He continued his studies in Rostock graduating MD in 1587. From here, he moved to Padua to study under Fabrici. Forced by his father’s illness he returned to Leiden in 1589, he was appointed assistant to Bontius, taking over responsibility for the medical botany. In 1592 he was appointed professor for anatomy and in 1596 he erected the permanent anatomical theatre in the same year. 

Leiden anatomical theatre in 1610. Source: Wikimedia Commons

Otto Heurnius (otto van Heurne) (1577–1652) was the son of Johannes Heurnius and studied medicine under his father and Pieter Pauw in Leiden. He graduated MD in 1601 and was appointed assistant to his father, whom he succeeded a year later as professor, not without criticism. In 1617 he then succeeded Pieter Pauw as professor for anatomy.

Otto Heurnius Source: Wikimedia Commons

Otto’s most famous student was Franciscus Sylvius (Franz de le Boë) (1614–1672). Born into an affluent family in Hanau he studied medicine at the Protestant Academy of Sedan then from 1632 to 1634 in Leiden, where he studied under Otto Heurius and Adolphus Vorstius (Adolphe Vorst) (1597–1663), who had also studied at Padua under Adriaan van den Spiegel, graduating MD in 1622. Vorstius was appointed an assistant in Leiden in 1624 and full professor in 1625. Sylvius continued his studies in Jena and Wittenberg, graduating MD in Basel in 1637. He initial practice medicine in Hanau but returned to Leiden to lecture in 1639. From 1641 he had a successful private practice in Amsterdam. In 1658 he was appointed professor for medicine at Leiden, with twice the normal salary. 

Franciscus Sylvius and his wife by Frans van Mieris, Sr. Source: Wikimedia Commons

Under Sylvius it became obvious, what had been true for some time, that Leiden had, in the place of Padua, become the leading European medical school, particularly in terms of anatomy. By the middle of the seventeenth century the change that Vesalius had introduced into the study and teaching of anatomy at the medieval university had been completed. Previously a minor aspect of the medical education, anatomy had now become a prominent and central discipline in that course of studies. Sylvius produced a stream of first-class graduates, who would go on to dominate the life sciences in the next decades that included Reinier de Graaf (1641–1673), who made important contributions to the understanding of reproduction,

Reinier de Graaf Source: Wikimedia Commons

Jan Swammerdam (1637–1680), an early microscopist, who made important studies of insects, 

Jan Swammerdam Reproductive organs of the bee drawn with a microscope Credit: Wellcome Library, London. There is no known portrait of Swammerdam

Nicolas Steno (1638–1686), who made important contribution to anatomy and geology,

Portrait of Nicolas Steno (1666–1677). Unsigned but attributed to court painter Justus Sustermans. (Uffizi Gallery, Florence, Italy) Source: Wikimedia Commons

and  Frederik Ruysch (1638–1731), an anatomist best know for his techniques for conserving anatomical specimens. 

The Anatomy Lesson of Dr. Frederick Ruysch by Jan van Neck (1683). Amsterdam Museum. Source: Wikimedia Commons

Sylvius was also one of those, who introduced chemistry into the study of medicine, which we will look at in the next episode.

For a detailed study of the work on reproduction of Harvey and many of the Leiden anatomist, I recommend Matthew Cobb’s The Egg & Sperm Race: The Seventeenth-Century Scientists Who Unravelled the Secrets of Sex, Life and Growth, The Free Press, London, 2006

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Filed under Book History, History of medicine, History of science, Renaissance Science

Renaissance Science – XVIII

One area of knowledge that changed substantially during the Renaissance was the study of medicine and the branch of medicine that probably changed the most was anatomy. This change has produced two notable myths that need to be quickly dealt with before we tackle the real history. 

The myths concern Leonardo da Vinci (1452–1519) and Andreas Vesalius (1514–1564), the two most well-known anatomical practitioners of the period. According to the first myth that applies to both of them, although most often associated with Leonardo, is that they had to carry out their anatomical studies of the human body secretly, because dissection was forbidden by the Church. The second applies to Vesalius and is the oft repeated claim, in one form or another, that he singlehandedly launched a revolution in the study of anatomy out of the blue. I will deal with the Leonardo did it all in secret myth first and the Vesalius myth in due course.

To start with there was no Church ban on dissections. Like most apprentice artists in the Renaissance, Leonardo began his study of human anatomy during his apprenticeship. His master, Andrea del Verrochio (1435–1488), insisted that his apprentices gain a thorough grounding in anatomy.

Half-length portrait of Andrea del Verrocchio, Italian painter and sculptor, engraved on a copperplate by Nicolas de Larmessin and printed in a book “Académie des Sciences et des Arts” written by Isaac Bullart and published in Amsterdam by Elzevier in 1682.

Leonardo would probably have attended the public dissections carried out in winter at the local university. Leonardo being Leonardo took a greater interest in the topic than that required by an artist, and he was granted permission to carry out dissections in the Hospital of Santa Maria Nuova in Florence.

Old facade of the Hospital of Santa Maria Nuova in Florencebefore the completion of the porch (painting by Fabio Borbottoni, 1820-1902)

Later he carried out dissections in hospitals in Milan and Rome. From 1510 to 1511, he collaborated with Marcantonio della Torre (1481–1511) lecturer on anatomy at the universities of Pavia and Padua.

Marcantonio della Torre Source:

There is evidence that they intended to publish a book together, but the endeavour was torpedoed by della Torre’s death in 1511. Leonardo never published his extensive collection of anatomical drawings, and although there is some evidence that they were viewed by other Renaissance artists, they only became generally known in the nineteenth century and had no real influence on the development of medicine.

Leonardo Anatomical study of the arm (c. 1510) Source: Wikimedia Commons

I said above that Leonardo might well have attended public dissections at the local university, this was a well-established practice by the time Leonardo was learning anatomy. The most prominent anatomist in antiquity was Galen of Pergamon (129–c. 216 CE), whose work, however, suffered from the problem that it was largely based on the dissection of animals rather than humans.  His medical text had arrived in medieval Europe via the Arabic world in the twelfth century, but his major anatomy texts were somehow not translated at this time. In the early period of the medieval university anatomy was taught from authoritative texts rather than from dissection. This changed in the fourteenth century with the work of Mondino de Luzzi (c. 1270­–1326), professor in Bologna, who carried out the first public dissection on a human corpse in 1315. He was possibly inspired by animal dissections carried out in Salerno in the previous century. He published the results of his anatomical work, Anthomia corporis humani in 1316. This became a standard textbook. 

Titelpage ofAnathomia Mundini Emèdata p doctoré melerstat (“Anatomy of Mundinus. Published byDoktor Mellrichstadt”, 1493. Source: Erlangen University Library via Wikimedia Commons

It soon became obligatory for all medical students to attend at least one or sometimes two public dissections during their studies. These dissections were always conducted in winter, to keep the corpse fresher longer, usually in a specially constructed, temporary wooden building in the grounds of the university. By 1400 regular anatomical dissections were an established part of the curriculum in most medical schools. The corpse was dissected on a table in the middle of the room, usually by a barber-surgeon, surrounded by the students and other observers, whilst the professor on a raised lecture platform read the prescribed text (see image above), usually Mondino, sometimes supplemented by Galen’s De Juvamentis. This although Niccoò da Reggio (1280-?) had produced the first full Latin translation of Galen’s anatomical text On the Use of the Parts in 1322. The first printed edition of Anthomia corporis humani appeared in 1476 and more than 40 editions had appeared altogether by the end of the sixteenth century. A tradition of published commentaries on Modino also became established by the professors who lectured on anatomy. 

In the early years of the sixteenth century the Humanist Renaissance made its appearance in the study of anatomy with new translations of Galen directly from the Greek and a growing disdain for the earlier translations from Arabic. In 1528 a series of four handy texts in pocket size was published for students including Galen’s On the Use of Parts, in the da Reggio translation, a new translation of On the Motion of Muscles, and the translation by Thomas Linacre (c. 1460–1524) of On the Natural Faculties from 1523. Paris had now risen to be a major centre for the study of medicine and the professor for anatomy, Johannes Winter von Andernach (1505–1574) produced the first Latin translation of Galen’s newly discovered and most important De Anatomicis Administrationibus (On Anatomical Procedures) 9 vols. Paris in 1531.

Bibliotheca chalcographica, hoc est Virtute et eruditione clarorum Virorum Imagines, Jean-Jacques Boissard (1528-1602), Teodoro de Bry (1528-1598)SOurce: Wikimedia Commons

Equally important was his own textbook, Anatomicarum institutionum, secundum Galeni sententiam (Anatomical Institutions according to the opinions of Galen) 4 vols, Paris and Basel, 1536; Venice, 1538; Padua, 1558.

Source

Earlier than this Berengario da Capri (c. 1460–c. 1530) was the first to include anatomical illustrations into his work, a commentary on Mondino published in 1521 and his Isagogae breves in anatomiam humani corporis (A Short but very Clear and Fruitful Introduction to the Anatomy of the Human Body, Published by Request of his Students) a year later. From the 1520s onwards there was an increasing stream of anatomy books entering the market. 

Berengario da Capri Isagogae breves in anatomiam humani corporis 1523
Anatomical plate by Jacopo Berengario da Carpi depicting a pregnant woman with opened uterus Source: Wikimedia Commons

It should by now be clear that when Andreas Vesalius (1514–1564) appeared on the scene that both anatomy and dissection were well establish areas of study in the European schools of medicine, albeit the oft highly inaccurate anatomy of Galen. Of interest here is that when dissectors discovered things in their work that contradicted the contents of Galen’s work, they tended to believe the written text rather than their own eyes.

