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.
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Thesis
Doherty, Meghan C.;
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Carving Knowledge: Printed Images, Accuracy, and the Early Royal Society of London
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Francesco G. Sacco;
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Richard Yeo;
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Katherine M. Reinhart;
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Hunter, Matthew C.;
(2010)
Hooke's Figurations: A Figural Drawing Attributed to Robert Hooke
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Thesis
Hunter, Matthew C.;
(2007)
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Sietske Fransen;
(2019)
Antoni van Leeuwenhoek, His Images and Draughtsmen
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Michael Hunter;
(2016)
The Image of Restoration Science: The Frontispiece to Thomas Sprat’s History of the Royal Society
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Camerota, Filippo;
Cigoli, Ludovico Cardi da;
(2010)
Linear Perspective in the Age of Galileo: Lodovico Cigoli's Prospettiva Pratica
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Lawson, Ian;
(2015)
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Book
Purrington, Robert D.;
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Poole, William;
(2008)
Sir Robert Southwell's Dialogue on Thomas Burnet's Theory of the Earth: “C & S Discourse of Mr Burnetts Theory of the Earth” (1684): Contexts and an Edition
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John Gribbin;
Mary Gribbin;
(2017)
Out of the Shadow of a Giant: Hooke, Halley, and the Birth of Science
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Article
Walker, Matthew F.;
(2011)
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Alexander Wragge-Morley;
(2020)
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Lewis, Rhodri;
(2009)
Hooke's Two Buckets: Memory, Mnemotechnique and Knowledge in the Early Royal Society
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Iliffe, Rob;
(1992)
“In the warehouse”: Privacy, property and priority in the early Royal Society
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