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First Published:  April 2004
Revised (substantive):  10 September 2014

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A Note on fair use of visual and verbal content in the She-philosopher.com Gallery: She-philosopher.com GALLERY facsimiles and exhibits are not to be used for any purpose other than individual and/or group study, scholarship, and research, in accord with the Fair Use provisions of U.S. copyright law. Suggested citation formats are given on the Conditions of Use page.

She-philosopher.com Gallery images are organized by posting date, with new items added at the end of the Catalog. The multi-page HTML Catalog is supplemented by a separate Subject Index on the top-level Gallery page, with a summary list of subject index Categories here. Click/tap on any image thumbnail in the Gallery Catalog to access the exhibit in which it is included.

She-philosopher.com GALLERY CATALOG pages:
PAGE 1  (Cat. Nos. 1–20)  |  PAGE 2  (Cat. Nos. 21–40)  |  PAGE 3  (Cat. Nos. 41–60)  |
PAGE 4  (Cat. Nos. 61–80)  |  PAGE 5  (Cat. Nos. 81–100)  |  PAGE 6  (Cat. Nos. 101–120) |
PAGE 7  (Cat. Nos. 121–140) |  PAGE 8  (Cat. Nos. 141–160)

 

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CAT. 1.  Athanasius Kircher (1602–1680). Engraved title-page for Tomus II (books 6–12) of Kircher’s Ars Magna Sciendi [The Great Art of Knowledge]. 1669.
     Facsimile of printed image in Artis magnæ combinatoriæ tomus II. Paradigmaticus. Quo omnes scientiæ, variis propositis, per artis regulas & canones ad praxin exponunter & demonstantur. Amstelodami: Apud Joannem Janssonium à Waesberge & Viduam Elizei Weyerstraet, 1669.

   
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CAT. 1a.  Athanasius Kircher (1602–1680). Detail from title-page engraving, Artis magnæ combinatoriæ. Nine women symbolize the canonical arts & sciences corresponding to the 9 universal subjects in Kircher’s combinatorial logic (a unified system of knowledge patterned after the basic structure of the universe). 1669.
     Facsimile of printed image in Artis magnæ combinatoriæ tomus II. Paradigmaticus. Quo omnes scientiæ, variis propositis, per artis regulas & canones ad praxin exponunter & demonstantur. Amstelodami: Apud Joannem Janssonium à Waesberge & Viduam Elizei Weyerstraet, 1669.

 
   
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CAT. 2.  Athanasius Kircher (1602–1680). Engraved title-page for Tomus I (books 1–5) of Kircher’s Ars Magna Sciendi [The Great Art of Knowledge]. 1669.
     Facsimile of printed image in Ars magna sciendi, in XII libros digesta, qua nova & universali methodo per artificiosum combinationum contextum de omni re proposita plurimis & prope infinitis rationibus disputari, omniumque summaria quædum cognitio comparari potest. Ad augustissimum rom. imperatorem Leopoldum primum, justum, pium, felicem. Amstelodami: Apud Joannem Janssonium a Waesberge, & Viduam Elizei Weyerstraet, 1669.

 
   
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CAT. 2a.  Athanasius Kircher (1602–1680). Detail from title-page engraving, Ars magna sciendi sive combinatoria. The Greek inscription, at the foot of the throne on which the Divine Sophia sits, translates as “Nothing is more beautiful than to know the all.” 1669.
     Facsimile of printed image in Ars magna sciendi, in XII libros digesta, qua nova & universali methodo per artificiosum combinationum contextum de omni re proposita plurimis & prope infinitis rationibus disputari, omniumque summaria quædum cognitio comparari potest. Ad augustissimum rom. imperatorem Leopoldum primum, justum, pium, felicem. Amstelodami: Apud Joannem Janssonium a Waesberge, & Viduam Elizei Weyerstraet, 1669.