Vesalius was born Andries van Wesel in Brussels, then part of the Spanish Netherlands, in 1514, the son of Andries van Wesel (1479–1544) and Isabel Crabbe. He was born into a well-connected medical family, his father was apothecary to the Holy Roman Emperor Maximillian (1459–1519) and then valet de chambre to his son Charles V (1500­–1558), His grandfather Everard van Wessel was Royal Physician to Maximillian and His great grandfather Jan van Wesel received his medical degree from the University of Parvia and was professor for medicine at the University of Leuven.

A portrait of Vesalius from his De Humani Corporis Fabrica (1543) Source: Wikimedia Commons

Vesalius studied Greek and Latin with the Brethren of the Common Life a pietist religious community before entering the University of Leuven in 1528. In 1533 he transferred to the University of Paris where he came under the Galenic influence of Johannes Winter von Andernach and in fact assisted him in preparing his Anatomicarum institutionum for the press. In 1536 he was forced to leave Paris due to hostilities between France and the Holy Roman Empire. He returned to the University of Leuven to complete his studied graduating in 1537. His doctoral thesis was a commentary on the ninth book of the ten century, twenty-three volume Al-Hawi or Kitāb al-Ḥāwī fī al-ṭibb by the Persian physician Abū Bakr Muhammad Zakariyyā Rāzī (854–925) known in medieval Europe as Rhazes. This was translated, in the fourteenth century as The Comprehensive Book on Medicine and was a central textbook on the medieval European universities.

During his time in Leuven his was friends with Gemma Frisius (1508–1555), who became professor of medicine at the university, but is more famous for his work as a mathematician, cartographer, astronomer, astrologer, and instrument maker. According to one story the two of them, whilst out walking one day, stole parts of a corpse from a gallows to study.

Vesalius and Gemma Frisius remove a dead man from the gallows (Artist unknown).

On the day of his graduation, he was offered the position of professor for surgery and anatomy (explicator chirurgiae) at the University of Padua. With the assistance of the artist Johan van Calcar (c. 1499–1546), a student of Titian, he produced six large posters of anatomical illustrations for his students. When he realised that they were being pirated, he published them himself as Tabulae anatomicae sex in 1538. He followed this in 1539 with an updated edition of Winter von Andernach’s Anatomicarum institutionum.

Tabulae II of Vesalius’s ” Tabulae Anatomicae Sex ” (1538). Note the 5-lobed liver, which is reminiscent of simian anatomy. The original text surrounding the figure has been removed. Courtesy of the Wellcome Library, London, UK.  

Vesalius’s great change was that rather than regurgitating Galen and/or Mondino he devoted himself to doing his own basic research on the dissection table. Well trained by Winter von Andernach he approached his task with an open mind and wide open eyes. The result was a new catalogue of human anatomy that corrected many of the errors and mistaken beliefs contained in the works of Galen. Mistakes produced because Galen’s work was, as Vesalius was keen to point out, carried out on animals and not humans, under the assumption that a liver is a liver, whether in a dog or a human. It is also important to note that Vesalius did not think that he had overthrown Galen, as is often claimed, but that he had corrected Galen.

Vesalius took the results of his investigations to Basel, where he assisted the printer/publisher Johannes Oporinus (1507–1568) to prepare his monumental, and, its fair to say, revolutionary work, De Humani Corporis Fabrica Libri Septem, published in 1543.

Portrait of Johannes Oporinus by Hans Bock Source: Wikimedia Commons

He simultaneously published an abridged edition for students, his Andrea Vesalii suorum de humani corporis fabrica librorum epitome (which only contained six images)

The book contains 273 highly impressive and informative illustration that are usually attributed to Johan van Calcar, but there are doubts about this attribution.

Vesalius Fabrica frontispiece Source: Wikimedia Commons

Each of the seven books is devoted to a different aspect of the body: Book 1: The Bones and Cartilages,

Book 2: The Ligaments and Muscles,

Credit: Wellcome Library, London.

Book 3: The Veins and Arteries,

Book 4: The Nerves, Book 5: The Organs of Nutrition and Generation,

Book 6: The Heart and Associated Organs,

Figure of the heart rolled toward the right side but also showing the recurrent laryngeal nerves. Woodcut illustration from the Fabrica (Vesalii, 1543), Liber VI, p. 564 (due to a mistake in the page numbering, this should be p. 664). Courtesy of the U.S. National Library of Medicine.  

Book 7: The Brain. 

From the 1543 book in the collection in National Institute of Medicine. Andreas Vesalius’ Fabrica, showing the Base Of The Brain, including the cerebellum, olfactory bulbs, optic nerve.

(All De Fabrica images via Wikimedia Commons

Vesalius almost singlehandedly raised the study of anatomy to new levels and the book was a financial success despite the very high printing costs. A second edition was published in 1555 and there is evidence that Vesalius was preparing a third edition, which, however, never appeared. The fame that De fabrica brought him led to him being appointed imperial physician to Charles V. When he announced his intention to leave the University of Padua, Duke Cosimo I de’ Medici offered him a position at the University of Pisa, which he declined. He remained at the imperial court becoming physician to Philipp II, following Charles V’s abdication. In 1559 when Philipp moved his court to Madrid, Vesalius remained at the court in the Netherland. In 1564 he went on a pilgrimage to Jerusalem from which he never returned, dying on the journey home. There are numerous speculations as to why he undertook this pilgrimage, but the final answer is that we don’t know why.

Vesalius revolutionised the study of anatomy and was followed by many prominent successors in Padua and other North Italian universities, which we will look at in the next episode of this series. However, his own work was not without error, and he left much still to be discovered by those successors. Also, he was much attacked by the neo-Galenists, that is those whose work was based on the new translations direct from the Greek originals and who rejected the earlier ‘corrupt translations’ from Arabic. Jacobus Sylvius (1478–1555), one of his earlier teachers from Paris, even went so far as to claim that the human body had changed since Galen had studied it.  

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Renaissance Science – XVII

As we saw in the last episode, Ptolemaeus’ Geographia enjoyed a strong popularity following its rediscovery and translation into Latin from Greek at the beginning of fifteenth century, going through at least five printed editions before the end of the century. The following century saw several important new translation and revised editions both in Latin and in the vernacular. This initial popularity can at least be partially explained by the fact that Ptolemaeus’ Mathēmatikē Syntaxis and his Tetrabiblos, whilst not without rivals, were the dominant books in medieval astronomy and astrology respectively. But the Geographia, although, as explained in the previous episode, in some senses related to the other two books, was a book about mapmaking. So how did affect European mapmaking in the centuries after its re-emergence? To answer this question, we first need to look at medieval European, terrestrial mapmaking.

Mapmaking was relatively low level during the medieval period before the fifteenth century and although there were certainly more, only a very small number of maps have survived. These can be divided into three largely distinct categories, regional and local maps, Mappa Mundi, and portolan charts. There are very few surviving regional or local maps from the medieval period and of those the majority are from 1350 or later, mapmaking was obviously not very widespread in the early part of the Middle Ages. There are almost no maps of entire countries, the exceptions being maps of Palestine,

Map of Palestine according to Burchard of Mount Sion Manuscript c. 1300 entitled: “De more vivendi diversarum gentium, secundum Hieronymum in libro II contra Iovinianum, quae illis cibariis vesci solent, quibus abundant” Source: Wikimedia Commons

the Matthew Paris and Gough maps of Britain,

The most developed of Matthew Paris’s four maps of Britain 13th century (Cotton MS Claudius D VI, fol. 12v). The work is organised around a central north-south itinerary from Dover to Newcastle. The crenellations of both the Antonine Wall and Hadrian’s Wall can be seen in the upper half of the drawing. British Library, London. via Wikimedia Commons

and Nicolas of Cusa’s maps of Germany and central Europe. 

Nicolas of Cusa map of central Europe printed edition 1491 Germanisches Nationalmuseum Nürnberg via Wikimedia Commons

The Mappa Mundi are the medieval maps of the known world. These range from very simple schematic diagrams to the full-blown presentations of the oikoumenikos, the entire world as known to European antiquity, consisting of the three continents of Asia, Europe, and Africa. The sketch maps are mostly of two different types, the zonal maps, and the T-O maps. 

The zonal maps show just the eastern hemisphere divided by lines into the five climata or climate zones, as defined by Aristotle. These are the northern frigid zone, the northern temperate zone, the equatorial tropical zone, the southern temperate zone, and the southern frigid zone, of which the Greek believed only the two temperate zones were habitable. In the medieval period, zonal maps are mostly found in copies of Macrobius’ Commentarii in Somnium Scipionis (Commentary on Cicero’s Dream of Scipio).

Macrobius zonal world map c. 1050 Source: British Library

T-O sketch maps show a diagrammatic presentation of the three know continents, Asia, Europe, and Africa enclosed within a double circle representing the ocean surrounding oikoumenikos. The oikoumenikos is orientated, that is with east at the top and is divided into three parts by a T consisting of the Mediterranean, the Nile, and the Danube, with the top half consisting of Asia and the bottom half with Europe on the left and Africa on the right. T-O maps have their origin in the works of Isidore, his De Natura Rerum and Etymologiae. He writes in De Natura Rerum

So the earth may be divided into three sides (trifarie), of which one part is Europe, another Asia, and the third is called Africa. Europe is divided from Africa by a sea from the end of the ocean and the Pillars of Hercules. And Asia is divided from Libya with Egypt by the Nile… Moreover, Asia – as the most blessed Augustine said – runs from the southeast to the north … Thus we see the earth is divided into two to comprise, on the one hand, Europe and Africa, and on the other only Asia

This T and O map, from the first printed version of Isidore’s Etymologiae, identifies the three known continents as populated by descendants of Sem, Iafeth and Cham. Source: Wikimedia Commons

For most people the term Mappa Mundi evokes the large circular, highly coloured maps of the oikoumenikos, packed with symbols and text such as the Hereford and Ebstorf maps, rather that the small schematic ones.

