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Q U I C K   L I N K S

TO BE UPDATED NEXT: the Gallery Exhibit on “Women Booksellers, 1640 and 1644.” The forthcoming exhibit on women in the print trade includes a lot of new research about women’s role (as printers, publishers, booksellers, and authors) in the 17th-century scientific/technical book trade, and features approximately 30 new images.
  Related discussion of this topic can be found in She-philosopher.​com’s reference “List of Women Involved with Early-Modern Science and Technology” and new section on English printers’ ornaments, part of this website’s growing collection of materials on the history of print.

ALSO TO BE UPDATED: the Gallery Exhibit on Lely’s psychological portraiture. The greatly revised and expanded exhibit will include over 50 new images.

             **   N E W   **

The companion Gallery Exhibit for She-philosopher.​com’s digital edition of John Wilkins’s “A Digression concerning Noah’s Ark” (originally published at London in 1668).

F E A T U R E D

Gallery Exhibit on the map of Indian Virginia c.1608, embroidered on Powhatan’s deerskin mantle with conch shell beads.

Another Gallery Exhibit on aboriginal mapping: the stick-and-shell sea charts of the Marshall Islanders.

the plural I: pictures and discussion of the Baroque plural I in the Gallery Exhibit on melancholy.

A Gallery Exhibit on a unique event in the history of printing & the graphic arts: printing on a frozen Thames in 1683–4.

G A L L E R Y   C A T A L O G

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)

N O T E

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**  themed exhibits on visual rhetoric during the age of scientific revolution  **


First Published:  March 2004
Revised (substantive):  4 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.

The She-philosopher.com GALLERY of images is designed to accommodate evolving research interests and interpretations. The content of any given exhibit may well vary over time, as ongoing research & collaborative inquiry uncovers new information. As such, all Gallery exhibits carry original issue (copyright) and revision dates at the top of the page, to aid in visitor tracking of updates.

GALLERY contents are described in a separate 8-page Catalog, with new items added at the end of the Catalog, and summarized here:

Visitors are encouraged to browse through the Catalog, and to access Gallery exhibits by clicking/tapping on an image thumbnail.

To supplement GALLERY browsing, a Subject Index for the Catalog is provided below, following an introductory list of subject index categories. Clicking/tapping on any active link in the Subject Index will take you to the appropriate numbered catalog entry, from which you may access the more detailed Gallery exhibit, with full-size images in multiple resolutions.


list of subject index categories



Baroque Art of Information Design
Baroque Camera Technologies
Frontispiece & Title-Page Engravings
Hydrography
Maps of Virginia
Maps (miscellaneous)
Melancholy
Nature Studies
The Plural I
Portraits of “Blacke Moores”
Portraits (miscellaneous)
Printing & the Graphic Arts
Prudentia Iconography
She-Philosopher Iconography


subject index for gallery catalog


 

BAROQUE ART OF INFORMATION DESIGN

  28 illustrations from Michael Evans’ “The Geometry of the Mind” showing medieval designers’ use of diagrams, particularly circles and trees, to present complex structures in a readily comprehensible form: Figure 1, Figure 2, Figure 3, Figure 4, Figure 5, Figure 6, Figure 7 verso & Figure 7 recto, Figure 8 verso & Figure 8 recto, Figure 9, Figure 10 verso & Figure 10 recto, Figure 11, Figure 12, Figure 13, Figure 14, Figure 15, Figure 16, Figure 17, Figure 18, Figure 19, Figure 20, Figure 21, Figure 22, Figure 23, Figure 24, Figure 25 (12th through 15th centuries)
  Emblems as a visual rhetoric of suggestion: Leon Battista Alberti’s impresa (15th century)
  engraved print of Charles I, in the days prior to the regicide (1648, 1649)
  spread on “The Soul of Man” from the first illustrated children’s primer, Comenius’ Orbis Sensualium Pictus (1659)
  spread on “The Heaven” from the first illustrated children’s primer, Comenius’ Orbis Sensualium Pictus (1659)
  Kircher’s look at “the hieroglyphic characters of the Chinese” (1667)
  engraving showing regalia of the Order of the Garter (1672)
  Kircher’s Musæum at the Collegio Romano (1678)
  “map or Landskip cut in copper” of the Frost Fair (1684)
  a 17th-century information brand: the emblem of the Athenian Society (1692)

