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2000 HSS/PSA Program 1 - History of Science Society

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takes as its task historicizing objects—buildings and bodies—as embedded in<br />

multiplicities that constitute precipitibilities and imperceptibilities. It argues<br />

that buildings and bodies are materialized through multiple historical strata,<br />

and further, that the materializations <strong>of</strong> lay people require as much skill with<br />

objects, practices, and representation as do those <strong>of</strong> experts.<br />

Janice␣ L. Neri University <strong>of</strong> California, Irvine<br />

The Visual Rhetoric <strong>of</strong> Insect Illustration:<br />

Technology & Visuality in the Seventeenth Century<br />

<strong>HSS</strong> Abstracts<br />

H<br />

S<br />

S<br />

Seventeenth-century users <strong>of</strong> microscopes set their sights on the familiar and<br />

mundane world <strong>of</strong> very small objects—seeds, household items, bits <strong>of</strong> fabric, and<br />

especially insects. The images produced by these early microscopists present<br />

stunning views <strong>of</strong> flies, lice, termites, and other insects as they had never been<br />

seen or depicted these magnified views transform small and insignificant creatures<br />

into fascinating, strange, and wholly new beings—exotic animals. Images <strong>of</strong> insects<br />

such as those found in Hooke’s Micrographia or Leeuwenhoek’s studies are <strong>of</strong>ten<br />

cited by historians as examples <strong>of</strong> the careful and precise observation <strong>of</strong> nature<br />

characteristic <strong>of</strong> the advances in seventeenth-century science and technology. In<br />

this paper, however, I argue that such images were the product <strong>of</strong> reciprocal<br />

relationships between image-makers and observers who made use <strong>of</strong> older imagemaking<br />

practices that combined fantasy and imagination with precise observation.<br />

It was through the use <strong>of</strong> these two methods <strong>of</strong> visual representation—the rhetoric<br />

<strong>of</strong> the real and the rhetoric <strong>of</strong> fantasy—that early users <strong>of</strong> microscopes were able<br />

to make sense <strong>of</strong> the startling new visions they experienced. The results were<br />

images that present views <strong>of</strong> insects that are both familiar and exotic.<br />

William Newman Indiana University<br />

The Fire-Analysis Debate Before Boyle and Van Helmont<br />

Since the 1960’s it has been known that Robert Boyle’s famous attack on the<br />

Paracelsian “tria prima” (mercury, sulfur, and salt) owed a significant debt to<br />

the Belgian iatrochemist Joan Baptista Van Helmont. In his Ortus medicinae <strong>of</strong><br />

1648, Van Helmont argues (as Boyle would later do) against the much-vaunted<br />

claim <strong>of</strong> the Paracelsians that analysis by fire provides a fool-pro<strong>of</strong> demonstration<br />

<strong>of</strong> the tria prima’s pre-existence in compounds. Van Helmont points out that the<br />

Paracelsian position contains an obvious fallacy—the assumption that the<br />

disintegration <strong>of</strong> a body always reveals pre-existent ingredients rather than mere<br />

artifacts <strong>of</strong> decomposition. On the strength <strong>of</strong> this paralogism, the human body<br />

should be composed <strong>of</strong> worms, and cheese <strong>of</strong> mites. It has not been realized<br />

widely that Van Helmont himself was the beneficiary <strong>of</strong> a long and increasingly<br />

bitter scholastic debate about the pre-existence <strong>of</strong> substances in mixtures. Thomas<br />

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