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形象和奢华的大小而闻名，这些书是由老马修·梅里安和约翰·西奥多·德·布莱代表他制作的。图像和人工制品--例如炼金术仪器、自动化设备和书籍--与弗拉德的自然历史和自然哲学的相关性可以在“手工认识论”(帕梅拉·史密斯)的背景下得到解释，也就是说，手工艺品在1600年左右与炼金术学术有特殊的相关性。对Fludd的视觉思想和手工艺品的实践物化的分析是一个值得研究的问题，因为分析主要集中在它们的哲学意义上，而对它们的产生过程很少。这个项目将专注于制作图像和文物，这是伴随着弗拉德的主要作品《Utriusque宇宙历史》而来的。为此，该项目将分析弗拉德与他的艺术家和工匠--即他的蚀刻师和铜版雕刻师、他的写作助理、实验室助手、绘画助理和出版商--的交流。该项目的问题将通过对原始文本的尸检研究来回答，例如幸运地幸存的拉特女士。曲。15，法兰克福大学的《微技术历史》，展示了作者和出版商之间的具体谈判过程，几乎完全被先前的研究所忽视，以及更著名的手稿和亲笔签名，在Bodleian图书馆(牛津)、大英图书馆(伦敦)、三一学院(剑桥)、乌普萨拉大学和Stadtbibliothek L吕贝克。文本和图像的紧密联系和术语字母图像的过程表明，弗卢德不仅在文本中生动地表达他的视觉思想，而且还积极参与将这些思想物化，例如通过钢笔画，梅里安人将其用作版画和铜版雕刻的模型。弗洛德的对手，如开普勒，将这些图像视为学术断言，在随后的争议中，弗洛德不得不为其辩护。然而，这些对手并不理解弗洛德的图表和他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，该项目还将通过生产的具体和认知维度重建Fludd的图像和他的乐器之间的关系，如单弦琴、Vitrum Calendary和他的自动化装置。

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.