The Hereford Mappa Mundi, about 1300, Hereford Cathedral, England Source: Wikimedia Commons

These are basically T-O maps but appear to be geographically very inaccurate. This is because although they give an approximate map of the oikoumenikos, they are not intended to be geographical maps, as we understand them today. So, what are they? The clue can be found in the comparatively large number of regional maps of Palestine, the High Middle Ages is a period where the Catholic Church and Christianity dominated Europe and the Mappa Mundi are philosophical maps depicting the world of Christianity. 

Recreation of the Ebstorf Map of about 1235; the original was destroyed by wartime bombing Source: Wikimedia Commons

These maps are literally orientated, that is East at the top and have Jerusalem, the hub of the Christian world, at their centre. The Hereford map has the Garden of Eden at the top in the east, whereas the Ebstrof map, has Christ’s head at the top in the east, his hands on the sides north and south and his feet at the bottom in the south, so that he is literally holding the world. The much smaller Psalter map has Christ above the map in the east blessing the world.

Psalter world map, ca. 1260 British Library via Wikimedia Commons

These are not maps of the world but maps of the Christian world. The illustrations and cartouches scattered all over the maps elucidate a motley collection of history, legends and myths that were common in medieval Europe. These Mappa Mundi are repositories of an extensive collection of information, but not the type of geographical knowledge we expect when we hear the word map.

The third area of medieval mapping is the portolan charts, which pose some problems. These are nautical charts that first appeared in the late thirteenth century in the Mediterranean and then over the centuries were extended to other sea areas. They display a detailed and surprising accurate stretch of coastline and are covered with networks of rhumb lines showing compass bearings.

The oldest original cartographic artifact in the Library of Congress: a portolan nautical chart of the Mediterranean. Second quarter of the 14th century. Source: Wikimedia Commons

Portolan charts have no coordinates. The major problem with portolan charts is their origin. They display an accuracy, at the time, unknown in other forms of mapping but the oldest known charts are fully developed. There is no known development leading to this type of mapping i.e., there are no known antecedent charts. The second problem is the question, are they based on a projection? There is some discussion on this topic, but the generally accepted view is that they are plate carrée or plane chart projection, which means that the mapmakers assumes that the area to be map is flat. This false assumption is OK if the area being mapped is comparatively small but leads to serios problems of distortion, when applied to larger areas.

Maps, mapping, and map making began to change radically during the Renaissance and one of the principle driving factors of that change was the rediscovery of Ptolemaeus’ Geographia. It is important to note that the Geographia was only one factor and there were several others, also this process of change was gradual and drawn out. 

What did the Geographia bring to medieval mapmaking that was new? It reintroduced the concept of coordinates, longitude and latitude, as well as map projection. As Ptolemaeus points out the Earth is a sphere, and it is mathematically impossible to flatten out the surface of a sphere onto a flat sheet without producing some sort of distortion. Map projections are literally what they say they are, they are ways of projecting the surface of the sphere onto a flat surface. There are thousands of different projections, and the mapmaker has to choose, which one is best suited to the map that he is drawing. As Ptolemaeus points out for a map of the world, it is actually better not the draw it on a flat sheet but instead to draw it on a globe. 

The Geographia contains instructions for drawing a map of the Earth i.e., the oikoumenikos, and for regional maps. For his regional maps Ptolemaeus uses the plate carrée or plane chart projection, the invention of which he attributes to his contemporary Marinus of Tyre. In this projection, the lines of longitude (meridians) and latitude (parallels) are parallel sets of equally spaced lines. For maps of the world, he describes three other projections. The first of these was a simple conic projection in which the surface of the globe is projected onto a cone, tangent to the Earth at the 36th parallel. Here the meridians are straight lines that tend to close towards the poles, while the parallels are concentric arcs. The second was a modified cone projection where the parallels are concentric arcs and the meridians curve inward towards the poles.

Ptolemaeus’ projection I above and II below Source: Marjo T Nurminen, “The Mapmakers’ World”, Pool of London Press, 2014

His third projection, a perspective projection, needn’t interest us here as it was hardly used, however the art historian Samuel Y Edgerton, who died this year, argued that the rediscovery of Ptolemaeus’ third projection at the beginning of the fifteenth century was the impulse that led to Brunelleschi’s invention of linear perspective.

A mid-15th century Florentine Ptolemaic map of the world Ptolemy’s 1st projection.
A printed Ptolemaic world map using his 2nd projection Johannes Schnitzer (1482). Source: Wikimedia Commons

From very early on Renaissance cosmographers began to devise and introduce new map projections, at the beginning based on Ptolemaeus’ projections. For example, in his In Hoc Opere Haec Continentur Nova Translatio Primi Libri Geographicae Cl Ptolomaei, from 1514, Johannes Werner (1468–1522) introduced the heart shaped or cordiform projection devised by his friend and colleague Johannes Stabius (1540–1522), now know as the Werner-Stabius projection. This was used by several mapmakers in the sixteenth century, perhaps most famously by Oronce Fine (1494–1555) in 1536.

Oronce Fine World Map 1536 Source: Wikimedia Commons

Francesco Rosselli (1455–died before 1513) introduced an oval projection with his world map of 1508

World Map oval by Francesco Rosselli, copper plate engraving on vellum 1508, National Maritime Museum via Wikimedia Commons

It should be noted that prior to the rediscovery of the Geographia, map projection was not unknown in medieval Europe, as the celestial sphere engraved on the tympans or climata of astrolabes are created using a stereographic projection.

Animation showing how celestial and geographic coordinates are mapped on an astrolabe’s tympan through a stereographic projection. Hypothetical tympan (40° north latitude) of a 16th-century European planispheric astrolabe. Source: Wikimedia Commons

The first wave of Renaissance mapmaking concerned the Geographia itself. As already noted, in the previous episode, the first printed edition with maps appeared in Bologna in 1477. This was closely followed by one produced with copper plate engravings, which appeared in Rome in 1478. An edition with maps printed with woodblocks in Ulm in 1482. Another edition, using the same plates as the 1478 edition appeared in Rome in 1490. Whereas the other fifteenth century edition only contained the twenty-seven maps described by Ptolemaeus in his text, the Ulm edition started a trend, that would continue in later editions, of adding new contemporary maps to the Geographia. These editions of the Geographia represent the advent of the modern atlas, to use an anachronistic term, an, at least nominally, uniform collection of maps with text bound together in book. It would be approximately a century before the first real modern atlas, that of Abraham Ortelius, would be published, but as Elizabeth Eisenstein observed, the European mapmakers first had to catch up with Ptolemaeus. 

These printed edition of the Geographia also illustrate another driving force behind the radical increase in mapmaking during the Renaissance, the invention of the printing press. The invention of the printing press and the development of cooper plate engraving, as well as woodblock printing meant that the multiple reproduction of maps and plans became much easier and also much cheaper. 

Another factor behind the increase in mapmaking was the so-called age of discovery. The Portuguese had been working their way down the coast of Africa throughout the fifteenth century and Bartolomeu Dias (c. 1450–1500) rounded the southern tip of Africa, for the first time in 1488, paving the way for the first trip by a European by an ocean route to India by Vasco da Gama (c. 1460s–1524) in 1497–99. Of course, as every school kid knows “In fourteen hundred and ninety-two, Columbus sailed the ocean blue” or put for formally the Genoese seaman Christopher Columbus (1451–1506) undertook his first voyage to Asia in service of the Spanish Crown in 1492 and accidentally discovered the so-called forth continent, which Martin Waldseemüller (c. 1475–1520) and Matthias Ringmann (c. 1482–1511) incorrectly christened America in 1507, in honour of Amerigo Vespucci (1451–1512), whom they falsely believed to be the discoverer of the new, to Europeans, continent. 

The initial maps produced by the European discovery expedition carried the portolan chart tradition out from the Mediterranean into the Atlantic Ocean, down the coast of Africa and eventually across the Atlantic to the coasts of the newly discovered Americas.

Kunstmann II or Four Finger Map. Dating from the period circa 1502‒6 Source: World Digital Library

Although not really suitable for maps of large areas the tradition of the portolan charts survived well into the seventeenth century. In 1500, Juan de la Cosa (c. 1450–1510) produced a world portolan chart. This is the earliest known map to include a representation of the New World.

Juan de la Cosa world map 1500

The 1508 edition of the Geographia published in Rome was the first edition to include the European voyages of exploration to the New World. The world map drawn by the Flemish mapmaker Johan Ruysch (c. 1460–1533), who had himself sailed to America, includes the north coast of South America and some of the West Indian islands. On the other side it also includes eastern Asia with China indicated by a city marked as Cathaya, however, Japan (Zinpangu) is not included.

Ruysch’s 1507 map of the world. Source: Wikimedia Commons

Ruysch’s map bears a strong resemblance to the Cantarini-Rosselli world map published in Venice or Florence in 1506. Drawn by Giovanni Matteo Conarini (died 1507) and engraved by Francesco Rosselli (1455–died before 1513), which was the earliest known printed map containing the New World. The Ruysch map and the Cantarini-Rosselli probably shared a common source. 

The most famous map showing the newly discovered fourth continent is, of course, the Waldseemüller world map of 1507, which gave America its name.

