Sachiko Kusukawa

Because of their spectacular, naturalistic pictures of plants and the human body, Leonhart Fuchs’s De historia stirpium and Andreas Vesalius’s De humani corporis fabrica are landmark publications in the history of the printed book. But as Picturing the Book of Nature makes clear, they do more than bear witness to the development of book publishing during the Renaissance and to the prominence attained by the fields of medical botany and anatomy in European medicine. Sachiko Kusukawa examines these texts, as well as Conrad Gessner’s unpublished Historia plantarum, and demonstrates how their illustrations were integral to the emergence of a new type of argument during this period—a visual argument for the scientific study of nature. To set the stage, Kusukawa begins with a survey of the technical, financial, artistic, and political conditions that governed the production of printed books during the Renaissance. It was during the first half of the sixteenth century that learned authors began using images in their research and writing, but because the technology was so new, there was a great deal of variety of thought—and often disagreement—about exactly what images could do: how they should be used, what degree of authority should be attributed to them, which graphic elements were bearers of that authority, and what sorts of truths images could and did encode. Kusukawa investigates the works of Fuchs, Gessner, and Vesalius in light of these debates, scrutinizing the scientists’ treatment of illustrations and tracing their motivation for including them in their works. What results is a fascinating and original study of the visual dimension of scientific knowledge in the sixteenth century.

Image, Text, and Argument in Sixteenth-Century Human Anatomy and Medical Botany

Picturing the Book of Nature

Sven Dupré

Karin Leonhard

Tawrin Baker

Many challenges hinder the historical study of early modern color. These essays offer a way forward through the category of ‘color worlds’—constituted by practices, concepts and objects—and examine the emergence of the languages and objects used to communicate between them.

Early Modern Color Worlds

Ian Maclean

The period between the fifteenth and the middle of the seventeenth centuries saw a great many changes and innovations in scientific thinking. These were communicated to various publics in diverse ways; not only through discursive prose and formal notations, but also in the form of instruments and images accompanying texts. The collected essays of this volume examine the modes of transmission of this knowledge in a variety of contexts. The schematic representation of instruments is examined in the case of the 'navicula' (a versatile version of a sundial) and the 'squadro' (a surveying instrument); the new forms of illustration of plants and the human body are investigated through the work of Fuchs and Vesalius; theories of optics and of matter are discussed in relation to the illustrations which accompany the texts of Ausonio and Descartes. The different diagrammatic strategies adopted to explain the complex medical theory of the latitude of health are charted through the work of medieval and sixteenth-century physicians; Kepler's use of illustration in his handbook of cosmology is placed in the context of book production and Copernican propaganda. The conception of astronomical instruments as either calculating devices or as cosmological models is examined in the case of Tycho Brahe and others. A study is devoted to the multiple functions of frontispieces and to the various readerships for which they were conceived. The papers in the volume are all based on new research, and they constitute together a coherent and convergent set of case studies which demonstrate the vitality and inventiveness of early modern natural philosophers, and their awareness of the media available to them for transmitting knowledge.

Words, Images, and Instruments in Early Modern Europe

Transmitting Knowledge

Gregor Reisch's The Philosophical pearl (Margarita Philosophica), first published in 1503 and republished 11 times in the sixteenth century, was the first extensive printed text which discussed the disciplines taught at university to achieve widespread dissemination. This distinguishes it from printed editions of individual texts of Aristotle and other authorities. It is presented as a dialogue between master and pupil, covering the seven liberal arts, natural philosophy and moral philosophy, and with illustrations throughout. It has received remarkably little attention in its own right as a work of education which helped shape the world view of sixteenth-century educated men. Its author was a Carthusian monk. This volume presents an edited translation and an extensive introduction, of the four books which deal with natural philosophy - the predecessor of modern science. These books clearly show the extent to which for Reisch the study of nature was still primarily undertaken for Christian ends. Not only was nature studied as God's creation, but the study of the soul (a central part of natural philosophy pursued on Aristotelian lines) and its fate was here completely integrated with the salvation or damnation of the individual Christian, as taught in the Bible and by the church fathers, especially Augustine. Natural philosophy for Reisch was a discipline which was as concerned with God and the Bible as it was with Nature and Aristotle.

Sachiko Kusukawa

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