Thomas Hankins and Robert Silverman investigate an array of instruments from the seventeenth through the nineteenth century that seem at first to be marginal to science--magnetic clocks that were said to operate by the movements of sunflower seeds, magic lanterns, ocular harpsichords (machines that played different colored lights in harmonious mixtures), Aeolian harps (a form of wind chime), and other instruments of "natural magic" designed to produce wondrous effects. By looking at these and the first recording instruments, the stereoscope, and speaking machines, the authors show that "scientific instruments" first made their appearance as devices used to evoke wonder in the beholder, as in works of magic and the theater.

The authors also demonstrate that these instruments, even though they were often "tricks," were seen by their inventors as more than trickery. In the view of Athanasius Kircher, for instance, the sunflower clock was not merely a hoax, but an effort to demonstrate, however fraudulently, his truly held belief that the ability of a flower to follow the sun was due to the same cosmic magnetic influence as that which moved the planets and caused the rotation of the earth. The marvels revealed in this work raise and answer questions about the connections between natural science and natural magic, the meaning of demonstration, the role of language and the senses in science, and the connections among art, music, literature, and natural science.

Originally published in 1999.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

One of the most imaginative mathematicians of the nineteenth century, Sir William Rowan Hamilton (1805-1865) changed the course of modern algebra with his discovery of quaternions in 1843. Although Hamilton's work was largely theoretical, his ideas came to have invaluable practical applications with the advent of quantum mechanics in the twentieth century. In this acclaimed biography, Thomas L. Hankins brings together the many aspects of Hamilton's life and work--from his significant contributions to mathematics, optics, and mechanics to his passion for metaphysics, poetry, and politics--fully portraying the brilliant man whose faith and idealism guided him in everything he did.

Thomas Hankins and Robert Silverman investigate an array of instruments from the seventeenth through the nineteenth century that seem at first to be marginal to science--magnetic clocks that were said to operate by the movements of sunflower seeds, magic lanterns, ocular harpsichords (machines that played different colored lights in harmonious mixtures), Aeolian harps (a form of wind chime), and other instruments of "natural magic" designed to produce wondrous effects. By looking at these and the first recording instruments, the stereoscope, and speaking machines, the authors show that "scientific instruments" first made their appearance as devices used to evoke wonder in the beholder, as in works of magic and the theater. The authors also demonstrate that these instruments, even though they were often "tricks," were seen by their inventors as more than trickery. In the view of Athanasius Kircher, for instance, the sunflower clock was not merely a hoax, but an effort to demonstrate, however fraudulently, his truly held belief that the ability of a flower to follow the sun was due to the same cosmic magnetic influence as that which moved the planets and caused the rotation of the earth. The marvels revealed in this work raise and answer questions about the connections between natural science and natural magic, the meaning of demonstration, the role of language and the senses in science, and the connections among art, music, literature, and natural science. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Science and the Enlightenment is a general history of eighteenth-century science covering both the physical and life sciences. It places the scientific developments of the century in the cultural context of the Enlightenment and reveals the extent to which scientific ideas permeated the thought of the age. The book takes advantage of topical scholarship, which is rapidly changing our understanding of science during the eighteenth century. In particular it describes how science was organized into fields that were quite different from those we know today. Professor Hankins's work is a much needed addition to the literature on eighteenth-century science. His study is not technical; it will be of interest to all students of the Enlightenment and the history of science, as well as to the general reader with some background in science.

A general history of 18th century science covering both the physical and life sciences. Places the scientific developments of the century in the cultural context of the Enlightenment and reveals the extent to which scientific ideas permeated the thought of the age.

They measure, they demonstrate, they reveal unseen worlds. Through the ages, scientific instruments have been used not only to advance understanding, but also to advance careers, dazzle audiences, and impose standards. These eleven essays take stock of the philosophy of instrumentation and the impact of new instruments in both the physical and life sciences, carefully considering the important interplay between instruments and authority, audience, and culture.
Contributors include Albert Van Helden on telescopes and authority, Jan Golinski on the demonstrative order of proof in Lavoisier's chemistry, Bruce J. Hunt on the development of electrical standards, Deborah Warner on terrestrial magnetism, Bruce Hevly on Stanford's supervoltage X-ray tube, Robert W. Smith and Jose h N. Tatarewicz on devices and black boxes, Thatcher Deane on the imperial astronomical bureau in the Ming dynasty, Thomas L. Hankins on Louis-Bertrand Castel's ocular harpsichord, Simon Schaffer on demonstration devices in Georgian mechanics, Timothy Lenoir on Helmholtz and the materialities of communication, and Robert Frank on instruments, biological techniques, and the "all-or-none" principle.

They measure, they demonstrate, they reveal unseen worlds. Through the ages, scientific instruments have been used not only to advance understanding, but also to advance careers, dazzle audiences, and impose standards. These eleven essays take stock of the philosophy of instrumentation and the impact of new instruments in both the physical and life sciences, carefully considering the important interplay between instruments and authority, audience, and culture.
Contributors include Albert Van Helden on telescopes and authority, Jan Golinski on the demonstrative order of proof in Lavoisier's chemistry, Bruce J. Hunt on the development of electrical standards, Deborah Warner on terrestrial magnetism, Bruce Hevly on Stanford's supervoltage X-ray tube, Robert W. Smith and Jose h N. Tatarewicz on devices and black boxes, Thatcher Deane on the imperial astronomical bureau in the Ming dynasty, Thomas L. Hankins on Louis-Bertrand Castel's ocular harpsichord, Simon Schaffer on demonstration devices in Georgian mechanics, Timothy Lenoir on Helmholtz and the materialities of communication, and Robert Frank on instruments, biological techniques, and the "all-or-none" principle.