Universalis Cosmographia, the Waldseemüller wall map dated 1507, depicts America, Africa, Europe, Asia, and the Oceanus Orientalis Indicus separating Asia from the Americas. Source: Wikimedia Commons

Of interest here is the fact that Waldseemüller apparently also published a small, printed globe of his wall map, which is the earliest known printed globe.

Waldseemüller globe gores of 1507 Source: Wikimedia Commons

The age of the modern terrestrial globe was ushered in by the earliest known, surviving manuscript globe produced by Martin Behaim (1549-1507) in 1493. Because he had supposedly taken part on Portuguese expedition along the African coast, he was commissioned, by the city council of Nürnberg, during a visit to the city of his birth,  to produce a globe and a large wall map of the world for the council chamber. The map no longer exists. Behaim’s main source for his maps was Ptolemaeus’ Geographia.

Behaim Globe Germanisches Nationalmuseum Nürnberg

Waldseemüller’s globe had apparently little impact and only four sets of globe gores still exist but none of the finished globes. The person who really set the production of printed globes in motion was the Nürnberger mathematicus Johannes Schöner (1477–1547), who produced his first printed terrestrial globe in 1515, which did much to cement the name America given to the fourth continent by Waldseemüller and Ringmann. Schöner was the owner of the only surviving copy of the Waldseemüller map.

Schöner Terrestrial Globe 1515, Historisches Museum Frankfurt

Like Behaim and Waldseemüller, Schöner’s main source of information was Ptolemaeus’ Geographia, of which he owned a heavily annotated copy, and which like them he supplemented with information from various other sources. In 1517, he also produced a matching, printed celestial globe, establishing the tradition of matching globe pairs that persisted down to the nineteenth century.

Schöner was not the only Nürnberger mathematicus, who produced globes. We know that Georg Hartmann (1489–1564), who acted as Schöner’s globe salesman in Nürnberg, when Schöner was still living in Kirchehrenbach, also manufactured globes, but none of his have survived. Although they weren’t cheap, it seems that Schöner’s globes sold very well, well enough to motivate others to copy them. Both Waldseemüller, with his map, and Schöner, with his globes, published an accompanying cosmographia, a booklet, consisting of instructions for use as well as further geographical and historical information. An innovative printer/publisher in Louvain reprinted Schöner’s cosmographia, Lucullentissima quaedam terrae totius descriptio, and commissioned Gemma Frisius (1508–1555) to make a copy of Schöner’s globe to accompany it. Frisius became a globe maker, as did his one-time student and assistant Gerard Mercator (1512-1594), who went on to become the most successful globe maker in Europe.

Gemma Frisius globe 1536

Both Willem Janszoon Blaeu (1571–1638) and Jodocus Hondius (1563–1612) emulated Mercator’s work establishing the Netherlands as the major European map and globe making centre in the seventeenth century.

Another factor that contributed to the spread of map making in the sixteenth century was the Renaissance development of realism in painting. This was a combination of the invention of linear perspective during the fifteenth century on the one hand and on the other, the development of Naturalism beginning in the late fourteenth century in the Netherlands. During the sixteenth century many notable artists were also map makers and several map makers were also artists. 

Dürer-Stabius world map a rare example of Ptolemaeus’ 3rd projection

It became fashionable during the Renaissance for those in power to sponsor and employ those working in the sciences. This patronage also included map makers. On the one hand this meant employing map makes to make maps as status symbols for potentates to display their magnificence. A good example is the map galleries that Egnatio Danti (1536–1586) was commissioned to create in the Palazzo Vecchio in Florence for Cosimo I de’ Medici and in the Vatican for Pope Gregory XIII.

Source: Fiorani The Marvel of Maps p. 110 Note that the map is up side down!

Similarly, Peter Apian ((1495–1552) was commissioned to produce maps for the Holy Roman Emperor, Charles V

Peter Apian cordiform world map 1530 Source: British Library

His son Philipp (1531–1589) did the same for Duke Albrecht V of Bavaria.

Overview of the 24 woodblock prints of Apian’s map of Bavaria

Another example is Oronce Fine (1494–1555), who made maps for Francis I. The first English atlas created by Christopher Saxton (c. 1540–c. 1610) was commissioned by Thomas Seckford, Master of Ordinary on the instructions of William Cecil, 1stBaron Burghley (1520–1598), Queen Elizabeth’s chief advisor.

Saxton England and Wales proof map Source: British Library

These maps came more and more to serve as aids to administration. The latter usage also led to European rulers commissioning maps of their new overseas possessions. 

Another area that required map making was the changes in this period in the pursuit of warfare. Larger armies, the increased use of artillery, and a quasi-professionalisation of the infantry led to demand for maps for manoeuvres during military campaigns. 

Starting around 1500 mapping took off in Renaissance Europe driven by the various factors that I’ve sketched above, a full account would be much more complex and require a book rather than a blog post. The amount of mapmaking increased steadily over the decades and with it the skill of the mapmakers reaching a first high point towards the end of the century in the atlases of Ortelius, De Jode, and Mercator. The seventeenth century saw the establishment of a major European commercial map and globe making industry dominated by the Dutch map makers, particularly the Houses of Blaeu and Hondius.

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Renaissance Science – XVI

In terms of the books rediscovered from antiquity during the Renaissance one of those that had the biggest impact was Ptolemaeus’ Geōgraphikḕ Hyphḗgēsis, which became known in Latin as either the Geographia or Cosmographia. Claudius Ptolemaeus or (Klaúdios Ptolemaîos in Greek) is a scholar, who had a major impart on the development of the mathematical sciences in the second century CE and then again when his writings were rediscovered in the High Middle Ages during the twelfth century translation movement. He wrote important texts on astronomy, astrology, cosmology, harmony (music), and optics, amongst others. However, we know next to nothing about the man himself, neither his date of birth nor his date of death, nor very much else. He lived and worked in the city of Alexandria and people in the Middle Ages made the mistake of thinking he was a member of the Ptolemaic dynasty that ruled Egypt from 323–30 BCE. There is a possibility that he acquired the name because he came from the town of Ptolemaîos Hermaiou in Upper Egypt.

Three of his books the Mathēmatikē Syntaxis (better known in English as the Almagest) on astronomy, the Tetrabiblos or Apotelesmatiká on astrology and the Geōgraphikḕ Hyphḗgēsis on geography form a sort of trilogy. He says in the introduction of the Tetrabiblos that the study of the science of the stars is divided into two parts. The first, his Mathēmatikē Syntaxis, describes where to find the celestial objects and the second, his Tetrabiblos, explains their influence. The Geōgraphikḕ Hyphḗgēsis is in different ways directly related to both books. It is related to the Mathēmatikē Syntaxis in that both works use a latitude/longitude coordinate system to map their respective realms, the sphere of the earth and the sphere of the heavens. This interconnectedness in reflected in the fact that in Early Modern Europe a cosmographer was somebody, who mapped both the celestial and terrestrial spheres. The Geōgraphikḕ Hyphḗgēsis is in three parts, a theoretical introduction on mapping, a gazetteer of the coordinates of a long list of places and, geographical features, and a collection of maps. Like the Mathēmatikē Syntaxis, the Geōgraphikḕ Hyphḗgēsis built on earlier works in the disciple, most notably that of Marinus of Tyre (c. 70–130 CE). To cast a horoscope in Greek astrology, one needs the coordinates of the place for which the horoscope in being cast, the Geōgraphikḕ Hyphḗgēsisdelivered those coordinates. In antiquity the last known reference to the Geōgraphikḕ Hyphḗgēsis was in the work of Cassiodorus (c. 485–c. 585). 

All three of these books by Ptolemaeus were translated into Arabic by the ninth century. Both the Mathēmatikē Syntaxisand the Tetrabiblos had a major impact in Islamic culture, although both were criticised, changed, improved on in wide ranging commentaries by Islamic scholars. It was here that the Mathēmatikē Syntaxis acquired the name Almagestmeaning the greatest to distinguish it from a shorter, less important astronomical text from Ptolemaeus. Geōgraphikḕ Hyphḗgēsis, however had very little impact on Islamic map making being used almost exclusively in an astrological context.

The Mathēmatikē Syntaxis was translated into Latin three times in the twelfth century. Twice from Arabic once by Abd al-Masīḥ of Winchester and once by Gerard of Cremona (1114–1187) and once directly from Greek in Sicily by an unknown translator. These translations establish Ptolemaic astronomy as the de facto medieval European astronomy. In the twelfth century the Tetrabiblos was also translated from Arabic into Latin by Plato of Trivoli in 1138 and directly from Greek into Latin by William of Moerbeke (c. 1220–c. 1286). Integrated into Christian theology by Albertus Magnus and Thomas Aquinas it dominated European astrology right up to the end of the seventeenth century. 

Unlike the Mathēmatikē Syntaxis and the Tetrabiblos the Geōgraphikḕ Hyphḗgēsis was apparently not translated either from Arabic or Greek during the twelfth century. Giacomo or Jacopo d’Angelo of Scarperia better known in Latin as Jacobus Angelus obtained a Greek manuscript, found in Constantinople that he translated, into Latin in about 1406.

Jacobus Angelus’ Latin translation of Ptolemaeus’ Geographia Early 15th century Source via Wikimedia Commons

Here it obtained the title of Geographia or Cosmographia. There is some discussion or even doubt about how genuine the book is, as the oldest known Greek manuscript only dates back to the thirteenth century.