 
   
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CAT. 3.  Ephraim Chambers, F.R.S. (1680?–1740). Frontispiece engraving by John Sturt (1658–1730), after Sébastien Leclerc (1637–1714). 1728.
     Sturt’s mirror-image engraving is an inverted copy of Leclerc’s print, L’Académie des Sciences et des Beaux-Arts (1698), dedicated to Louis XIV.
     Facsimile of printed image in vol. 1 of Cyclopædia, or, an universal dictionary of arts and sciences. Containing the definitions of the terms, and accounts of the things signify’d thereby, in the several arts, both liberal and mechanical, and the several sciences, human and divine: the figures, kinds, properties, productions, preparations, and uses, of things natural and artificial: the rise, progress, and state of things ecclesiastical, civil, military, and commercial: with the several systems, sects, opinions, &c. among philosophers, divines, mathematicians, physicians, antiquaries, criticks, &c: the whole intended as a course of antient and modern learning. Compiled from the best authors, dictionaries, journals, memoirs, transactions, ephemerides, &c. in several languages, by E. Chambers. 2 vols. London: Printed for J. and J. Knapton [and 18 others], 1728.

 
   
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CAT. 4.  Ephraim Chambers (1680?–1740), and Abraham Rees (1743–1825). Frontispiece engraving by Thomas Cook (1744?–1818). 1784.
     Facsimile of printed image in vol. 1 of Cyclopædia: or, an universal dictionary of arts and sciences. Containing an explanation of the terms, and an account of the several subjects, in the liberal and mechanical arts, and the sciences, human and divine. Intended as a course of ancient and modern learning. By E. Chambers, F.R.S. With the supplement, and modern improvements, incorporated in one alphabet. By Abraham Rees, D.D. In four volumes. 5 vols. London: Printed for W. Strahan [and 28 others], 1783–1786.

 
   
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CAT. 5.  The Athenian Society. “An Emblem of ye Athenian Society. 1692.” Frontispiece engraving by F. H. van Hove (c.1630–c.1715), for the Society’s publication, The Young-Students-Library, edited by the bookseller, John Dunton (1659–1732). 1692.
     Facsimile of printed image in The young-students-library. Containing, extracts and abridgments of the most valuable books printed in England, and in the forreign journals, from the year sixty five, to this time. To which is added, a new essay upon all sorts of learning; wherein the use of the sciences is distinctly treated on. By the Athenian Society. Also, a large alphabetical table, comprehending the contents of this volume. And of all the Athenian Mercuries and supplements, &c. printed in the year 1691. London: Printed for John Dunton, at the Raven in the Poultry ..., 1692.

   
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CAT. 6.  Albrecht Dürer (1471–1528). Melencolia I. Engraving. 1514.
     Facsimile of original print.

 
   
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CAT. 7.  Robert Burton (1577–1640). Engraved title-page by Christof le Blon (d. 1665), added with the revised editions of The Anatomy of Melancholy printed at Oxford in 1624 and 1628.
     Facsimile of printed image in The Anatomy of Melancholy. What it is, With all the kinds, causes, symptomes, prognostickes & severall cures of it. In three Partitions, with their severall Sections, members & subsections. Philosophically, Medicinally, Historically opened & cut-up. By Democritus Junior. With a Satyricall Preface conducing to the following Discourse. Oxford: Printed for Henry Cripps, 1628.

 
   
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CAT. 8.  Oswald Croll (c.1560-1609). Engraved title-page to his only published work. 1609.
     It is likely that Croll never saw the printed book, since he died early in the year of its publication.
     Facsimile of printed image in Basilica Chymica, continens philosophicam propria laborum experientia confirmatam descriptionem & usum remediorum chymicorum selectissimorum è lumine gratiæ et naturæ desumptorum. In fine libri additus est eiusdem Autoris Tractatus novus de Signaturis Rerum Internis. Frankfort, 1609.

