A major study of both the written and pictorial work of a neglected genius whose breadth of interest made him the last Renaissance man • Fully examines every area of Kircher’s wide field of study and accomplishments • Magnificently illustrated with stunning engravings from Kircher’s work Jesuit, linguist, archaeologist, and exceptional scholar, Athanasius Kircher (1602-1680) was the last true Renaissance man. To Kircher the entire world was a glorious manifestation of God. His exploration was both a scientific quest and a religious experience. Credited with being the first Egyptologist, his works on Egyptology, music, optics, magnetism, geology, and comparative religion were the definitive texts of their time--and yet they represent only a part of his vast range of knowledge. A Christian Hermeticist in the style of Marsilio Ficino and Pico della Mirandola, his work also examined alchemy, the Kabbalah, and the Egyptian mystery tradition exemplified by Hermes Trismegistus. The Hermetic cast of Kircher’s thought, which was foreign to the concerns of those propelling the Age of Reason, coupled with the breadth of his interests, caused many of his contributions to be widely overlooked--an oversight now masterfully rectified by Joscelyn Godwin. It has been said that Kircher could think only in images. The stunning engravings that are a distinguishing feature of his work are included here so we may fully appreciate and see for ourselves the life work, philosophy, and achievements of “the last man who knew everything.”

First published in 2004.Athanasius Kircher (1602-1680) -- German Jesuit, occultist, polymath - was one of most curious figures in the history of science. He dabbled in all the mysteries of his time: the heavenly bodies, sound amplification, museology, botany, Asian languages, the pyramids of Egypt -- almost anything incompletely understood. Kircher coined the term electromagnetism, printed Sanskrit for the first time in a Western book, and built a famous museum collection. His wild, beautifully illustrated books are sometimes visionary, frequently wrong, and yet compelling documents in the history of ideas. They are being rediscovered in our own time. This volume contains new essays on Kircher and his world by leading historians and historians of science, including Stephen Jay Gould, Ingrid Rowland, Anthony Grafton, Daniel Stoltzenberg, Paula Findlen, and Barbara Stafford.-

Athanasius Kircher (1602 - 80) stand out as one of the last all-encompassing minds. For this true Renaissance man, the whole world was a glorious appearance of God waiting to be explored. Kircher was a Jesuit and an archeologist, a phenomenal linguist and an avid collector of scientific instruments. He deciphered archaic languages, experimented with alchemy and music therapy, optics and magnetism. Egyptian mystery wisdom, Greek, Cabbalistic and Christian philosophy met on common ground in his work. Kircher's sumptuous volumes were revered throughout Europe, and his gigantic oeuvre is represented here through striking engravings - most of them reprinted for the first time - together with annotations and an introduction to Kircher's life and work.

Stolzenberg presents a new interpretation of Kircher's hieroglyphic studies, placing them in the context of seventeenth-century scholarship on paganism and Oriental languages. Situating Kircher in the social world of baroque Rome, with its scholars, artists, patrons, and censors, he shows how Kircher's study of ancient paganism depended on the circulation of texts, artifacts, and people between Christian and Islamic civilisations.

Athanasius Kircher (1602-80) was acknowledged to be the most learned man of his age. This text studies the fascinating engravings with which he illustrated his ideas. These illustrations reveal his singular mind and the way he was drawn to mysticism and magic.