A Byzantine Greek world map according to Ptolemy’s first (conic) projection. From Codex Vaticanus Urbinas Graecus 82, Constantinople c. 1300. Source: Wikimedia Commons

Despite criticism of the quality of Jacobus Angelus’ translation it proved very popular, and the first printed edition appeared in Venice in 1475. However, it contained no maps. A second edition was printed in Rome in 1478, which contained maps printed from copper engravings. The engravings were begun by Konrad Sweynheym (who together with Arnold Pannartz set up the first printing press in Italy) and were completed by Arnold Buckinck after Sweynheym’s death in 1476. The first edition of Geographia with maps printed using woodcuts was published in Ulm in 1482. Three major printed editions in les than a decade indicate the popularity of the book. 

First page of the 1482 Ulm edition go Gepgraphis Source: Wikimedia Commons

The quality, or rather supposed lack of it, of Jacobus Angelus’ translation led to a series of new translations from the Greek. The Nürnberger mathematicus Johannes Werner (1468–1522)

Artist unknown Source: Wikimedia Commons

published a new translation of the theoretical first section, his In Hoc Opere Haec Continentur Nova Translatio Primi Libri Geographicae Cl Ptolomaei, in Nürnberg in 1514.

Source:

This in turn was heavily criticised by Willibald Pirckheimer (1470–1530) Nürnberger politician, soldier, humanist scholar and friend and patron of Albrecht Dürer.

Willibald Pirckheimer portrait by Dürer Souce: Wikimedia Commons

Pirckheimer, an excellent classist, published his own translation of the entire text in Nürnberg in 1525.

Claudius Ptolemaeus (Greek, Alexandria (?) A.D. 100?–?170 Alexandria (?)) In Claudii Ptolemaei Geographiacae Enarrationis Libri octo., March 30, 1525 German, Willibald Pirckheimer The Metropolitan Museum of Art, New York, Rogers Fund, 1920 (20.83-) Source
Claudius Ptolemaeus (Greek, Alexandria (?) A.D. 100?–?170 Alexandria (?)) In Claudii Ptolemaei Geographiacae Enarrationis Libri octo., March 30, 1525 German, Willibald Pirckheimer The Metropolitan Museum of Art, New York, Rogers Fund, 1920 (20.83-) Source

Earlier in the fifteenth century another Nürnberger, Regiomontanus (1436–1476), had heavily criticised the Angelus translation. In the catalogue that he published when he set up his scientific printing press in Nürnberg. he announced that he intended to produce and print a new edition of the text, but he died too early to fulfil his intention. Pirckheimer included Regiomonatanus’ criticisms in the introduction to his own new translation of the text.

Pirckheimer’s edition formed the basis for the revised and edited edition published by the cosmographer, Sebastian Münster (1488–1552), in 1540 in Basel. Münster published an updated edition with extra illustrations in 1550. Münster’s Geographia was generally regarded as the standard Latin reference text of the work.

Geographiae Claudii Ptolemaei Alexandrini, Philosophi ac Mathematici praestantissimi, Libri VIII, partim à Bilbaldo Pirckheymero . MÜNSTER, Sebastian (1488-1552), ed. Edité par Basel: Heinrich Petri, March 1552 [colophon], 1552
Geographiae Claudii Ptolemaei Alexandrini, Philosophi ac Mathematici praestantissimi, Libri VIII, partim à Bilbaldo Pirckheymero . MÜNSTER, Sebastian (1488-1552), ed. Edité par Basel: Heinrich Petri, March 1552 [colophon], 1552

The Portuguese mathematicus Pedro Nunes (1502–1578), noted for his contributions to the history of navigation, who was appointed Royal Cosmographer in 1529 and Chief Royal Cosmographer in 1547 by King Joāo III o Piedoso,

Image of Portuguese mathematician Pedro Nunes in Panorama magazine (1843); Lisbon, Portugal. Source: Wikimedia Commons

published his Tratado da sphera com a Theorica do Sol e da Lua in Lisbon in 1537. This was a based on a collection of texts and included the first, theoretical, section of Ptolemaeus’ Geographia. To make it more accessible Nunes published it in Latin, Spanish and Portuguese.

There were, naturally, also other vernacular translations of the work published in the sixteenth century, as for example this description of an Italian translation (borrowed from amateur astronomer and book collector, David Kolb, on Facebook):

Here is another one of the gems from my collection. I proudly present Claudius Ptolemy’s “La Geografia di Claudio Tolomeo Alessandrino” that was published in 1574. This volume is an expanded edition of his treatise on geography. Claudius Ptolemy lived in Alexandria during the 2nd century and is better known by astronomers for his astronomical treatise “The Almagest”. This is the third edition of the Italian translation by Girolamo Ruscelli, which was first printed by Vincenzo Valgrisi in Venice, in 1561. This edition is revised and corrected by Giovanni Malombra. The engraved maps, which are enlarged copies of Giacomo Gastaldi’s maps in his Italian edition of Venice, 1548, are generally the same in the Venice 1561, 1562 (Latin), and 1564 editions printed in Venice. Sixty-three of the maps are printed from the same plates as the 1561 edition. The exceptions are the Ptolemaic world map, “Tavola prima universale antica, di tutta la terra conosciura fin’ a’ tempi di Tolomeo,” which is on a revised conical projection, and the additional map “Territorio di Roma duodecima tavola nuova d’Europa” which is new to this edition. The atlas contains 27 Ptolemaic maps and 38 new maps.

The cosmographer Gerard Mercator (1512–1594), famous for introducing the name atlas for a collection of maps, initially intended to publish a large multi-volume work, which he never completed before he died.

Mercator the Frans Hogenberg portrait of 1574 Source: Wikimedia Commons

The first volume was intended to be his Geographia. In 1578 he published his Tabulae geographicae Cl. Ptolemaei ad mentem auctoris restitutis ac emendatis. (Geographic maps according to Claudius Ptolemy, drawn in the spirit of the author and expanded by Gerard Mercator). This was followed by a second edition in 1584 his Geographiae Libri Octo: recogniti iam et diligenter emendati, containing his revised version of Ptolemaeus’ text.

Geographiae Libri Octo :recogniti iam et diligenter emendati cum tabulis geographicis ad mentem auctoris restitutis ac emendatis ; Cum gratia & Priuilegio Sac Caes. Maiestat. Source:

 I hope I have made clear just how important the rediscovery of the Geōgraphikḕ Hyphḗgēsis was in the fifteenth and sixteenth centuries given the number of editions, of which I have only named a few, and the status of the authors, who produced those editions. In the next episode we will examine its impact on the map making in Europe during this period. 

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The seventeenth-century Chinese civil servant from Cologne 

From its very beginnings the Society of Jesus (the Jesuits) was set up as a missionary movement carrying the Catholic Religion to all corners of the world. It also had a very strong educational emphasis in its missions, carrying the knowledge of Europe to foreign lands and cultures and at the same time transmitting the knowledge of those cultures back to Europe. Perhaps the most well-known example of this is the seventeenth-century Jesuit mission to China, which famously in the history of science brought the latest European science to that far away and, for Europeans, exotic land. In fact, the Jesuits used their extensive knowledge of the latest European developments in astronomy to gain access to the, for foreigners, closed Chinese culture.

It was, initially, Christoph Clavius (1538–1612), who by introducing his mathematics programme into the Jesuits more general education system, ensured that the Jesuits were the best purveyors of mathematics in Europe in the early seventeenth century and it was Clavius’ student Matteo Ricci (1552–1610), who first breached the Chinese reserve towards strangers with his knowledge of the mathematical sciences.

The big question is what did the Chinese need the help of western astronomers for and why. Here we meet an interesting historical contradiction for the Jesuits. Unlike most people in the late sixteenth century and early seventeenth century, the Jesuits did not believe in or practice astrology. One should not forget that both Kepler and Galileo amongst many others were practicing astrologers. The Chinese were, however, very much practitioners of astrology at all levels and it was here that they found the assistance of the Jesuits desirable. The Chines calendar fulfilled important ritual and astrological functions, in particular the prediction of solar and lunar eclipses for which the emperor was personally responsible, and it had to be recalculated at the ascension to the throne of every new emperor. There was even an Imperial Astronomical Institute to carry out this task.

Although the Chinese had been practicing astronomy longer than the Europeans and, over the millennia, had developed a very sophisticated astronomy, in the centuries before the arrival of the Jesuits that knowledge had fallen somewhat into decay and had by that point not advanced as far as that of the Europeans. Before the arrival of the Jesuits, the Chinese had employed Muslim astronomers to aid them in this work, so the principle of employing foreigners for astronomical work had already been established. Through his work, Ricci had convinced the Chinese of his superior astronomical knowledge and abilities and thus established a bridgehead into the highest levels of Chinese society.

The man, who, for the Jesuits, made the greatest contribution to calendrical calculation in seventeenth century was the, splendidly named, Johann Adam Schall von Bell (1591–1666). Born, probably in Cologne, into a well-established aristocratic family, who trace their roots back to the twelfth century, Johann Adam was the second son of Heinrich Degenhard Schall von Bell zu Lüftelberg and his fourth wife Maria Scheiffart von Merode zu Weilerswist. He was initially educated at the Jesuit Tricoronatum Gymnasium in Cologne and then in 1607 sent to Rome to the Jesuit run seminary Pontificium Collegium Germanicum et Hungaricum de Urbe, where he concentrated on the study of mathematics and astronomy. It is thought that his parents sent him to Rome to complete his studies because of an outbreak of the plague in Cologne. In 1611 he joined the Jesuits and moved to the Collegio Romano, where he became a student of Christoph Grienberger

A portrait of German Jesuit Johann Adam Schall von Bell (1592–1666), Hand-colored engraving, artist unknown Source: Wikimedia Commons

He applied to take part in the Jesuit mission to China and in 1618 set sail for the East from Lisbon. He would almost certainly on his way to Lisbon have spent time at the Jesuit College in Coimbra, where the missionaries heading out to the Far East were prepared for their mission. Here he would probably have received instruction in the grinding of lenses and the construction of telescopes from Giovanni Paolo Lembo (c. 1570–1618), who taught these courses to future missionaries.