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BAROQUE CAMERA TECHNOLOGIES

  Hooke’s portable camera obscura (c.1660s)
  Magic lantern (1728)

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FRONTISPIECE AND TITLE-PAGE ENGRAVINGS

  Albert Durer Revived (1679)
  vol. 12, no. 4 of the journal, Architectural Association Quarterly (1980)
  Athenian Society’s The Young-Students-Library, frontispiece (1692)
  Athenian Society’s The Young-Students-Library, letterpress title-page (1692)
  Burton’s The Anatomy of Melancholy (1624, 1628)
  Cavendish’s Philosophical and Physical Opinions (1655)
  Chambers’ Cyclopaedia, 1st edn. (1728)
  Chambers’ Cyclopaedia, 8th edn. (1783–6)
  Croll’s Basilica Chymica (1609)
  Dorrington’s The Excellent Woman (1692)
  Eikon Basilike (1648, 1649)
  Eikon Basilike (1697)
  Evelyn’s Sculptura, or, the History, and Art of Chalcography and Engraving in Copper, frontispiece (1662)
  Evelyn’s Sculptura, or, the History, and Art of Chalcography and Engraving in Copper, title- page (1662)
  The Floating Island, by the pseudonymous “Franck Careless” (1673)
  Galileo’s Dialogue Concerning the Two Chief World Systems: Ptolemaic and Copernican (1632)
  Hobbes’ Leviathan (1651)
  Kircher’s Ars Magna Sciendi, Tomus I and Tomus II (1669)
  vol. 1 of the journal, Internationales Archiv für Ethnographie (1888)
  Sepibus’ Romani Collegii Societatus Jesu Musæum Celeberrimum (1678)
  Settle’s The New Athenian Comedy (1693)
  Tempest’s English edition of Ripa’s Iconologia (1709)
  Tradescant’s Musæum Tradescantianum (London, 1656)

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HYDROGRAPHY

  Tindall’s MS. chart of James and York rivers, in monochrome (1608)
  Tindall’s MS. chart of James and York rivers, in color (1608)
  MS. chart of Tidewater Virginia, aka the Zuñiga Chart (1608)
  Topographical representation of a frozen river Thames in 1683–4
  Sea-chart of the Marshall Islanders

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MAPS OF VIRGINIA

  John White’s MS. map of Ralegh’s Virginia (c.1585)
  Sketch-map of Ralegh’s Virginia, attributed to John White (c.1585)
  De Bry’s engraving, “The Arrival of the Englishemen in Virginia” (1590)
  Hariot-White-de Bry map of Ralegh’s Virginia (1590)
  The Virginia Company MS. chart (1606–08)
  Tindall’s MS. chart of James and York rivers, in monochrome (1608)
  Tindall’s MS. chart of James and York rivers, in color (1608)
  MS. chart of Virginia, aka the Zuñiga Chart (1608)
  Deerskin map of Indian Virginia, embroidered on Powhatan’s mantle (c.1608)
  MS. map of North America (aka the Velasco Map), with detail of the Chesapeake tidewater region, made for James I (1610)
  MS. map, “A description of the land of Virginia” (1618)
  John Ferrar’s MS. watercolor sketch map of colonial Virginia (c.1650)
  John Ferrar’s map of colonial Virginia (1651, state 1)
  Virginia Ferrar’s map of colonial Virginia (1651, state 2)
  Virginia Ferrar’s map of colonial Virginia (1653, state 3)
  “Velasco Map” of 1610/11, as given in Stokes (1916)
  “Velasco Map” of 1610/11, as given in Fite & Freeman (1926)
  “Velasco Map” of 1610/11, as given in Cumming, Skelton & Quinn (1971)
  “Velasco Map” of 1610/11, as given in Cohen (1997)
  “Velasco Map” of 1610/11, as given in Warhus (1997)

