SCIENTIAE STUDIES D o h e r t y E n g r a v i n g A c c u r a Meghan C. Doherty c y i n E Engraving Accuracy a r l y M in Early Modern England o d e r n E n Visual Communication g l a n and the Royal Society d Engraving Accuracy in Early Modern England Scientiae Studies The Scientiae Studies series is a forum ideally suited to innovative interdisciplinary discourses and strands of intellectual history pivoted around the circulation of knowledge. The series is deliberately global, so looks beyond, as well as within, European history. And since it confronts theories and practices in the early modern period that had yet to be separated into their modern ‘scientific’ configurations, the proposals we welcome study both learned societies and artisanal knowledge, as well as the history of universities and the birth and evolution of early modern collections. Thus we aim to bridge the gap between material culture and history of ideas. While natural philosophy and natural history remain central to its endeavours, the Scientiae Studies series addresses a wide range of related problems in the history of knowledge, which respond to the challenges posed by science and society in our changing environment. Series editors Stefano Gulizia, University of Milan (Editor-in-chief, 2020–2023) Vittoria Feola, University of Padova Christine Göttler, University of Bern Cassie Gorman, Anglia Ruskin University Karen Hollewand, Utrecht University Richard Raiswell, University of Prince Edward Island Cornelis Schilt, Linacre College, Oxford Engraving Accuracy in Early Modern England Visual Communication and the Royal Society Meghan C. Doherty Amsterdam University Press Cover illustration: Anonymous, How to draw a sphere and a head, facing page 120, Engraving, from John Evelyn, Sculptura (London: Printed by J. C. for G. Beedle & T. Collins, 1662). Bodleian Library, 8vo G.119 Linc. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 106 6 e-isbn 978 90 4855 427 0 doi 10.5117/9789463721066 nur 685 © M.C. Doherty / Amsterdam University Press B.V., Amsterdam 2022 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents Acknowledgements 7 Introduction 11 “Claiming the Resemblance of Life” 11 “The Best in the World in this kind” 15 “An accurate impression is in far higher esteem” 26 “Each Judgement of his Eye” 33 “Examining it according to my usual manner” 36 1. “Innocent Witch-craft of Lights”: Developing Visual Judgment through Printed Books 49 The Magic of Projection 57 “Draw and Engrave their Schemes with Delight and Assurance” 68 “A fit subject for our kingdomes knowledge and practice” 77 Conclusion 89 2. “A New Visible World”: Developing a Visual Vocabulary for the Microscopic 97 The Visual Culture of Early Microscopy 106 Developing a “sincere Hand and a faithful Eye” 113 Making “a Plain Representation” 117 Engraving “the True Form” 122 3. “Nearly Resembling the Live Birds”: Collecting and Collating for the Reformation of Natural History 137 Resembling the Text: The Dodo (Raphus cucullatus) 145 Resembling the Printed Record: The Golden Eagle (Aquila chrysaetos) 149 Resembling the Living: The Smew (Mergus albellus) 157 Resembling the Dead: The Great Grey Gull 162 Conclusion 166 4. “These Rude Collections”: Accumulating Observations and Experiments 177 “The present figure of Saturn” 182 “With so much care and exactness” 199 Conclusion 209 Conclusion 215 Bibliography 221 Index 239 Acknowledgements Throughout this whole process one voice has been constant, both out loud and in my head. Every time our paths crossed over the years, Sachiko Kusu- kawa would always ask when she would be able to put my book on her shelf. Her faith in me and this project has helped me to keep going through all the trials and tribulations that have come my way. I am grateful that her voice was joined by others, especially Beth Yale, Anna Marie Roos, and Daniela Bleichmar. I do not think this project would have ever been completed if I had not had the voices of these strong women ringing in my ears. This project began in Madison, where Jill H. Casid was my adamant and steadfast supporter. Robin Rider and Florence Hsia joined their voices with Jill’s and encouraged and challenged my thinking throughout the research and writing of this book. I am also grateful for the early conversations and feedback provided by Lynn Nyhart, Tom Broman, and Henry Turner. Even though my research interests strayed away from early America, everyone at the Chipstone Foundation remained committed to seeing me succeed. I am particularly grateful to Jon Prown, Glenn Adamson, and Amy Meyers. Finally, although he could not understand why a person would want to learn to engrave in the twenty-first century, Jack Damer welcomed me into his introductory printmaking class, so I could gain a physical understanding of what Faithorne was writing about in The Art of Graveing. Many libraries and even more librarians and curators opened their doors, vaults, and study rooms to me. At the University of Wisconsin–Madison, Robin Rider has been tireless in her support of my research and this project. In addition, at the then Elvehjem, now Chazen Museum, Drew Stevens was an early supporter of my research on William Faithorne. At multiple stages in this process my research has been supported by the Huntington Library, Art Museum, and Botanical Gardens. Both times I was there as a fellow, Dan Lewis and Stephen Tabor were endlessly patient and supportive with my many questions. Four months at the Smithsonian Libraries was essential to the research for this project. At the Dibner Library of the History of Science and Technology, Lila Vekerdy and Kirsten van der Veen helped me balance research and writing. At the Cullman Library of Natural History, Daria Wingreen-Mason and Leslie K. Overstreet pulled every book with an illustration of a bird published before 1676, which was essential