"This volume includes the original Latin text of Della Porta's "De Refractione" with English translation. Della Porta's volume explored optics at the time of the late Renaissance."--

"This volume includes the original Latin text of Della Porta's "De Refractione" with English translation. Della Porta's volume explored optics at the time of the late Renaissance."--

Since the incorporation of scientific approach in tackling problems of optical instrumentation, analysis and design of optical systems constitute a core area of optical engineering. A large number of software with varying level of scope and applicability is currently available to facilitate the task. However, possession of an optical design software, per se, is no guarantee for arriving at correct or optimal solutions. The validity and/or optimality of the solutions depend to a large extent on proper formulation of the problem, which calls for correct application of principles and theories of optical engineering. On a different note, development of proper experimental setups for investigations in the burgeoning field of optics and photonics calls for a good understanding of these principles and theories. With this backdrop in view, this book presents a holistic treatment of topics like paraxial analysis, aberration theory, Hamiltonian optics, ray-optical and wave-optical theories of image formation, Fourier optics, structural design, lens design optimization, global optimization etc. Proper stress is given on exposition of the foundations. The proposed book is designed to provide adequate material for ‘self-learning’ the subject. For practitioners in related fields, this book is a handy reference. Foundations of Optical System Analysis and Synthesis provides A holistic approach to lens system analysis and design with stress on foundations Basic knowledge of ray and wave optics for tackling problems of instrumental optics Proper explanation of approximations made at different stages Sufficient illustrations for facilitation of understanding Techniques for reducing the role of heuristics and empiricism in optical/lens design A sourcebook on chronological development of related topics across the globe This book is composed as a reference book for graduate students, researchers, faculty, scientists and technologists in R & D centres and industry, in pursuance of their understanding of related topics and concepts during problem solving in the broad areas of optical, electro-optical and photonic system analysis and design.

Friedrich Kittler’s lecture series provides a concise history of optical media from Renaissance linear perspective to late twentieth-century computer graphics. He begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organised. Kittler also discusses the development of various mechanical devices, like the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counterreformation. After examining this history, Kittler then addresses the ways in which images were first stored and made to move through the development of photography and film. Kittler discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or “picture-frame” stage evolved from elements that would later constitute cinema. The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations. In short, these lectures provide a comprehensive introduction to the history of image production, which is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture.

A Cultural History of Color in the Medieval Age covers the period 500 to 1400. The medieval age saw an extraordinary burst of color - from illuminated manuscripts and polychrome sculpture to architecture and interiors, and from enamelled and jewelled metalwork to colored glass and the exquisite decoration of artefacts. Color was used to denote affiliation in heraldry and social status in medieval clothes. Color names were created in various languages and their resonance explored in poems, romances, epics, and plays. And, whilst medieval philosophers began to explain the rainbow, theologians and artists developed a color symbolism for both virtues and vices. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Carole P. Biggam is Honorary Senior Research Fellow in English Language and Linguistics at the University of Glasgow, UK. Kirsten Wolf is Professor of Old Norse and Scandinavian Linguistics at the University of Wisconsin-Madison, USA. Volume 2 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf The Cultural Histories Series A Cultural History of Color is part of The Cultural Histories Series. Titles are available as hardcover sets for libraries needing just one subject or preferring a tangible reference for their shelves or as part of a fully-searchable digital library. The digital product is available to institutions by annual subscription or on perpetual access via www.bloomsburyculturalhistory.com . Individual volumes for academics and researchers interested in specific historical periods are also available in print or digitally via www.bloomsburycollections.com .