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MAPS (miscellaneous)

  John White’s watercolor drawing of the Indian “towne of Pomeiock” (c.1585)
  De Bry’s copper-plate engraving of “The Towne of Pomeeiooc” (1590)
  Map of North America, showing Atlantic coast from Virginia to Newfoundland (1610)
  Map of North America, showing Atlantic coast from Chesapeake Bay to Penobscot Bay (1614)
  “map or Landskip cut in copper” of the Frost Fair (1684)

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MELANCHOLY

  Introduction to 4-part “Portraits of Melancholy” Gallery exhibit
  Dürer’s Melencolia I (1514)
  Burton’s Anatomised Melancholy (1628)
  Abraham Cowley as melancholic poetic swain (mid-17th century)
  Margaret Cavendish’s “Studious She is” frontispiece (1655)
  Melancholy (Melenconico, per la Terra), Fig. 59 from Tempest’s Iconologia: or, Moral Emblems, by Caesar Ripa (1709)
  Pensiveness (Malinconia), Fig. 217 from Tempest’s Iconologia: or, Moral Emblems, by Caesar Ripa (1709)

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NATURE STUDIES

  Dürer’s rabbit (1502)
  Dürer’s The Large Piece of Turf (1503)
  Hooke’s drawing of a blue fly (1663, 1665)
  Hooke’s drawing of a grey drone-fly (1663, 1665)
  Hooke’s drawing of a “long-legg’d Spider” (1663, 1665)
  Maria Sibylla Merian’s watercolor of plant and insects (c.1696)
  Maria Sibylla Merian’s watercolor of bird, with snake (c.1705)
  arrangements by Frederick Ruysch of wax-injected anatomy specimens

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the PLURAL I

  Burton’s The Anatomy of Melancholy (1624, 1628)
  Croll’s Basilica Chymica (1609)
  Hobbes’ Leviathan (1651)
  Nicéron’s La Perspective Curieuse (1638)
  Prussian cherry-stone “with a hundred and twenty four Heads on the outside of it” (c.1687).
     [NOTE: discussion only; no image is included with Gallery exhibit.]
  trompe l’oeil “Perspective of the late King of Denmark’s Family” (late 17th-century).
     [NOTE: discussion only; no image is included with Gallery exhibit.]

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PORTRAITS of “BLACKE MOORES”

  Melancholy (Melenconico, per la Terra), “Of a brown Complexion” (1709)

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PORTRAITS (miscellaneous)

  Isotta Nogarola (mid-15th century)
  Albrecht Dürer’s self-portrait (1500)
  Achille Bocchi (1574)
  Elizabeth I, Queen of England (early 17th-century)
  James I, King of England (early 17th-century)
  James I and Anne of Denmark, King and Queen of England (early 17th-century)
  Philip III, King of Spain (early 17th century)
  Thomas Howard, Earl of Arundel (early 17th-century)
  Sir Kenelm Digby (early 17th century)
  Venetia Digby (early 17th century)
  Robert Burton (1624, 1628)
  Magdalena van de Passe, at age 30 (1630)
  Nicolaus Copernicus (1632 and 1635)
  Charles I, King of England (1636)
  Princess Louise Hollandine of Bohemia, self-portrait (1641)
  Johann Amos Comenius, at age 50 (1642)
  Charles I, King of England, with his son, James, Duke of York (1647)
  Charles I, King of England (1649)
  Abraham Cowley (mid-17th century)
  Margaret Cavendish, in frontispiece engraving to Philosophical and Physical Opinions (1655)
  John Tradescant the Elder (1656)
  John Tradescant the Younger (1656)
  Johann Amos Comenius, with autograph (1658)
  Anna Maria van Schurman, at age 52 (1659)
  Margaret Cavendish, effigy on her burial stone in Westminster Abbey (c.1674)
  Charles II, King of England (c.1675)
  Charles II, King of England (c.1680)
  Charles II, King of England (late 17th-century)
  Sor Juana Inés de la Cruz: 1 of 4, 2 of 4, 3 of 4, and 4 of 4 (17th–18th century)
  John Dunton (1705)
  John Wilkins (1708)
  Anna Maria van Schurman, with Rembrandt and Bakker (1729)

