Central to Thomas Sprat's History of the Royal Society was the description and justification of the method adopted and advocated by the Fellows of the Society, for it was thought that it was their method which distinguished them from ancients, dogmatists, sceptics, and contemporary natural philosophers such as Descartes. The Fellows saw themselves as furthering primarily a novel method, rather than a system, of philosophy, and the History gave expression to this corporate self-perception. However, the History's description of their method (...) was not necessarily accurate. Rather, as will be argued below, by a combination of subtle misrepresentation and selective exposition, Sprat portrayed a method which would further the aims of social and ecclesiastical stability and material prosperity, essential for the Royal Society since its continued existence depended upon the creation of a social basis for the institutionalized pursuit of natural philosophy. Some link had to be forged between the activities of the Society and the intellectual and social aspirations of the Restoration. To understand the intent and meaning of Sprat's History and the method there portrayed, we must therefore look to the institutional needs which it fulfilled. (shrink)

(1983). Robert Hooke's Trinity College ‘Musick Scripts’, his music theory and the role of music in his cosmology. Annals of Science: Vol. 40, No. 6, pp. 559-595.

This article argues that despite individual Fellows’ interest in artistic practices, and similarities between a philosophical and a connoisseurial appreciation of art, the Royal Society as an institution may have been wary of image-making as a way of conveying knowledge because of the power of images to stir the passions and sway the intellect. Using Robert Hooke as a case study it explores some of the connections between philosophers and makers in Restoration London. It goes on to suggest that some (...) epistemic images were in fact designed to elicit an emotional response in their viewers in order to force them to re-evaluate the subject-matter by presenting it in a new and surprising way. (shrink)