Schall von Bell set sail on 17 April 1618 in a group under the supervision of Dutch Jesuit Nicolas Trigault (1577–1628), Procurator of the Order’s Province of Japan and China.

Nicolas Trigault in Chinese costume, by Peter Paul Rubens, the Metropolitan Museum of Art Source: Wikimedia Commons
De Christiana expeditione apud Sinas, by Nicolas Trigault and Matteo Ricci, Augsburg, 1615. Source: Wikimedia Commons

Apart from Schall von Bell the group included the German, polymath Johannes Schreck (1576–1630), friend of Galileo and onetime member of the Accademia dei Lincei, and the Italian Giacomo Rho (1592–1638). They reached the Jesuit station in Goa 4 October 1618 and proceeded from there to Macau where they arrived on 22 July 1619. Here, the group were forced to wait four years, as the Jesuits had just been expelled from China. They spent to time leaning Chinese and literally fighting off an attempt by the Dutch to conquer Macau. 

In 1623 Schall von Bell and the others finally reached Peking. In 1628 Johann Schreck began work on a calendar reform for the Chinese. To aid his efforts Johannes Kepler sent a copy of the Rudolphine Tables to Peking in 1627. From 1627 to 1630 Schall von Bell worked as a pastor but when Schreck died he and Giacomo Rho were called back to Peking to take up the work on the calendar and Schall von Bell began what would become his life’s work.

He must first translate Latin textbooks into Chinese, establish a school for astronomical calculations and modernise astronomical instruments. In 1634 he constructed the first Galilean telescope in China, also writing a book in Chinese on the instrument. In 1635 he published his revised and modernised calendar, which still exists. 

Text on the utilisation and production of the telescope by Tang Ruowang (Chinese name of Johann Adam Schall von Bell) Source: Wikimedia Commons
Galilean telescope from Schall von Bell’s Chinese book Source: Wikimedia Commons

Scall von Bell used his influence to gain permission to build Catholic churches and establish Chinese Christian communities. This was actually the real aim of his work. He used his knowledge of mathematics and astronomy to win the trust of the Chinese authorities in order to be able to propagate his Christian mission.

In 1640 he produced a Chinese translation of Agricola’s De re metallica, which he presented to the Imperial Court. He followed this on a practical level by supervising the manufacture of a hundred cannons for the emperor. In 1644, the emperor appointed him President of the Imperial Astronomical Institute following a series of accurate astronomical prognostication. From 1651 to 1661 he was a personal advisor to the young Manchurian Emperor Shunzhi (1638–1661), who promoted Schall von Bell to Mandarin 1st class and 1st grade, the highest level of civil servant in the Chinese system.

Johann Adam Schall von Bell and Shunzhi Emperor Source: Wikimedia Commons

Following the death of Shunzhi, he initially retained his appointments and titles, which caused problems for him in Rome following a visitation in Peking by the Dominicans. The Vatican ruled that Jesuits should not take on mundane appointments. In 1664 Schall von Bell suffered a stroke, which left him vulnerable to attack from his rivals at court. He was accused of having provoked Shunzhi’s concubine’s death through having falsely calculated the place and time for the funeral of one of Shunzhi’s sons. 

The charges, that included other Jesuits, were high treason, membership of a religious order not compatible with right order and the spread of false astronomical teachings. Schall von Bell was imprisoned over the winter 1665/66 and Jesuits in Peking, who had not been charged were banned to Kanton. He was found guilty on 15 April 1665 and sentenced to be executed by Lingchi, death by a thousand cuts. However, according to legend, there was an earthquake shortly before the execution date and the judge interpreted it as a sign from the gods the Schall von Bell was innocent. On 15 May 1665 Schall von Bell was released from prison on the order of the Emperor Kangxi (1654–1722). He died 15 August 1666 and was rehabilitated by Kangxi, who ensured that he received a prominent gravestone that still exists. 

Jesuit astronomers with Kangxi Emperor by Philippe Behagle French tapestry weaver, 1641 – 1705 Source: Wikimedia Commons

Schall von Bell was represented at his trial by Flemish Jesuit Ferdinand Verbiest (1623–1688), who would later take up Schall von Bell’s work on the Chinese calendar but that’s a story for another day. Schall von Bell reached the highest ever level for a foreigner in the Chinese system of government but in the history of science it is his contributions to the modernisation of Chinese astronomy and engineering that are most important. 

Jesuit Mission to China, left to right Top: Matteo Ricci, Johann Adam Schall von Bell, Ferdinand Verbiest Artist: Jean-Baptiste Du Halde (1674 – 1743) French Jesuit historian Source: Wikimedia Commons

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The Renaissance Mathematicus tries his luck as YouTube Influencer

Some time back I had a late-night chat with medieval historian Tim O’Neill about all things Galileo Galilei; late night for me that is, early morning for him. Unbeknown to me the sneaky Aussie bugger recorded my ruminations on the Tuscan mathematicus; they’re like that those antipodeans, duplicitous. Now he’s gone and posted the whole affair on YouTube, for all the world to see.

 I may have to have plastic surgery and move to an unknown destination in South America.

However, if you have a strong stomach and like to watch train wrecks or are just curious what the Renaissance Mathematicus looks like in real life, then you can find the whole horrible mess on Tim’s History for Atheists YouTube channel in three obscenely long parts:

The Galileo Affair Part 1 

The Galileo Affair Part 2 

The Galileo Affair Part 3  

 Who knows, if enough people can be fooled into watching it, I might become the next Paris Hilton! 

WARNING: Not suitable for children or viewers with high moral standards: Expletives not deleted!

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Renaissance Science – XV

Vitruvius’ De architectura was by no means the only book rediscovered from antiquity that dealt with the construction and use of machines and the Renaissance artist-engineers were also not the only authors producing new texts on machines. In this episode of our series, we are going to look at another stream of writings that led to some of the most impressive publications on machines ever produced.

Ancient books, in Europe, on machines do not begin with Vitruvius, who actually comes quite late in the development of this type of literature. There are several known authors from ancient Greece, whose works did not survive but who are mentioned and even quoted by later authors such as Vitruvius and Pliny. Polyidus of Thessaly, who is mentioned by Vitruvius, served under Philip II of Macedonia in the fourth century BCE. He is credited with the development of covered battering rams and a giant siege tower (helepolis) by Byzantium in 340 BCE.  His students Diades of Pella and Charias, both also mentioned by Vitruvius, served under Philip’s son Alexander the Great. 

In Alexandria the earliest known author was Ctesibius, who invented a wide range of machines, which he described in his Commentaries, now lost but known to both Vitruvius and Hero of Alexandria. Much better know is a contemporary of Ctesibius, Philo of Byzantium (c. 280–c. 220 BCE), also known as Philo Mechanicus, who lived and worked in Alexandria. He wrote a major work in nine books covering mathematics, general mechanics, harbour building, artillery, pneumatic machines, mechanical toys, siege engines, siege craft, and cryptography. His work on artillery and siege craft survived in Greek as did fragments of his books on mathematics and mechanical toys but were first translated in the 19th century. Parts of his book on pneumatics, however, survived in a Latin translation, De ingeniis spiritualibus, from an Arabic manuscript. It can however be assumed that his works were well known to and influenced other authors later in antiquity.

We have already met Vitruvius the most well-known author on things mechanical during the Roman Empire and had a brief reference to Athenaeus Mechanicus (fl. mid first century BCE). Athenaeus, a Greek living in Rome, wrote a book on siege craft titled On Machines, which cites both Diades of Pella and Philo of Byzantium, as sources. Much of his book parallels that of Vitruvius implying the use of common sources.

In the middle of the first century CE, we meet Hero of Alexandria, whose exact dates are unknown, perhaps the most well-known Greek engineer of Antiquity, who exercised a similar influence in the Renaissance to Vitruvius. Works that are attributed with certainty are Pneumatica (on pneumatics), AutomataMechanica (written for architects and only preserved in Arabic), Metrica (measuring areas and volumes), On the DioptraBelopoeica (war machines), and Catoptrica (the science of reflected lights). His Belopoeica is attributed to Ctesibius. The Metrica first reappeared in the nineteenth century and the Mechanica was unknown in Europe. However, the Pneumatica, the Automata, and the Belopoeica were translated from Greek into Latin and printed and published in the sixteenth century.

The book About automata by Hero of Alexandria (1589 edition) Source: Wikimedia Commons

Hero was the last of the technical authors of antiquity but the later authors such as Pliny the Elder (23/24–79 CE) or Pappus of Alexander (c. 290–c. 350 CE) reference authors such as Vitruvius and Hero.

Before moving forward to the Renaissance, we need to take a brief look at the developments in the Islamic Empire. In the ninth century the translators the Bana Musa, three Persian brother, Ahmad, Muhammad, and Hasan bin Musa ibn Shakir, published a large, illustrated work on machines the Book of Ingenious Devices in 850 CE. It drew on the work of Hero of Alexandria and Philo of Byzantium as well Persian, Chinese, and Indian engineering. It was translated into Latin by Gerard of Cremona in the thirteenth century.

Original illustration of a self trimming lamp discussed in the treatise on Mechanical Devices of Ahmad ibn Musa ibn Shakir. Drawing can be found in the “Granger Collection” located in New York. Source: Wikimedia Commons

In the twelfth century Badīʿ az-Zaman Abu l-ʿIzz ibn Ismāʿīl ibn ar-Razāz al-Jazarī (1136–1206) wrote his The Book of Knowledge of Ingenious Mechanical Devices. Truly spectacular, it contains descriptions of fifty complex machines and was the most advanced such book produced up till this time, but it was never translated into Latin and so had no influence in the Renaissance.

