By David Freedberg
Years in the past, David Freedberg stumbled throughout a bunch of drawings by way of the little-known Academy of Linceans, a seventeenth-century Italian staff that took as its activity not anything below the pictorial documentation of all of nature. relocating throughout Europe, he encountered millions of such drawings—of fossils, the species of the hot global, or the heavenly our bodies studied by way of the group's most renowned member, Galileo Galilei. Profusely illustrated and engagingly written, this ebook finds this significant second within the improvement of traditional heritage.
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Extra resources for The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History
G. 24 It is hard to think of any precedents—either for the sustained analysis of parts, or for the extraordinarily attentive care devoted to portraying them. , ﬁg. 8); of unusual animals such as the civet (ﬁg. 9), the oryx (ﬁg. 10) and the sloth; of ﬁshes and other aquatic creatures (ﬁgs. 11–12); of local as well as exotic plants and fruits in great abundance; of leaves, grasses, and vegetables, including what is surely the most spectacular representation of a broccoli in the history of art (ﬁg.
34. ). Engraving, Ferrari, De Florum Cultura, p. 489. ine the Chinese rose. Not only had he been the ﬁrst to grow it successfully in Rome,54 it also presented a critical problem in classiﬁcation. As he knew only too well, this was a plant that changed color from white to ﬂaming red to purple in the course of a single day. It also occurred in a puzzling variety of forms. In both ways, Ferrari felt, nature rose to the level of art, and to its challenge. The chapter begins typically enough. It starts with the “sweet”—what all the rhetoricians then called the dulcis—before proceeding to the “useful,” the utilis.
40. Cornelis Bloemaert after Vincenzo Leonardi, chimeric citron and sour orange with excrescence (Aurantium callosum). Engraving, Ferrari, Hesperides (1646), p. 411. very close. But what impelled the classiﬁcatory and taxonomic drive, and how was it aided by visual reproduction? 61 How did Ferrari know that this specimen was just an ordinary lemon and this one a citrated lemon (to say nothing of what he dubbed to be the pseudo-citrated lemon)? 62 These were questions that haunted me. 63 A recollection of a discussion I once had with Anthony Blunt, the fa49 t h e pa p e r m u s e u m Fig.