for my research on the sources of the images in Willughby and Ray’s Ornithology. My research on the Philosophical Transactions would not have been possible without the support of the staff at the Royal Society, in particular, Felicity 8 EngrAving AccurAcy in EArly ModErn EnglAnd Henderson, Rupert Baker, and Keith Moore. A chance encounter with Giles Mandelbrot at the reference desk in the Rare Books Reading Room at the British Library led to many great conversations and the opportunity to share my work on Albert Dürer Revived and its connections to the London book trade. My research on that book, its many editions, and its sources was supported by a research fellowship at the Yale Center for British Art, which also allowed me time at the Beinecke Library where I met Kathryn James who has continued to support and encourage my research. Kim Sloan at the British Museum supported this project in the Print Room and with lots of conversations. Additional research took me to the National Art Library at the Victoria and Albert Museum, Stationer’s Company Archives, the Folger Shakespeare Library, the Library of Congress, the Royal College of Physicians, the University of Nottingham, and Brown University’s John Hay Library. Without these many patient librarians and curators, this project would not have been possible. At the urging of Donna Sy (and without a clear understanding of what exactly critical bibliography was), I applied for the Andrew W. Mellon Fel- lowship of Scholars in Critical Bibliography at Rare Book School. Little did I know how much being a part of this fellowship would affect my scholarship. The first course I took at RBS was with Roger Gaskell and Caroline Duroselle- Melish. This course not only provided me with a wealth of information on the illustrated scientific books, but it also allowed me to meet the two wonderful instructors and the eleven other students. The conversations that came out of the class, particularly with Roger, Caroline, Dahlia Porter, and Courtney Roby, have shaped this project in innumerable ways. I am so grateful for their continued support. Conversations with Michael Suarez, Donna Sy, Barbara Heritage, and other RBS staffed have dramatically altered how I think about the book as a physical object as well as a container of knowledge. The introduction to this book benefitted greatly from feedback provided by fellow Fellows. Many of the ideas in this book were first tested out in research projects over the years. I am grateful to the many scholars who shared their thoughts on these ideas along the way, in particular, Jim Bennet, Tim Birkhead, Maria Conforti, Mordechai Feingold, Sietske Fransen, Craig Ashley Hanson, Klaus Hentschel, Matthew Hunter, Michael Hunter, Jeanne Peiffer, and Katie Reinhart. These conversations, and many others, have helped shaped this project as they challenged my ideas about the materials presented. Without the support of Erika Gaffney, at Amsterdam University Press, and Stefano Gulizia, Scientiae Series editor, this research project would never have become the book you are reading. I am grateful for their encouragement AcknowlEdgEMEnts 9 throughout the review process. This project benefitted greatly from two anonymous readers’ feedback. Their comments helped me to strengthen the argument throughout the book. While many have read and commented on this along the way, any errors that remain are, of course, my own. I thank the following institutions for their financial support of this project: University of Wisconsin–Madison, the Chipstone Foundation, the Yale Center for British Art, the Huntington Library, Art Museum, and Botanical Gardens, the Smithsonian Dibner Library of the History of Science and Technology, Andrew W. Mellon Fellowship of Scholars in Critical Bibliography, Rare Book School, Byrne-Bussey Marconi Fellowship at the Bodleian Libraries, Oxford University, Lisa Jardine History of Science Grant, The Royal Society, and Berea College. Support for the image permission fees was provided by Berea College. I thank the following institutions for granting me the rights to reproduce images in their collections: the Ashmolean Museum, the Bodleian Library, the British Library, the British Museum, the Huntington Library, the Natural History Museum, London, the Royal Society, the Tate Britain, and the Vatican Library. Furthermore, I am grateful to the follow institutions that provided images at no cost: the Biodiversity Heritage Library, Brown University, the Chazen Museum, e-rara, Ebling Library at the University of Wisconsin–Madison, the National Gallery of Art, Washington, D.C., the National Portrait Gallery, London, Special Collections at the University of Wisconsin–Madison, and the Yale Center for British Art. I am also grateful to the editors of Notes and Records of the Royal Society for allowing me to include a heavily revised version of an essay first published there. While this project was started in Madison, it came to a conclusion in Berea. Over the years, I have been endlessly grateful to have Dan Feinberg as an interlocutor in the drafting and editing of this project. Through the College’s Labor Program, I have had the help of a number of students. In particular, I am grateful to: Haley Boothe, Elizabeth Ronilo, and Megan McEahern. This project would never have begun without the support of my parents, Katie and Craig. Their enduring encouragement and willingness to read and copy edit endless drafts have sustained me throughout this process. I would never have finished this project without the love and support of Jason and Ellis. Jason has helped me keep going even when I wanted to give up completely and convinced me that people other than family really did care about what I had to say. Although this started before she was born, Ellis quickly began making her own books alongside me encouraging me to finish my own.