A noted historian of science examines the Coperican revolution, the anatomical work of Vesalius, the work of Paracelsus, Harvey's discovery of the circulatory system, the effects of Galileo's telescopic discoveries, more.

An introduction to science and medicine during the earlier phrases of the scientific revolution.

In this first book-length historiographical study of the Scientific Revolution, H. Floris Cohen examines the body of work on the intellectual, social, and cultural origins of early modern science. Cohen critically surveys a wide range of scholarship since the nineteenth century, offering new perspectives on how the Scientific Revolution changed forever the way we understand the natural world and our place in it. Cohen's discussions range from scholarly interpretations of Galileo, Kepler, and Newton, to the question of why the Scientific Revolution took place in seventeenth-century Western Europe, rather than in ancient Greece, China, or the Islamic world. Cohen contends that the emergence of early modern science was essential to the rise of the modern world, in the way it fostered advances in technology. A valuable entrée to the literature on the Scientific Revolution, this book assesses both a controversial body of scholarship, and contributes to understanding how modern science came into the world.

This scholarly and accessible study presents “a provocative new reading” of the late sixteenth- and seventeenth-century advances in scientific inquiry (Kirkus Reviews). In The Scientific Revolution, historian Steven Shapin challenges the very idea that any such a “revolution” ever took place. Rejecting the narrative that a new and unifying paradigm suddenly took hold, he demonstrates how the conduct of science emerged from a wide array of early modern philosophical agendas, political commitments, and religious beliefs. In this analysis, early modern science is shown not as a set of disembodied ideas, but as historically situated ways of knowing and doing. Shapin shows that every principle identified as the modernizing essence of science—whether it’s experimentalism, mathematical methodology, or a mechanical conception of nature—was in fact contested by sixteenth- and seventeenth-century practitioners with equal claims to modernity. Shapin argues that this contested legacy is nevertheless rightly understood as the origin of modern science, its problems as well as its acknowledged achievements. This updated edition includes a new bibliographic essay featuring the latest scholarship. “An excellent book.” —Anthony Gottlieb, New York Times Book Review

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Reacting to the perception that the break, early on in the scientific revolution, between alchemy and chemistry was clean and abrupt, Moran literately and engagingly recaps what was actually a slow process. Far from being the superstitious amalgam it is now considered, alchemy was genuine science before and during the scientific revolution. The distinctive alchemical procedure--distillation--became the fundamental method of analytical chemistry, and the alchemical goal of transmuting "base metals" into gold and silver led to the understanding of compounds and elements. What alchemy very gradually but finally lost in giving way to chemistry was its spiritual or religious aspect, the linkages it discerned between purely physical and psychological properties. Drawing saliently from the most influential alchemical and scientific texts of the medieval to modern epoch (especially the turbulent and eventful seventeenth century), Moran fashions a model short history of science volume

An account of the Copernican Revolution, focusing on the significance of the plurality of the revolution which encompassed not only mathematical astronomy, but also conceptual changes in cosmology, physics, philosophy, and religion.

The essays in this volume present a collective study of one of the major problems in the recent history of science: To what extent did the occult 'sciences' (alchemy, astrology, numerology, and natural magic) contribute to the scientific revolution of the late Renaissance? These studies of major scientists (Kepler, Bacon, Mersenne, and Newton) and of occultists (Dee, Fludd, and Cardano), complemented by analyses of contemporary official and unofficial studies at Cambridge and Oxford and discussions of the language of science, combine to suggest that hitherto the relationship has been too crudely stated as a movement 'from magic to science'. In fact, two separate mentalities can be traced, the occult and the scientific, each having different assumptions, goals, and methodologies. The contributors call into question many of the received ideas on this topic, showing that the issue has been wrongly defined and based on inadequate historical evidence. They outline new ways of approaching and understanding a situation in which two radically different and, to modern eyes, incompatible ways of describing reality persisted side-by-side until the demise of the occult in the late seventeenth century. Their work, accordingly, sets the whole issue in a new light.

An account of European knowledge of the natural world, c.1500-1700.

Having identified the literary origins of the Faustus legend in the German Faust Book (1587) and its English translation (1592), this book argues that these works transformed a simple rogue's tale into an incisive study of morality and beliefs. The chapbooks' contrastive portrayal of an imaginary experience of hell and a pseudo-scientific journey through the cosmos is interpreted as an unconventional approach to the questions of an inquiring mind. This study offers the first analysis of the chapbooks as literary works in their own right, as opposed to simply being sources for Christopher Marlowe's play. It is also the first study to describe the Faustus typology as a vehicle by which uncompromising thinkers of early modernity and the Enlightenment questioned contemporary views about religion, morality and the possibility of experiencing transcendence. While arguing that Marlowe's Doctor Faustus primarily examines the imaginary foundations of religious rules and standards, the author suggests that the 1616 version of the play revived the chapbooks' accounts of spiritual ravishment and intellectual ecstasy. Imaginary explorations of cosmic space became popular in the seventeenth century and gave rise to strongly diverging works of literature, embracing the arcane spirituality of Milton's Paradise Lost as well as Fontenelle's sociable but essentially secular fantasy of cosmic travel. This book shows that contemporary responses to early modern science also tended to address the most urgent concerns of the Faustus legend, explaining the re-emergence of the typology in Mountfort's late seventeenth-century farcical Faustus play and early eighteenth-century harlequinades about Doctor Faustus