 
   
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CAT. 9.  Thomas Hobbes (1588-1679). Title-page engraving, ascribed to Abraham Bosse (1602–1676). 1651.
     Facsimile of printed image in Leviathan, or the matter, forme, & power of a common-wealth ecclesiasticall and civill. By Thomas Hobbes of Malmesbury. London: Printed for Andrew Crooke, at the Green Dragon in St. Pauls Church-yard, 1651.

 
   
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CAT. 10.  Margaret Cavendish (1623–1673). “Studious She is and all Alone” frontispiece engraving by Pieter van Schuppen (1627–1702), after Abraham van Diepenbeeck (1596–1675). 1655.
     Facsimile of printed image in The Philosophical and Physical Opinions, Written by her Excellency, The Lady Marchionesse of Newcastle. London: Printed for J. Martin and J. Allestrye at the Bell in St. Pauls Church-Yard, 1655.

   
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CAT. 11.  Peirce Tempest (1653–1717). Engraved title-page, by Isaac Fuller, after his own design. 1709.
     Facsimile of printed image in Iconologia: or, moral emblems, by Caesar Ripa. Wherein are express’d, various images of virtues, vices, passions, arts, humours, elements and celestial bodies; as design’d by the ancient Egyptians, Greeks, Romans, and modern Italians. Useful for orators, poets, painters, sculptors, and all lovers of ingenuity. Illustrated with three hundred twenty-six humane figures, with their explanations. Newly design’d, and engraven on copper, by I. Fuller, painter, and other masters. By the care and at the charge of P. Tempest. London: Printed by Benj. Motte, 1709.

 
   
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CAT. 12a.  John Ferrar (c.1588–1657). Watercolor sketch of the Ferrar Map, entitled “Ould Virginia, 1584, now Carolana, 1650, New Virginia, 1606, New England, 1606.” Drawn c.1650.
     Facsimile of original manuscript map.

 
   
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CAT. 12b.  John Ferrar (c.1588–1657). State 1 of the printed Ferrar Map, entitled “A mapp of Virginia discovered to ye Falls, and in it’s Latt: From 35. deg: & ½ neer Florida to 41. deg: bounds of new England.” Map is signed: “John Farrer Esq. Collegit.”; with imprint: “Are sold by J. Stephenson at ye Sunn below Ludgate. 1651.” Engraved by John Goddard (fl. 1631–1663). 1651 (state 1).
     Facsimile of printed map in Virginia, more especially the south part thereof, richly and truly valued: viz. The fertile Carolana, and no lesse excellent isle of Roanoak, of latitude from 31 to 37 degr. relating the meanes of raysing infinite profits to the adventurers and planters. The second edition, with addition of The discovery of silkworms, with their benefit, and implanting of mulberry trees, also the dressing of vines, for the rich trade of making wines in Virginia, together with the making of the saw-mill, very usefull in Virginia, for cutting of timber and clapbord to build withall, and its conversion to many as profitable uses. By E. W. gent. By Edward Williams. London: Printed by T. H. for John Stephenson, at the Signe of the Sun below Ludgate, 1650.

 
   
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CAT. 13a.  Virginia Ferrar (1626–1688). State 2 of the printed Ferrar Map, entitled “A mapp of Virginia discovered to ye Falls, and in it’s Latt: From 35. deg: & ½ neer Florida to 41. deg: bounds of new England.” Map is signed: “Domina Virginia Farrer Collegit.”; with imprint: “Are sold by J. Stephenson at ye Sunn be[low Lud]gate. 1651.” Engraved by John Goddard (fl. 1631–1663). 1651 (state 2).
     Facsimile of an original copy of the map in Lenox Library. Reprod. on p. 12 of vol. 2 of John Fiske’s Old Virginia and her neighbours. Illustrated with portraits, maps, facsimiles, contemporary views, prints, and other historic materials. In two volumes. 1897; rpt. Boston and New York: Houghton, Mifflin and Company, 1900.