Diagram of a hydropowered perpetual flute from The Book of Knowledge of Ingenious Mechanical Devices by Al-Jazari in 1206. Source: Wikimedia Commons

It should be noticed that in antiquity texts on machines had an emphasis on war machines. During the fifteenth century the first texts on machines were also on war machines and were written by physicians and not artisans. Konrad Kyeser (1366–1405) wrote a book on military engineering, Bellifortis, dedicated to the Holy Roman Emperor Ruprecht III, who ruled from 1400–1410.

Konrad Kyeser, illustration on his Bellifortis manuscript (Cod. Ms. philos. 63) Source: Wikimedia Commons
War wagon (Clm 30150 manuscript) Source: Wikimerdia Commons

Giovanni Fontana (c. 1395–c. 1455), who like Kyeser studied medicine at the University of Padua, also wrote a book on military engineering, Bellicorum instrumentorum liber.

Illustration from Bellicorum instrumentorum liber, Venice c. 1420 – 1430 Source: Wikimedia Commons

In Germany in the fifteenth century there were several books on military engineering written in the vernacular as well as a German translation of Kyeser’s Bellifortis. The author of the Feuerwerksbuch from 1420 is not known. Martin Mercz (c. 1425–1501), a gunner, also wrote a Feuerwerksbuch around 1473. Philipp Mönch wrote a Kriegsbuch in 1496

The texts produced by the Renaissance artist-engineers that we looked at in the last episode, whilst distributed in manuscript, were never issued as printed books, as was the case with most of the fifteenth century books of military engineering. The introduction of printing to the genre of machine texts had a major impact. One book on military engineering that was printed and published was the Elenchus et index rerum militarium by the humanist scholar Roberto Valturio (1405–1475), a compendium of ancient authorities with an emphasis on the technological aspects of warfare.

The author’s preface to the treatise „De re militari“ in the manuscript Paris, Bibliothèque nationale de France, Lat. 7237, fol. 1r. Source: Wikimedia Commons

It was written for and dedicated to Sigismund Malatesta of Rimini (1471-1468), a successful military leader but also a humanist poet, originally between 1455 and 1460 and distributed widely in manuscript but was published in Verona in 1472. It went through many printed editions and translations. Leonardo da Vinci was known to have owned a copy.

Illustration from De re militari by Robertus Valturius Source: Wikimedia Commons

Two printed books in particular set new standards for books on machines and engineering, the Pirotechnia of Vannoccio Biringuccio (1480–died before1539) published posthumously by Curtio Navo in Venice in 1540

and De re metallica by Georgius Agricola (1494–1555) also published posthumously by Froben in Basel in 1556.

Both books deal with mining, the extraction of metallic ores and the working of metal smelted from the ores. Both are lavishly illustrated with the drawings in Agricola’s book being of a much higher standard than those in Biringuccio’s book. 

I have dealt with both books and their authors in earlier posts (see links above) and so won’t go into great detail here but in these two books with have an excellent example of the crossover between the world of the university educated theoretician and the artisan on artisanal topics. Agricola is a university educated physician writing theoretically about a group of related artisanal topics, whereas Biringuccio is an experienced artisan writing a theoretical book about his artisanal trades. 

The late sixteenth century saw the birth of a new book genre, the machine book. These were books of diagrams of machines with brief descriptions, usual presented by the author to a powerful patron. The main ones were very popular and went through several editions or reprints. These books often contained not only machines designed by the authors, but their presentations of machines drawn from other sources. Many of these studies were almost certainly not intended as serious designs to be built but were rather ingenious studies designed to impress rich patrons, in the nature of the futuristic design studies that car companies present at car shows. This also, almost certainly, applies to many of the designs to be found in the manuscripts of Leonardo da Vinci.

The earliest of the machine books by the French Protestant, inventor and mathematician, Jacques Besson (1540? – 1573). He said that he was born in Colombières near Briançon in the Alps on the south-eastern border of France, now in Italy. In the 1550s he taught mathematics in Paris and was working as a hydraulic engineer in Lausanne, Switzerland. In 1559 he published a book in Zurich and in 1561 he was awarded citizenship in Geneva as a science and mathematics teacher. In 1562 he was a pastor in Villeneuve-de-Berg in France but 1565 finds him back in Paris where he published his La Cosmolabe, a multiple instrument based on the astrolabe designed for use in navigation, surveying, cartography, and astronomy. 

Cosmolabe by Jacques Besson Source: Wikimedia Commons

In 1569 in Orléans he presented a draft of his new volume Theatrum Instrumentorum (giving the machine book genre the alternative name of Theatre of Machines) to Charles IX, as a result returning to Paris as Master of the Kings Machines. The Theatrum Instrumentorum, containing sixty plates, was printed and published in 1571-2.

In Besson case his book only contains machines that he claimed to have invented himself. Following the St Bartholomew’s Day Massacre in 1572 Besson fled to London where he died in the following year. 

In 1572, our next machine book author, Agostino Ramelli (1531–c. 1610) a Catholic military engineer, was involved in the siege of the Protestant stronghold, La Rochelle.

Agostino Ramelli author portrait Source: Wikimedia Commons

Very little is known about Ramelli other than that he was born in Ponte Tresa on Lake Lugano on the border between Switzerland and the Duchy of Milan. He seems to have served most of his early life as a military engineer and comes to prominence at La Rochelle, because he was wounded and taken prisoner. Henry, Duke of Anjou, arranged his release and when Henry became King of France in 1575, he apparently appointed Ramelli royal engineer, as he styled himself in the preface to his book, engineer of the most Christian King of France. 

In 1588 he self-published his Diverse Et Artificiose Machine, the book, the largest of the genre, contains one hundred and ninety-five plates, printed from high quality engraved copper plates.  The majority of the machines are hydraulic engines. Unlike Bresson, who included no war machines in his book, about one third of Ramelli’s book consists of war machines. 

Title: Complex machine using water-wheel, bellows, and turbine action Abstract/medium: 1 print : engraving.Source: Wikimedia Commons
Depiction of sixteenth century cannon placements from Le diverse et artificiose machine del capitano Agostino Ramelli, page 708 of 720 Source: Wikimedia Commons

Ramelli is certainly today the most well known of the machine book authors because his book-wheel has become an iconic image on social media. Due to the lavish quality of the illustrations Ramelli’s book became an instant coffee table book, which was probably his intention, and is still in print today.

Ramelli Book-Wheel Source: Wikimedia Commons

We know very little about Bresson and even less about Ramelli, but in the case of the third author of a major machine book, Vittorio Zonca (1568–1603), we know next to nothing. His book, Novo Teatro di Machine et Edificii, was published posthumously by Francesco Bertelli in Padua in 1607. Bertelli appears not to have known Zonca but describes him as a Paduan architect. Like the books of Bresson and Ramelli. Zonca’s volume went through several edition. 

Title page Source: Wikimedia Commons
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Interestingly the German, Jesuit polymath, Johann Schreck (1576–1630), one time member of the Accademia dei Lincei and friend of Galileo,  published a book in Chinese in 1627, based on Zonca’s book and incorporating plates from Bresson and Ramelli titled, Diagrams and explanations of the wonderful machines of the Far West (abridged Chinese title, Qí qì túshuō).

a description of a windlass well, in Agostino Ramelli, 1588. Source: Wikimedia Commons

 

Description of a windlass well, in Diagrams and explanations of the wonderful machines of the Far West, 1627. Source: Wikimedia Commons
Original Pompeo Targone field mill in Zonca’s treatise of 1607. Source: Wikimedia Commons
Chinese adaptation of the field mill in Diagrams and explanations of the wonderful machines of the Far West, 1627. Source: Wikimedia Commons

The German architect and engineer, Heinrich Zeising (died 1610 or earlier) compiled the first German machine book borrowing heavily from the works of Walther Hermann Ryff’s German edition of Vitruvius, Besson, Ramelli, Zonca, Gerolamo Cardano, and others This was published as Theatrum Machinarum in six parts by Henning Grosse in Leipzig between 1607 and 1614. In the foreword to the second part in 1610, Grosse informed the reader that Zeising was deceased .

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The Bishop of Czanad in Hungary, Fautus Verantius (c. 1551–1617), in his retirement, published a multilingual machine book, Machinae Novae, in 1616. It had 49 plates containing 55 machines, described in Latin and Italian in one variant and in Latin, Italian, Spanish, French, and German in another. There exists the possibility that Verantius saw and was influenced by Leonardo’s manuscripts.

 

Portrait of Fausto Veranzio, (Šibenik (Sebenico) circa 1551 – Venice, January 17, 1617) Source: Wikimedia Commons
Drawing of suspension cable-stayed bridge by Fausto Veranzio in his Machinae Novae Source: Wikimedia Commons

In 1617 Octavio Strada published an encyclopaedic collection of machine drawings supposedly complied by his grandfather Jacopo Strada (1517–1588)–courtier, painter, architect, goldsmith, and numismatist–under the title La premiere partie des Desseins Artificiaux in Frankfurt, about which very little in known. 

STRADA, Jacobus de (c.1523-1588) and Octavius de STRADA. Desseins Artificiaulx de Toutes Sortes des Moulins a Vent, a l’Eau, a Cheval & a la Main. Frankfurt: Paul Jacobi, 1618. Source:

The Italian engineer and architect, Giovanni Branca (1571–1645) dedicated a collection of illustrations of mechanical inventions to the governor of Loreto Ancona, which he then published as a book Le machine in 1629. The book contains 63 illustrations with descriptions in Latin and Italian, but whereas the books of Bresson and Ramelli are large format volumes with lavish copper plate engravings, Branca’s book is a small octavo volume illustrated with simple woodcuts.