The seventeenth-century Valencian artist Jusepe de Ribera spent most of his career in Spanish Viceregal Naples, where he was known as “Lo Spagnoletto,” or “the Little Spaniard.” Working under the patronage of Spanish viceroys, Ribera held a special position bridging two worlds. In Ribera’s Repetitions, art historian Todd P. Olson sheds new light on the complexity of Ribera’s artwork and artistic methods and their connections to the Spanish imperial project. Drawing from a diverse range of sources, including poetry, literature, natural history, philosophy, and political history, Olson presents Ribera’s work in a broad context. He examines how Ribera’s techniques, including rotation, material decay (through etching), and repetition, influenced the artist’s drawings and paintings. Many of Ribera’s works featured scenes of physical suffering—from Saint Jerome’s corroded skin and the flayed bodies of Saint Bartholomew and Marsyas to the ragged beggar-philosophers and the eviscerated Tityus. But far from being the result of an individual sadistic predilection, Olson argues, Ribera’s art was inflected by the legacies of the Reconquest of Spain and Neapolitan coloniality. Ribera’s material processes and themes were not hermetically sealed in the studio; rather, they were engaged in the global Spanish Empire. Pathbreaking and deeply interdisciplinary, this copiously illustrated book offers art history students and scholars a means to see Ribera’s art anew.

In Measuring Shadows, Raz Chen-Morris demonstrates that a close study of Kepler’s Optics is essential to understanding his astronomical work and his scientific epistemology. He explores Kepler’s radical break from scientific and epistemological traditions and shows how the seventeenth-century astronomer posited new ways to view scientific truth and knowledge. Chen-Morris reveals how Kepler’s ideas about the formation of images on the retina and the geometrics of the camera obscura, as well as his astronomical observations, advanced the argument that physical reality could only be described through artificially produced shadows, reflections, and refractions. Breaking from medieval and Renaissance traditions that insisted upon direct sensory perception, Kepler advocated for instruments as mediators between the eye and physical reality, and for mathematical language to describe motion. It was only through this kind of knowledge, he argued, that observation could produce certainty about the heavens. Not only was this conception of visibility crucial to advancing the early modern understanding of vision and the retina, but it affected how people during that period approached and understood the world around them.

Today few would think of astronomy and astrology as fields related to theology. Fewer still would know that physically absorbing planetary rays was once considered to have medical and psychological effects. But this was the understanding of light radiation held by certain natural philosophers of early modern Europe, and that, argues Mary Quinlan-McGrath, was why educated people of the Renaissance commissioned artworks centered on astrological themes and practices. Influences is the first book to reveal how important Renaissance artworks were designed to be not only beautiful but also—perhaps even primarily—functional. From the fresco cycles at Caprarola, to the Vatican’s Sala dei Pontefici, to the Villa Farnesina, these great works were commissioned to selectively capture and then transmit celestial radiation, influencing the bodies and minds of their audiences. Quinlan-McGrath examines the sophisticated logic behind these theories and practices and, along the way, sheds light on early creation theory; the relationship between astrology and natural theology; and the protochemistry, physics, and mathematics of rays. An original and intellectually stimulating study, Influences adds a new dimension to the understanding of aesthetics among Renaissance patrons and a new meaning to the seductive powers of art.

This book argues that we can only understand transformations of nature studies in the Scientific Revolution if we take seriously the interaction between practitioners (those who know by doing) and scholars (those who know by thinking). These are not in opposition, however. Theory and practice are end points on a continuum, with some participants interested only in the practical, others only in the theoretical, and most in the murky intellectual and material world in between. It is this borderland where influence, appropriation, and collaboration have the potential to lead to new methods, new subjects of enquiry, and new social structures of natural philosophy and science. The case for connection between theory and practice can be most persuasively drawn in the area of mathematics, which is the focus of this book. Practical mathematics was a growing field in early modern Europe and these essays are organised into three parts which contribute to the debate about the role of mathematical practice in the Scientific Revolution. First, they demonstrate the variability of the identity of practical mathematicians, and of the practices involved in their activities in early modern Europe. Second, readers are invited to consider what practical mathematics looked like and that although practical mathematical knowledge was transmitted and circulated in a wide variety of ways, participants were able to recognize them all as practical mathematics. Third, the authors show how differences and nuances in practical mathematics typically depended on the different contexts in which it was practiced: social, cultural, political, and economic particularities matter. Historians of science, especially those interested in the Scientific Revolution period and the history of mathematics will find this book and its ground-breaking approach of particular interest.