 
   
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CAT. 13b.  Virginia Ferrar (1626–1688). State 3 of the printed Ferrar Map, entitled “A mapp of Virginia discovered to ye Hills, and in it’s Latt: From 35. deg: & ½ neer Florida to 41. deg: bounds of new England.” Map is signed: “Domina Virginia Farrer Collegit.”; with imprint: “Are sold by J. Stephenson at ye Sunn below Ludgate. 1653.” Engraved by John Goddard (fl. 1631–1663). 1653 (state 3).
     Facsimile of printed map in The reformed common wealth of bees. Presented in severall letters and observations to Sammuel Hartlib, esq. With The reformed Virginian silk-worm. Containing many excellent and choice secrets, experiments, and discoveries for attaining of national and private profits and riches. By Samuel Hartlib. London: Printed for Giles Calvert at the Black-Spread-Eagle at the West-end of Pauls, 1655.

 
   
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CAT. 14.  Robert Walton (fl. 1640s–1680s) and John Sellar (fl. 1658–1698). Great Britains Wonder: or, Londons Admiration ... the Wonder of this present Age, and a great consternation to all the Spectators. Woodcut, with descriptive letter-press. 1684.
     Facsimile of original print. London: Printed by M. Haly and J. Millett, and sold by Robert Walton, at the Globe on the North-side of St. Pauls-Church, near that end towards Ludgate ... And by John Seller in the West-side of the Royal Exchange, 1684.

 
   
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CAT. 15.  Albrecht Dürer (1471–1528). Hare (Lepus europæus Pallas). Watercolor and gouache, heightened with white. 1502.
     Facsimile of original watercolor.

   
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CAT. 16.  Albrecht Dürer (1471–1528). Self-Portrait. Oil on panel. 1500.
     Facsimile of original painting.

 
   
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CAT. 17.  Robert Hooke (1635–1703). Eyes and head of a grey drone-fly. Engraving, after illustration by Robert Hooke. First presented to the Royal Society of London on 9 September 1663.
     Facsimile of printed image in Micrographia: or some physiological descriptions of minute bodies made by magnifying glasses with observations and inquiries thereupon. London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal Society, and are to be sold at their Shop at the Bell in S. Paul’s Church-yard, 1665.

 
   
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CAT. 18.  Robert Hooke (1635–1703). Body of a blue fly, with separate detail showing the fabric of its wing. Engraving, after illustration by Robert Hooke. First presented to the Royal Society of London on 19 October 1663.
     Facsimile of printed image in Micrographia: or some physiological descriptions of minute bodies made by magnifying glasses with observations and inquiries thereupon. London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal Society, and are to be sold at their Shop at the Bell in S. Paul’s Church-yard, 1665.

 
   
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CAT. 19.  Maria Sibylla Merian (1647–1717). Bird, with snake. Watercolor on paper. c.1705.
     Facsimile of an original watercolor study for Metamorphosis insectorum surinamensium. In qua erucæ ac vermes surinamenses, cum omnibus suis transformationibus, ad vivum delineantur & describuntur, singulis eorum in plantas, flores & fructus collocatis, in quibus reperta sunt; tum etiam generatio ranarum, bufonum rariorum, lacertarum, serpentun, araneorum & formicarum exhibetur; omnia in America ad vivum naturali magnitudine picta atque descripta per Mariam Sibyllam Merian. Amstelodami: sumtibus Auctoris, venduntur & apud Gerardum Valk, 1705.

 
   
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CAT. 20.  Title-page for Albert Durer Revived, a popular 17th-century graphic arts manual, originally compiled by the printseller Compton Holland. Here reissued under the imprint of John Garrett, and printed by Sarah Griffin. 1679.
     Facsimile of printed image in Albert Durer revived: or, a book of drawing, limning, washing or colouring of maps and prints and the art of painting, with the names and mixtures of colours used by the picture-drawers. Or, the young-mans time well spent.... London: Printed by S. and B. Griffin, for John Garrett at his Shop, as you go up the Stairs of the Royal Exchange in Cornhil ..., [1679].

       
       
 

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