The Materialization of Robert Fludd's Alchemical and Theosophical Concepts: A Case Study in the History of Science on the Interaction between Author, Artisans, Artists, and Publishers

弗洛德的书以其壮观的图像和豪华的尺寸而闻名，这些书是由Matthäus长老梅里安和约翰·西奥多·德·布里代表他制作的。图像和人工制品的相关性-例如炼金术仪器，自动化和书籍-可以在“手工认识论”（Pamela Smith）的背景下解释，也就是说，1600年左右的炼金术学术与手工制品的特殊相关性。对弗洛德的视觉思想和人工制品的实际物化的分析是研究的需要，因为分析主要集中在它们的哲学相关性上，而很少关注它们的生产过程。该项目将重点关注与flud的主要作品“Utriusque cosmi historia”相关的图像和人工制品的制作。为此，该项目将分析flud与他的艺术家和工匠的交流，即他的蚀刻师和铜版雕刻师，他的写作助手，实验室助手，绘画助手（amanuensse）和出版商。该项目的问题将通过对原始文本的自动研究来回答，比如幸运地幸存下来的拉女士。第15章，法兰克福Stadt- und Universitätsbibliothek的“De technica microcosmi historia”，其中展示了作者和出版商之间谈判的具体过程，几乎完全被先前的研究所忽视，以及牛津大学博德利图书馆（牛津），大英图书馆（伦敦），剑桥大学三一学院，乌普萨拉大学和Stadtbibliothek l<e:2> beck的更知名的手稿和签名。文本和图像的紧密联系以及术语刻字图像的过程表明，弗洛德不仅在文本中生动地表达了他的视觉思想，而且还积极参与将其物化，例如通过笔画，梅里安将其用作蚀刻和铜版版画的模型。弗莱德的对手，比如开普勒，将这些图像视为学术论断，弗莱德不得不在随后的争议中为其辩护。然而，这些反对者并不理解flud的图表和它们表面上描绘的天体（例如天文天体）之间的关系，这就是为什么他们攻击他的论证方法。因此，该项目还将重建Fludd的图像与他的乐器之间的关系，例如单弦乐器，Vitrum Calendarium，以及他的自动化设备，通过它们的具体和生产的认知维度。

Fludd's books are distinguished by their spectacular images and luxurious size, which were produced by Matthäus Merian the Elder and Johann Theodor de Bry on his behalf. The relevance of images and artefacts – e.g. alchemical instruments, automates, and books – for Fludd's natural history and natural philosophy can be explained against the backdrop of “artisanal epistemology” (Pamela Smith), that is, the special relevance of crafts for alchemical scholarship around 1600. The analysis of the practical materialization of Fludd's visual ideas and artefacts is a desideratum of research, since the analysis has focused primarily on their philosophical relevance and little on the process of their production. This project will focus on the production of images and artefacts which was concomitant with Fludd's main work “Utriusque cosmi historia”. To this end, the project will analyze Fludd's communication with his artists and artisans – i.e. his etchers and copperplate engravers, his writing assistants, laboratory helpers, drawing assistants (amanuenses), and publishers. The project's questions will be answered through the autoptical research of source-texts, such as the fortunately surviving Ms. lat. qu. 15, “De technica microcosmi historia” at Frankfurter Stadt- und Universitätsbibliothek, which demonstrates concrete processes of negotiation between author and publisher and has been almost entirely overlooked by prior research, and better-known manuscripts and autographs at Bodleian Library (Oxford), British Library (London), Trinity College (Cambridge), Uppsala University, and Stadtbibliothek Lübeck.The close interlinking of text and image and the process of terminologically lettering images demonstrate that Fludd was not only vividly expressing his visual ideas in texts, but was also actively participating in materializing them, for example through pen drawings, which were used by Merian as models for his etchings and copperplate engravings. Fludd's adversaries, such as Kepler, treated these images as scholarly assertions which Fludd was obliged to defend in ensuing controversies. These adversaries, however, did not comprehend the relationship between Fludd's diagrams and the (e.g. astronomical) bodies they ostensibly depicted, which was why they attacked his method of argumentation. Therefore, the project will also reconstruct the relationship between Fludd's images and his instruments, such as the monochord, the Vitrum Calendarium, and his automates by their concrete as well as epistemic dimensions of production.