Through its missionary, pedagogical, and scientific accomplishments, the Society of Jesus-known as the Jesuits-became one of the first institutions with a truly "global" reach, in practice and intention. The Oxford Handbook of the Jesuits offers a critical assessment of the Order, helping to chart new directions for research at a time when there is renewed interest in Jesuit studies. In particular, the Handbook examines their resilient dynamism and innovative spirit, grounded in Catholic theology and Christian spirituality, but also profoundly rooted in society and cultural institutions. It also explores Jesuit contributions to education, the arts, politics, and theology, among others. The volume is organized in seven major sections, totaling forty articles, on the Order's foundation and administration, the theological underpinnings of its activities, the Jesuit involvement with secular culture, missiology, the Order's contributions to the arts and sciences, the suppression the Order endured in the 18th century, and finally, the restoration. The volume also looks at the way the Jesuit Order is changing, including becoming more non-European and ethnically diverse, with its members increasingly interested in engaging society in addition to traditional pastoral duties.

Athanasius Kircher's catalogue of the prodigious early museum (a Wunderkammer or cabinet of curiosities) which he assembled and arranged at the Roman College of the Society of Jesus was completed by his assistant Giorgio de Sepi for publication in 1678. This publication, with many expertly-engraved illustrations, is one of the most sumptuous and most curious examples of high baroque book production. It has memorable images of exotic birds and animals, of one of the first magic-lanterns or projected images, its text hints at the presence of machines which are little short of computers, it also illustrates numerous wonderful machines, be those clockwork automata, chiming and ambulant clocks, or multiplying and distorting mirrors. It is perhaps most famous for the exceptionally lavish fold-out plates of Roman obelisks which it contains, each page dedicated to one of the obelisks re-discovered in baroque Rome or new obelisks with pseudo-hierolgyphics by Kircher, devised according to his own scheme of interpretation of hieroglyphics as pictograms or, in baroque practice, emblems or impresa. 0A full facsimile, including foldout plates, is offered here, together with the first English translation of a notoriously problematic Latin text. There is also a commentary to the translation, identifying objects, sources and facts while also explaining something of the status which the museum and its description share, as epitomes of the scarcely-credible range of activities and disciplines in which Kircher involved himself. The commentary also identifies passages which refer to others of Kircher's numerous and prodigious works. The edition also contains an afterword, reflecting on the current state of scholarship on Kircher, his museum, and his world.

At the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history. Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov.

A room’s acoustic character seems at once the most technical and the most mystical of concerns. Since the early Enlightenment, European architects have systematically endeavored to represent and control the propagation of sound in large interior spaces. Their work has been informed by the science of sound but has also been entangled with debates on style, visualization techniques, performance practices, and the expansion of the listening public. Echo’s Chambers explores how architectural experimentation from the seventeenth through the mid-twentieth centuries laid the groundwork for concepts of acoustic space that are widely embraced in contemporary culture. It focuses on the role of echo and reverberation in the architecture of Pierre Patte, Claude-Nicolas Ledoux, Carl Ferdinand Langhans, and Le Corbusier, as well as the influential acoustic ideas of Athanasius Kircher, Richard Wagner, and Marshall McLuhan. Drawing on interdisciplinary theories of media and auditory culture, Joseph L. Clarke reveals how architecture has impacted the ways we continue to listen to, talk about, and creatively manipulate sound in the physical environment.

This brilliant vignette of seventeenth-century Rome, its Baroque architecture, and its relationship to the Catholic Church brings to life the friendship between a genius and his patron with an ease of writing that is rare in art history. By 1650, the spiritual and political power of the Catholic Church was shattered. Thanks to the twin blows of the Protestant Reformation and the Thirty Years War, Rome—celebrated both as the Eternal City and Caput Mundi (the head of the world)—had lost its preeminent place in Europe. Then a new Pope, Alexander VII, fired with religious zeal, political guile, and a mania for creating new architecture, determined to restore the prestige of his church by making Rome the key destination for Europe's intellectual, political, and cultural elite. To help him do so, he enlisted the talents of Gianlorenzo Bernini, already celebrated as the most important living artist—no mean feat in the age of Rubens, Rembrandt, and Velazquez.

A reassessment of the Jesuit contributions to the emergence of the scientific worldview.

Empires of Knowledge charts the emergence of different kinds of scientific networks – local and long-distance, informal and institutional, religious and secular – as one of the important phenomena of the early modern world. It seeks to answer questions about what role these networks played in making knowledge, how information traveled, how it was transformed by travel, and who the brokers of this world were. Bringing together an international group of historians of science and medicine, this book looks at the changing relationship between knowledge and community in the early modern period through case studies connecting Europe, Asia, the Ottoman Empire, and the Americas. It explores a landscape of understanding (and misunderstanding) nature through examinations of well-known intelligencers such as overseas missions, trading companies, and empires while incorporating more recent scholarship on the many less prominent go-betweens, such as translators and local experts, which made these networks of knowledge vibrant and truly global institutions. Empires of Knowledge is the perfect introduction to the global history of early modern science and medicine.

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.-

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.