A comprehensive study of the major occult writings on Atlantis • Fully examines the many occult teachings on Atlantis, including those from G. I. Gurdjieff, Madame Blavatsky, Julius Evola, Edgar Cayce, Fabre d’Olivet, and Dion Fortune • Shows how these writings correlate with the concept of cyclical history, such as the Mayan calendar and 2012, the Age of Aquarius, and the four Yugas • By a renowned scholar, author, editor, and translator of more than 30 books Atlantis has held a perennial place in the collective imagination of humanity from ancient Greece onward. Many of the great minds of the occult and esoteric world wrote at length on their theories of Atlantis--about its high culture, its possible location, its ultimate demise, and their predictions of a return to Atlantean enlightenment or the downfall of modern society. Beginning with a review of the rationalist writings on Atlantis--those that use geographic and geologic data to validate their theories--renowned scholar Joscelyn Godwin then analyzes and compares writings on Atlantis from many of the great occultists and esotericists of the 19th and 20th centuries, including Fabre d’Olivet, G. I. Gurdjieff, Guido von List, Julius Evola, Edgar Cayce, Dion Fortune, and René Guénon, whose writings often stem from deeper, metaphysical sources, such as sacred texts, prophecy, or paranormal communication. Seeking to unravel and explain the histories and interpretations of Atlantis and its kindred myths of Lemuria and Mu, the author shows how these different views go hand-in-hand with the concept of cyclical history, such as the Vedic system of the four Yugas, the Mayan calendar with its 2012 end-date, the theosophical system of root races, and the precession of the equinoxes. Venturing broader and deeper than any other book on Atlantis, this study also covers reincarnation, human evolution or devolution, the origins of race, and catastrophe theory.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.

"Until the Rosetta Stone was finally translated and the decoding of hieroglyphic writing made possible, much of Egyptian history was lost. The author has done a masterful job of distilling information, citing the highlights, and fitting it all together in an interesting and enlightening look at a puzzling subject." —H. "The social and intellectual history here are fascinating. A handsome, inspiring book." —K. Notable Children's Books of 1991 (ALA) Notable 1990 Children's Trade Books in Social Studies (NCSS/CBC) Children's Books of 1990 (Library of Congress) 100 Books for Reading and Sharing (NY Public Library) Parenting Honorable Mention, Reading Magic Award

Renaissance Fun is about the technology of Renaissance entertainments in stage machinery and theatrical special effects; in gardens and fountains; and in the automata and self-playing musical instruments that were installed in garden grottoes. How did the machines behind these shows work? How exactly were chariots filled with singers let down onto the stage? How were flaming dragons made to fly across the sky? How were seas created on stage? How did mechanical birds imitate real birdsong? What was ‘artificial music’, three centuries before Edison and the phonograph? How could pipe organs be driven and made to play themselves by waterpower alone? And who were the architects, engineers, and craftsmen who created these wonders? All these questions are answered. At the end of the book we visit the lost ‘garden of marvels’ at Pratolino with its many grottoes, automata and water jokes; and we attend the performance of Mercury and Mars in Parma in 1628, with its spectacular stage effects and its music by Claudio Monteverdi – one of the places where opera was born. Renaissance Fun is offered as an entertainment in itself. But behind the show is a more serious scholarly argument, centred on the enormous influence of two ancient writers on these subjects, Vitruvius and Hero. Vitruvius’s Ten Books on Architecture were widely studied by Renaissance theatre designers. Hero of Alexandria wrote the Pneumatics, a collection of designs for surprising and entertaining devices that were the models for sixteenth and seventeenth century automata. A second book by Hero On Automata-Making – much less well known, then and now – describes two miniature theatres that presented plays without human intervention. One of these, it is argued, provided the model for the type of proscenium theatre introduced from the mid-sixteenth century, the generic design which is still built today. As the influence of Vitruvius waned, the influence of Hero grew.

A Scientific American Best Science Book of 2012 An Atlantic Wire Best Book of 2012 A New York Times Book Review “Editor's Choice” The “fascinating” (The New Yorker) story of Athanasius Kircher, the eccentric scholar-inventor who was either a great genius or a crackpot . . . or a bit of both. The interests of Athanasius Kircher, the legendary seventeenth-century priest-scientist, knew no bounds. From optics to music to magnetism to medicine, he offered up inventions and theories for everything, and they made him famous across Europe. His celebrated museum in Rome featured magic lanterns, speaking statues, the tail of a mermaid, and a brick from the Tower of Babel. Holy Roman Emperors were his patrons, popes were his friends, and in his spare time he collaborated with the Baroque master Bernini. But Kircher lived during an era of radical transformation, in which the old approach to knowledge—what he called the “art of knowing”— was giving way to the scientific method and modern thought. A Man of Misconceptions traces the rise, success, and eventual fall of this fascinating character as he attempted to come to terms with a changing world. With humor and insight, John Glassie returns Kircher to his rightful place as one of history’s most unforgettable figures.