Pirotechnia

The pirotechnia.

Covers the whole field of metallurgy. Explores the applied metal arts and processes of ore reduction and describes the techniques which had been in development since the Bronze Age.

This book explores the interconnections and differentiations between artisanal workshops and alchemical laboratories and between the arts and alchemy from Antiquity to the eighteenth century. In particular, it scrutinizes epistemic exchanges between producers of the arts and alchemists. In the fifteenth and sixteenth centuries the term laboratorium uniquely referred to workplaces in which ‘chemical’ operations were performed: smelting, combustion, distillation, dissolution and precipitation. Artisanal workshops equipped with furnaces and fire in which ‘chemical’ operations were performed were also known as laboratories. Transmutational alchemy (the transmutation of all base metals into more noble ones, especially gold) was only one aspect of alchemy in the early modern period. The practice of alchemy was also about the chemical production of things--medicines, porcelain, dyes and other products as well as precious metals and about the knowledge of how to produce them. This book uses examples such as the Uffizi to discuss how Renaissance courts established spaces where artisanal workshops and laboratories were brought together, thus facilitating the circulation of materials, people and knowledge between the worlds of craft (today’s decorative arts) and alchemy. Artisans became involved in alchemical pursuits beyond a shared material culture and some crafts relied on chemical expertise offered by scholars trained as alchemists. Above all, texts and books, products and symbols of scholarly culture played an increasingly important role in artisanal workshops. In these workplaces a sort of hybrid figure was at work. With one foot in artisanal and the other in scholarly culture this hybrid practitioner is impossible to categorize in the mutually exclusive categories of scholar and craftsman. By the seventeenth century the expertise of some glassmakers, silver and goldsmiths and producers of porcelain was just as based in the worlds of alchemical and bookish learning as it was grounded in hands-on work in the laboratory. This book suggests that this shift in workshop culture facilitated the epistemic exchanges between alchemists and producers of the decorative arts.

A collection of important writings in the history of chemistry from 1400-1900, each with an introduction by the editors.

Originally printed in 1540, this classic work on the field of metallurgy marked the beginning of a true technological literature. Biringuccio's Pirotechnia is the earliest printed work to cover the whole field of metallurgy. Originally printed in Venice in 1540, this was the first book to deal with the applied metal arts and processes of ore reduction and to describe the techniques which had been in development since the bronze age. Written by a master craftsman in a time when knowledge was kept alive by the spoken rather than the written word, this classic marked the beginning of a true technological literature, with both craftsmanship and science united by a writer's pen to form a record of an important facet of man's achievement as a stimulus to further advance. After the publication of the Pirotechnia, many followed Biringuccio's example, and as a result of this growing literature of technological practice and experimental fact, science eventually became the concern of the educated man.

A history of the book and intellectual property that includes military technology and military secrets. Winner of The Morris D. Forkosch Prize from the Journal of the History of Ideas In today's world of intellectual property disputes, industrial espionage, and book signings by famous authors, one easily loses sight of the historical nature of the attribution and ownership of texts. In Openness, Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance, Pamela Long combines intellectual history with the history of science and technology to explore the culture of authorship. Using classical Greek as well as medieval and Renaissance European examples, Long traces the definitions, limitations, and traditions of intellectual and scientific creation and attribution. She examines these attitudes as they pertain to the technical and the practical. Although Long's study follows a chronological development, this is not merely a general work. Long is able to examine events and sources within their historical context and locale. By looking at Aristotelian ideas of Praxis, Techne, and Episteme. She explains the tension between craft and ideas, authors and producers. She discusses, with solid research and clear prose, the rise, wane, and resurgence of priority in the crediting and lionizing of authors. Long illuminates the creation and re-creation of ideas like "trade secrets," "plagiarism," "mechanical arts," and "scribal culture." Her historical study complicates prevailing assumptions while inviting a closer look at issues that define so much of our society and thought to this day. She argues that "a useful working definition of authorship permits a gradation of meaning between the poles of authority and originality," and guides us through the term's nuances with clarity rarely matched in a historical study.

Gives accurate and reliable summaries of the current state of research. It includes entries on philosophers, problems, terms, historical periods, subjects and the cultural context of Renaissance Philosophy. Furthermore, it covers Latin, Arabic, Jewish, Byzantine and vernacular philosophy, and includes entries on the cross-fertilization of these philosophical traditions. A unique feature of this encyclopedia is that it does not aim to define what Renaissance philosophy is, rather simply to cover the philosophy of the period between 1300 and 1650.

&"As an old admirer of Cyril Smith, I'm delighted to learn that a collection of his essays on the arts will be published. They are a unique body of work which only he could have produced.&" &-Meyer Schapiro Science, art, and history all share common or analogous patterns of hierarchical order that are embedded into the structure of the material world as well. This is a central insight of these essays by a generalist who has also spent a lifetime working in his specialty, the nature of materials. To Cyril Stanley Smith, the transformation of metals from one state to another, or the contrasts at one level that merge through repetition into uniformity at a higher level, carries solid metaphorical implications for the human condition. Cyril Stanley Smith's own expansion of outlook to encompass successively technology, science, history, and art is loosely implicit in the chronological ordering of the fourteen essays included in this volume and explicitly developed in one of them that &"comes as close to an autobiography as I am ever likely to write&" and traces the evolution of Smith's ideas on science and art. Trained as an industrial metallurgist, Smith turned to the purely scientific study of the structure of metals and alloys after his experience at Los Alamos during World War II, drawn in part by his delight in the intrinsic beauty of these structural manifestations of symmetry and natural design. A growing interest in the history of the science and technology of materials led him to consult the artifactual evidence&-the art objects in museums that either greatly predate written historical records or provide, through scientific examination, more reliable information than do the surviving documents of their period. This direct contact with fine or formal art only reinforced Smith's intuition that the aesthetic impulse is at play over the full range of human activity, whether it leads to the making of a bronze sculpture, a scientific theory, or a social reorganization. A variety of investigations of art objects is cited in the text, and the author regards the accompanying illustrations to be as important as the text. In particular, the essays make the case that historically many advances and discoveries regarding metals and ceramics came about through aesthetic curiosity and the desire to improve works of fine and decorative art, rather than through scientific investigation or in response to the need for products having practical utility. Many techniques and even whole industries, Smith writes, began with the making and reproduction of art works. Other essays deal with the emerging understanding of the remarkable properties of steel, the positive uses of corrosion, ancient casting and molding techniques, and the connection between attempts to reproduce oriental porcelain in Europe and modern geological ideas. Still others are more philosophical in approach.

By using the fresh investigative language of cognitive history, a symbiosis of the methods of cognitive science and historical inquiry, this book departs from almost all previous approaches to Renaissance studies. The Renaissance has attracted the attention of distinguished scholars from many different vantage points – political, social, economic, intellectual, and cultural. In this volume, Subrata Dasgupta sheds an alternative light on the Renaissance by considering it as a creative phenomenon. To be creative is to make history by producing material and/or abstract artifacts that are both new and consequential; to be creative also entails drawing on history and on the culture of the time. Most significantly, the creative process occurs in individual minds: it is a cognitive process of a very special kind. Beginning with a ‘prehistory’ set in classical Greece and medieval Islam, this book explores a variety of inventions and discoveries through the 14th–16th centuries, mainly in Italy, in humanities, painting, architecture, craft technology, anatomy, natural science, and engineering. This book will be of interest not only to Renaissance scholars but also to students interested in Renaissance history and the nature of the creative tradition.