Was there a continuity between the "vigorous art and the seminal science" of the seventeenth century? How did they affect one another? Which, if either, was dominant? Four distinguished scholars explore the relation between seventeenth century science and the creative arts in a series of four essays: Introduction, by Stephen E. Toulmin of Columbia; Science and Literature, by Douglas Bush of Harvard; Science and Visual Art, by James S. Ackerman of Harvard; and Scientific Empiricism in Musical Thought, by Claude V. Palisca of Yale. Originally published in 1961. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Contemporary ideals of science representing disinterested and objective fields of investigation have their origins in the seventeenth century. However, 'new science' did not simply or uniformly replace earlier beliefs about the workings of the natural world, but entered into competition with them. It is this complex process of competition and negotiation concerning ways of seeing the natural world that is charted by the essays in this book. The collection traces the many overlaps between 'literary' and 'scientific' discourses as writers in this period attempted both to understand imaginatively and empirically the workings of the natural world, and shows that a discrete separation between such discourses and spheres is untenable. The collection is designed around four main themes-'Philosophy, Thought and Natural Knowledge', 'Religion, Politics and the Natural World', 'Gender, Sexuality and Scientific Thought' and 'New Worlds and New Philosophies.' Within these themes, the contributors focus on the contests between different ways of seeing and understanding the natural world in a wide range of writings from the period: in poetry and art, in political texts, in descriptions of real and imagined colonial landscapes, as well as in more obviously 'scientific' documents.

In the seventeenth century, the Persian city of Isfahan was a crossroads of international trade and diplomacy. Manuscript paintings produced within the city’s various cultural, religious, and ethnic groups reveal the vibrant artistic legacy of the Safavid Empire. Published to coincide with an exhibition at the Getty Museum, Book Arts of Isfahan offers a fascinating account of the ways in which the artists of Isfahan used their art to record the life around them and at the same time define their own identities within a complex society.

Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.

This volume presents the most noteworthy concepts, artists, and cultural centers of the seventeenth century through a close examination of many of its greatest paintings, sculptures, and buildings. The Baroque, rooted in classicism but with a new emphasis on emotionalism and naturalism, was the leading style of the seventeenth century. The movement exhibited both stylistic complexity and great diversity in its subject matter, from large religious works and history paintings to portraits, landscapes, and scenes of everyday life. Masters of the era included Caravaggio, whose innovations in the dramatic uses of light and shadow influenced many of the century's artists, notably Rembrandt; the sculptor, painter, and architect Bernini, with his combination of technical brilliance and expressiveness; and other familiar names such as Rubens, Poussin, Velázquez, and Vermeer. This was the era of absolute monarchs, including Spain's Habsburgs and Louis XIII and XIV of France, whose artistic patronage helped furnish their opulent palaces. But a new era of commercialism, in which artists increasingly catered to affluent collectors of the professional and merchant classes, also flourished.

Abstract: On 17 July 1681, the English naturalist and physician Martin Lister (1639-1712) wrote to his wife Hannah en route from York to France. The good doctor suffered from severe and chronic asthma throughout his life, and he took "the waters" on the Continent periodically to convalesce and rest away from a busy medical practice and growing family responsibilities. Lister was also a fervent Francophile, having studied medicine in Montpellier in the 1660s, and he would go on to write a bestselling travel guide to Paris telling his readers which curiosities to see, which wine to drink, and making perceptive comments about the differences between French habits and those of the English. The work was so popular that it was reprinted for the next three centuries in English and French for a cross-cultural audience. Lister left his wife at home to care for their "sweet Babes," urging her in his absence: " . . . prithee again be merry, and make much of thy self and barnes [children]." He explained to Hannah that he left "to gain my health and ease my spirits, over tired with my calling and thoughts." Hannah, left at home with the children, was apparently not so sanguine; Lister continued, "my deare I admire you can be so hard hearted as not given me a line all this time, this is my fourth Letter. And the second weeke of my journey only." He promised his wife that he would come home by August, but pleaded "doe not let a week or so break any squares with thee and me," and he promised to bring some presents from France

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