Title page
Branca Le Machine

In the relatively brief period covering the last quarter of the sixteenth century and the first quarter of the seventeenth century, the Renaissance Theatre of Machines books, as they became known after the first one from Jacques Besson, were very popular. Although they continued to be reprinted throughout the seventeenth century their time was over and literature over technology moved on into different formats. This is one of the signs that Renaissance science did indeed peter out in the middle of the seventeenth century.

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Renaissance Science – XIV

In the previous episode we saw how the Renaissance rediscovery of Vitruvius’ De architectura influenced the development of architecture during the Renaissance and dissolved the boundary between the intellectual theoreticians and the practical artisans. However, as stated there Vitruvius was not just an architect, but was also an engineer and his Book X deals quite extensively with machines both civil and military. This had a massive influence on a new type of artisan the Renaissance artist-engineer and it is to these that we now turn our attention. 

Artist-engineers were very much a Northern Italian Renaissance phenomenon, but even earlier artists had been categorised as craftsmen or artisans and not as artists as we would understand the term. The occupation of artist-engineer was very much influenced by the popularity of Vitruvius’ De architectura. The most well-known Renaissance artist engineer is, of course, Leonardo da Vinci (1452–1519), but he was by no means unique, as he is often presented in popular accounts, but he stood at the end of a line of other artist-engineers, who are known to have influenced him. Here I will deal principally with those artisan artist-engineers, who dissolved the boundary between practice and theory by witing and circulating treatises on their work.

At the beginning of the line were the Florentine rival, goldsmiths Lorenzo Ghiberti (1378–1455) and Filippo Brunelleschi (1377–1446). In 1401 there was a competition to design the first set of new doors for the Florence Baptistery. Ghiberti and Brunelleschi were two of the seven artists on the short list. Ghiberti won the commission and set up a major engineering workshop to carry out the work. 

It took Ghiberti twenty-one years to complete the first set of doors featuring twenty New Testament Bible scenes, the four evangelists and four of the Church Fathers, but once finished they established his reputation, as a great Renaissance artist. In 1425 he was awarded a second commission for another set of doors, these featuring ten Old Testament scenes in realistic perspective presentation took another twenty-seven years. The second set of doors included portraits of both Ghiberti and his father Bartolomeo Ghiberti. 

Ghiberti self portrait from his second set of doors (modern copy Source: Wikimedia Commons

We don’t need to go into any great detail here about the doors or the other commissions that Ghiberti’s workshop finished.

Ghiberti’s second set of doors, known as the Gates of Paradise (modern copy) Source: Wikimedia Commons

What is much more relevant to our theme is his activities as an author. Although he was the artisan son of an artisan father, Ghiberti crossed the medieval boundary between theory and practice with his Commentarii, a thesis on the history of art, written in Italian. He drew on various sources from antiquity including the first century BCE illustrated Greek text on machines by Athenaeus Mechanicus and Pliny’s Naturalis Historia, a text much discussed by the Renaissance Humanists, but his major source was Vitruvius’ De architectura. Ghiberti died without finishing his Commentarii and it was never published. However, many important Renaissance artist, such as Donatello and Paolo Uccello, served their apprenticeships in his workshop, so his influence on future generations was very large.

One probable graduate of Ghiberti’s workshop was Antonio Averlino (c. 1400–c. 1469) known as Filarete, a sculptor and architect. 



Filarete, Self-portrait medal, obverse, c. 1460, bronze. London, V & A

 Between 1461 and 1464, he wrote a vernacular volume on architecture in twenty-five books, his illustrated Trattato di Architettura, which circulated widely in manuscript. Central to his theory of architecture was the Vitruvian ideal of practice combined with theory. The most significant part of his book was his design for Sforzinda an ideal city named after his patron Francesco Sforza (1401–1466). This was the first of several ideal cities, which became a feature of the Renaissance. It is thought that his inspiration came from the works of Plato and his knowledge of this came from his friend at the Sforza court, the humanist scholar and philologist Francesco da Tolentino (1398–1481) known as Filelfo. Once again, we have, as in the last episode, a cooperation across the old boundaries between a scholar and an artisan.

Filarete Sforzinda

Filippo Brunelleschi poses a different problem. Like Ghiberti trained as a goldsmith, he went on to become the epitome of a Renaissance Vitruvian architect. However, there is no direct evidence that connects him with De architectura or its author. There is no direct evidence that connects him with anything except for the products of his life’s work, most notably the dome of the Santa Maria del Fiori cathedral in Florence. He is also renowned as the inventor or discoverer of the mathematical principles of linear perspective, as explained in episode seven of this series. This links him indirectly to Vitruvius, as some authors insist that he only rediscovered linear perspective, quoting Book 7 of De architectura, where Vitruvius describes the use of some form of perspective on the ancient Greek theatre flats. 

Filippo Brunelleschi in an anonymous portrait of the 2nd half of the 15th century (Louvre, Paris) Source: Wikimedia Commons

More importantly, Brunelleschi, as an architect, not only designed and supervised the construction of the buildings that he was commissioned to build but also devised and constructed the machines that he needed on his building sites to facilitate those constructions. For his work on the Santa Maria dome, for example he designed a crane to lift the building materials up to the top of the cathedral.

Brunelleschi’s revolving crane

A drawing of that crane can be found in Leonardo’s manuscripts. He was also granted a patent by the ruling council of Florence for the design of a ship to transport heavy loads of stone on rivers and canals.

Reproduction of Brunelleschi’s patent boat Source: Wikimedia Commons

Brunelleschi was also like, Vitruvius, a successful hydraulic engineer. It is hard to believe that he wasn’t influenced by De architectura.

There is no doubt about the Vitruvian influence of our next artist-engineer, Mariano di Jacopo (1382–c. 1453) known as Taccola (the jackdaw), who, as I explained in an earlier post on that Renaissance iconic figure, included a Vitruvian Man in his drawings. Taccola, who is known to have worked as a sculptor, superintendent of roads and hydraulic engineer, was from Sienna. He met and talked with Brunelleschi, one of the few people known to have done so. 

Taccola produced two annotated manuscripts the four books of De ingeneis, written between 1419 and 1433, and De machnis issued in 1449, which was partially an improved version of his De ingeneis.


ResearchGate
Jacopo Mariano Taccola, De ingeneis, Book I. Codex Latinus 197,..

Both manuscripts contain numerous illustrations of machines for hydraulic engineering, milling (and mills were one of the most important types of machines in medieval and Renaissance culture), construction and military machinery, all topics covered by Vitruvius.

First European depiction of a piston pump by Taccola, c.1450 Source: Wikimedia Commons

His manuscripts also some of Brunelleschi’s construction machines. Taccola is in one sense a transitional figure as his representations, of three-dimensional machines, often use medieval drawing conventions rather than Brunelleschi’s recently discovered linear perspective. 

Taccola’s works were never printed but copies of his manuscripts are known to have circulated widely during his lifetime and to have been highly influential. After his death his influence waned as his work was superceded by the more advance work of Francesco di Giorgio Martini and Leonardo da Vinci both of whom were heavily influenced by Taccola.

Francesco di Giorgio Martini (1439–1501) was, like Taccola, from Siena and was an architect, engineer, painter, sculptor, and writer.

His Vitruvian influence is very obvious in his work, as also the influence of Taccola. Francesco worked for much of his life on an Italian translation of Vitruvius’ De architectura, which he never published. Like Filarete he wrote an architectural treatise Trattato di archtettura, ingegneria e arte militare, worked on over decades and finished sometime after 1482. Many of his machines are taken from Taccola’s manuscripts. As can be seen from the title, it continues the Vitruvian tradition. Like Filarete’s volume it contains a design for an ideal town. Probably inspired by Sulpizio’s first printed edition of De architectura and Alberti’s De re aedificatoria, he produced a new edition of his own book known as Trattato II. 

Edificij et machine, Martini, Francesco di Giorgio, 1439-1501, brown ink and wash, ca. 1475-ca. 1480, The volume comprises 103 drawings by Francesco di Giorgio Martini and his assistants, featuring machines and devices for lifting columns and other heavy weights, schemes for transporting water, and mechanisms for milling and moving boats. There are also a few drawings showing how people could walk or float on water standing on inflatable containers and using an oar to propel themselves. PUBLICATIONxINxGERxSUIxAUTxONLY Copyright: LCD2_180906_23583

Both Taccola and Francesco are known to have influenced the most famous of the Renaissance artist-engineers, Leonardo da Vinci. As well as the obvious direct influence of Vitruvius, many of the machines illustrated in Leonardo’s manuscripts are taken from the work of Brunelleschi, Taccola and Francesco di Giorgio. As an apprentice, Leonardo had worked on the final phase of Brunelleschi’s dome for the Santa Maria Cathedral, and he took the opportunity to study Brunelleschi’s building site machines and scaffolding. He owned copies of the manuscripts of both Taccola and Francesco, the latter of which he annotated heavily. Leonardo, as is well known, wrote reams of annotated manuscripts on his machines but never published any of them.

Watter wheel, just one of Leonardo’s hundreds of drawings of machines Source

All of the artist-engineers that I have briefly sketched here are examples of artisans who crossed over or better dissolved the boundaries between theoretical and practical knowledge. They are also, so to speak, the stars of a much larger and widespread group of Renaissance artist-engineers, whose influence spread throughout the Renaissance, changing and elevating the status of the skilled artisan.  

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