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PRINTING & THE GRAPHIC ARTS

  the popular art manual, Albert Durer Revived (1616–20, 1652, 1660, 1666, 1679, 1685, 1686, 1698)
  portrait of Magdalena van de Passe, “Sculptrix Celeberrima,” of the famous Utrecht family of engravers (1630)
  Bosse’s etching of a 17th-century woman bookseller (1640)
  Hollar’s etching of a 17th-century woman bookseller (1644)
  self-portrait designed and engraved by a woman, the “stupendious” Anna Maria van Schurman (1659)
  Evelyn’s art manual, Sculptura, or, the History, and Art of Chalcography and Engraving in Copper (1662)
  allegorical personification of Sculptura, frontispiece to Evelyn’s History, and Art of Chalcography and Engraving in Copper (1662)
  Hooke’s portable camera obscura (c.1660s)
  Mezzotint of Charles II, King of England (late 17th-century)
  Walton’s and Seller’s pictorial record of printing on a frozen river Thames in 1683–4
  emblem for Printing, Fig. 282 from Tempest’s Iconologia: or, Moral Emblems, by Caesar Ripa (1709)
  P. W. M. Trap’s chromolithograph caricaturing the Dutch colonialist in Indonesia (1856)
  portrait of the 17th-century engraver, A. Hertochs (1862)
  portrait of the 17th-century engraver, William Marshall (1862)
  portrait of the 17th-century draftsman and engraver, Robert White (1862)
  series of lithographs from vol. 1 of Internationales Archiv für Ethnographie (1888): plate 1, plate 2, plate 3, plate 4, plate 5, plate 6, plate 6a, plate 7, plate 8, plate 9, plate 10, plate 11, plate 12, plate 13, plate 14, plate 15, plate 16, plate 18, plate 19, plate 21
  connecting the arts of engraving (“to a hair’s breadth”) with the naturalists’ nanogaze
  Chinese character for the verb, to listen (2002)

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PRUDENTIA ICONOGRAPHY

  Bocchi’s Prudentia circunspecta (1st ed., 1555)
  Comenius’ Prudentia (1658, 1659)

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SHE-PHILOSOPHER ICONOGRAPHY

  Isotta Nogarola (mid-15th century)
  Dürer’s Melencolia I (1514)
  Elizabeth I, Queen of England (early 17th-century)
  Bosse’s etching of a 17th-century female bookseller (1640)
  Hollar’s etching of a 17th-century female bookseller (1644)
  Margaret Cavendish, frontispiece engraving to Philosophical and Physical Opinions (1655)
  Anna Maria van Schurman, at age 52 (1659)
  Margaret Cavendish, effigy on her burial stone in Westminster Abbey (c.1674)
  Sor Juana Inés de la Cruz: 1 of 4, 2 of 4, 3 of 4, and 4 of 4 (17th–18th century)
  “The Excellent Woman” (1692)
  Athenian Society emblem (1692)
  Anna Maria van Schurman, with Rembrandt and Bakker (1729)

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early-18th-century printer's decorative tail-piece

^  Ornament from the 1st edn. (London, 1728) of the Cyclopædia, or, an Universal Dictionary of Arts and Sciences, by Ephraim Chambers.

jump to start of SUBJECT INDEX for Gallery Catalog

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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