This work provides an original account of Francis Bacon's conception of natural inquiry. P'erez-Ramos sets Bacon in an epistemological tradition that postulates an intimate relation between objects of cognition and objects of construction, and regards the human knower as, fundamentally, a maker. By exploring the background to this tradition, and contrasting the responses of major philosophers of the 17th century with Bacon's own, the book charts Bacon's contribution to the modern philosophy of science.

In this paper I analyse some resources for the history of manipulative skill and the acquisition of knowledge. I focus on a decade in the life of the ‘ingenious’ Robert Hooke, whose social identity epitomized the mechanically minded individual existing on the interface between gentleman natural philosophers, instrument makers and skilled craftsmen in late seventeenth-century London. The argument here is not concerned with the notion that Hooke had a unique talent for working with material objects, and indeed my purpose is (...) to rethink the ways in which we account for such virtuosity. In this vein, I do not adopt solely a realist or constructivist attitude to skill but seek to show how, in a purposeful way, Hooke drew from the resources of techniques and information made available to him by his social interaction with labourers, servants, craftsmen, gentlemen and noblemen. In Hooke's local culture, intelligence flowed between the sites where these individuals worked and socialized. I examine the practical, social and situational links between the worlds of the coffee house, the workshop and the rooms of the Royal Society at Arundel House and Gresham College. From this perspective, there were no rigid boundaries between the domains of natural philosophy, banausic culture and construction work on which Hooke was engaged, and I argue that we should examine his world in term of a series of networks of capital exchange comprised of finance, social power and mechanical expertise. (shrink)

'ith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain, justify, and shape its new aims. In this book, David Summers provides an original investigation of the philosophical and psychological notions invoked in this new theory and criticism. From a thorough examination of the sources, he shows how the medieval language of mental discourse derived from an understanding of classical thought. 'Some (...) of the most striking observations in this impressive book involve stepping outside the history of ideas to ground these theories in a more general social history.' -- British Journal of Aesthetics 'This brilliant, stimulating study in the history of ideas should become indispensible for renaissance art historians, and for philosophers interested in the history of the philosophy of mind and in what might be called thepre-history' of aesthetics.' -- ChoiceWith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain. (shrink)

Richard Waller, Fellow and Secretary of the Royal Society, is probably best remembered for editing Robert Hooke’s posthumously published works. Yet, Waller also created numerous drawings, paintings, and engravings for his own work and the Society’s publications. From precisely observed grasses to allegorical frontispieces, Waller’s images not only contained a diverse range of content, they are some of the most beautiful, colorful, and striking from the Society’s early years. This article argues that Waller played a distinctly important role in shaping (...) the visual program of the Royal Society by virtue of his multiple functions as reliable administrator and translator, competent natural philosopher, and skilled image-maker. It analyzes Waller’s visual works in the context of his graphic training—in part influenced by his mother Mary More—and situates them within the context of English image-making traditions and Waller’s own natural philosophical interests. Examined as a functional whole, Waller’s career as a Fellow of the Royal Society emerges as an important case study in the fusion of visual and scientific practices in early-modern England. (shrink)

This paper analyses the place of natural history within Bacon's divisions of the sciences in The Advancement of Learning and the later De dignitate et augmentis scientiarum. It is shown that at various points in Bacon's divisions, natural history converges or overlaps with natural philosophy, and that, for Bacon, natural history and natural philosophy are not discrete disciplines. Furthermore, it is argued that Bacon's distinction between operative and speculative natural philosophy and the place of natural history within this distinction, are (...) discontinuous with the later distinction between experimental and speculative philosophy that emerged in the methodology of the Fellows of the early Royal Society. (shrink)

Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of (...) antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it. (shrink)

This article provides, for the first time, an overview of all images (drawings and prints) sent by the Dutch microscopist Antoni van Leeuwenhoek (1632–1723) to the Royal Society during their fifty-year long correspondence. Analyses of the images and close reading of the letters have led to an identification of three periods in which Leeuwenhoek worked together with artists. The first period (1673–1689) is characterized by the work of several draughtsmen as well as Leeuwenhoek’s own improving attempts to depict his observations. (...) In the second period (1692–1712) Leeuwenhoek worked together with one unknown draughtsman, while the work in the third period (1713–1723) can now be attributed to the young draughtsman Willem vander Wilt. This article also shows how Leeuwenhoek did not only rely on draughtsmen for the depiction of his own observations, but rather, how he worked together with them in his workshop to observe, confirm, and witness microscopic experiments, replicating the collaborative working methods of the Royal Society in Delft. (shrink)

This paper documents an important development in Robert Boyle's natural-philosophical method – his use from the 1660s onwards of ‘heads’ and ‘inquiries’ as a means of organizing his data, setting himself an agenda when studying a subject and soliciting information from others. Boyle acknowledged that he derived this approach from Francis Bacon, but he had not previously used it in his work, and the reason why it came to the fore when it did is not apparent from his printed and (...) manuscript corpus. It is necessary to look beyond Boyle to his milieu for the cause, in this case to the influence on him of the Royal Society. Whereas the Royal Society in its early years is often seen as putting into practice a programme pioneered by Boyle, this crucial methodological change on his part seems rather to have been stimulated by the society's early concern for systematic data-collecting. In this connection, it is here shown that a key text, Boyle's influential ‘General Heads for a Natural History of a Country, Great or small’, published in Philosophical Transactions in 1666, represents more of a shared initiative between him and the society than has hitherto been appreciated. (shrink)

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)

In this paper, I discuss a drawing that substituted for an engraving in a copy of Philosophical Transactions once owned by Thomas Kirke (1650–1706, FRS 1693). I suggest that prints allowed Kirke to train his eye as well as his hand. His case is useful for raising further questions about visual representations in early modern science.

“To whom is the Consecration of Medal, Stature or even Pyramid more jusly due, than to … the late Illustraious Boyle? … for the happy Improvement of Otto Guericks Magdeburg Exhausterm and for his Profound and Noble Researches into all the abstruser Parts and Recesses of the most useful Philosophy … I have named the Illustrious Boyle, and fix his Trophy here.”John Evelyn, Numismata, 1697.