The medieval view of the wider world around them and their portrayal of it in maps, charts, illuminations and paintings had very little to do geography. This beautifully illustrated volume examines and celebrates the medieval vision of the cosmos as a strictly hierarchial and heavenly sequence of spheres, and of a world, protected by a sky filled with an elaborate array of constellations, with Jerusalem in the centre and mythical beasts on the edge. The scholarly and very accessible discussion is accompanied by many colour illustrations of Christian and Islamic works of art and science, mostly dating from the 12th century to the revolutionary ideas of the 16th. The foreword is by Terry Jones.
In City and Cosmos, Keith D. Lilley argues that the medieval mind considered the city truly a microcosm: much more than a collection of houses, a city also represented a scaled-down version of the very order and organization of the cosmos. Drawing upon a wide variety of sources, including original accounts, visual art, science, literature, and architectural history, City and Cosmos offers an innovative interpretation of how medieval Christians infused their urban surroundings with meaning. Lilley combines both visual and textual evidence to demonstrate how the city carried Christian cosmological meaning and symbolism, sharing common spatial forms and functional ordering. City and Cosmos will not only appeal to a diverse range of scholars studying medieval history, archaeology, philosophy, and theology; but it will also find a broad audience in architecture, urban planning, and art history. With more of the world’s population inhabiting cities than ever before, this original perspective on urban order and culture will prove increasingly valuable to anyone wishing to better understand the role of the city in society.
From the early Christian era and throughout the Middle Ages, theologians exerted considerable effort to achieve a synthesis bringing together Greek cosmology and the Creation story in Genesis. In the construction of the medieval Empyrean, the dwelling place of the Blessed, Aristotle’s philosophy proved of critical importance. From the Renaissance on, largely in revolt against Aristotle, humanist Bible critics, Protestant reformers and astronomers set themselves to challenge the medieval synthesis. Especially effective in the ensuing dismantlement, from the 16th to 18th centuries, was the pagan concept of an infinite universe, resuscitated from Antiquity by the Italian philosophers Bruno and Patrizi. Indirectly inspired by the latter, the doctrines of the French pre-Enlightenment thinkers Descartes and Gassendi spread throughout Latin Catholic Europe in spite of considerable resistance. By the middle of the 18th century the Roman ecclesiastical authorities were brought to acknowledge an end to the medieval cosmos, allowing Catholics to teach the theory of heliocentrism.
In the rapidly changing world of the early Middle Ages, depictions of the cosmos represented a consistent point of reference across the three dominant states--the Frankish, Byzantine, and Islamic Empires. As these empires diverged from their Greco-Roman roots between 700 and 1000 A.D. and established distinctive medieval artistic traditions, cosmic imagery created a web of visual continuity, though local meanings of these images varied greatly. Benjamin Anderson uses thrones, tables, mantles, frescoes, and manuscripts to show how cosmological motifs informed relationships between individuals, especially the ruling elite, and communities, demonstrating how domestic and global politics informed the production and reception of these depictions. The first book to consider such imagery across the dramatically diverse cultures of Western Europe, Byzantium, and the Islamic Middle East, Cosmos and Community in Early Medieval Art illuminates the distinctions between the cosmological art of these three cultural spheres, and reasserts the centrality of astronomical imagery to the study of art history.
Edward Grant describes the extraordinary range of themes, ideas, and arguments that constituted scholastic cosmology for approximately five hundred years, from around 1200 to 1700. Primary emphasis is placed on the world as a whole, what might lie beyond it, and the celestial region, which extended from the Moon to the outermost convex surface of the cosmos.
In Knowledge and Cosmos: Development and Decline of the Medieval Perspective, 2nd Edition, Robert K. DeKosky focuses on issues in astronomy, cosmology, physics, matter theory, philosophy, and theology vital to the “Copernican Revolution.” This book describes efforts among individuals advocating different world views to fit new ideas compatibly into broad perspectives reflecting four traditional patterns of interpretation: teleological, mechanical, occultist, and mathematico-descriptive. These four modes had guided medieval accounts of heavenly phenomena, material process, and motion. The teleological explanation, prevalent in Aristotle’s natural philosophy, posited “final causes” (ends or goals toward which objects strove or attempted to become). Ancient classical atomists had emphasized strictly mechanical explanations, invoking direct material contact and collision of moving matter as agents of physical change. Traditions of astrology, magic, and alchemy embraced an occultist pattern of interpretation—citing hidden forces opaque to both sensual detection and rational understanding as explanations of various phenomena. Finally, the mathematico-descriptive approach interpreted natural phenomena according to geometric or arithmetic relationships; unlike the other three, this did not involve causal explanation of a process. Part I discusses development of the four patterns in the ancient period and their uneasy medieval relationships with each other and with basic Judaeo-Muslim-Christian exigencies of faith. Theory of the heavens follows, including the mathematico-descriptive approach of Ptolemaic astronomy, the teleological and mechanical cosmology of Aristotle, and occultist interpretations of astrologers and magicians. Part I then turns to matter and materiality, discussing differences among the mechanical philosophy of classical atomism, teleological emphases in Aristotle’s material theory, and occultist assumptions of some alchemists. Finally, Part I analyzes conceptions of motion, focusing on Aristotelian interpretations and critical commentaries thereon during the Middle Ages. Part II relates struggles of leading early-modern figures to adapt new concepts (e.g., Copernicus’ heliocentric astronomy/cosmology, Galileo’s inertial theories of motion, and Kepler’s elliptical planetary orbit) to an allegiance to two or more of the four patterns of interpretation. By this approach, it identifies decreasing dependence on teleological explanation of physical phenomena as crucial to decline of medieval interpretations of those phenomena, followed by rejection of teleology in the natural philosophy of Descartes, and subsequent fruitful confluence of the mechanical, mathematico-descriptive, and occultist patterns in the physics and cosmology of Isaac Newton.
A Best Book of 2020 (NPR) A Best Book of 2020 (The Economist) A Top Ten Best Science Book of 2020 (Smithsonian) A Best Science and Technology Book of 2020 (Library Journal) A Must-Read Book to Escape the Chaos of 2020 (Newsweek) Starred review (Booklist) Starred review (Publishers Weekly) A historically unprecedented disconnect between humanity and the heavens has opened. Jo Marchant's book can begin to heal it. For at least 20,000 years, we have led not just an earthly existence but a cosmic one. Celestial cycles drove every aspect of our daily lives. Our innate relationship with the stars shaped who we are—our art, religious beliefs, social status, scientific advances, and even our biology. But over the last few centuries we have separated ourselves from the universe that surrounds us. It's a disconnect with a dire cost. Our relationship to the stars and planets has moved from one of awe, wonder and superstition to one where technology is king—the cosmos is now explored through data on our screens, not by the naked eye observing the natural world. Indeed, in most countries, modern light pollution obscures much of the night sky from view. Jo Marchant's spellbinding parade of the ways different cultures celebrated the majesty and mysteries of the night sky is a journey to the most awe-inspiring view you can ever see: looking up on a clear dark night. That experience and the thoughts it has engendered have radically shaped human civilization across millennia. The cosmos is the source of our greatest creativity in art, in science, in life. To show us how, Jo Marchant takes us to the Hall of the Bulls in the caves at Lascaux in France, and to the summer solstice at a 5,000-year-old tomb at Newgrange, Ireland. We discover Chumash cosmology and visit medieval monks grappling with the nature of time and Tahitian sailors navigating by the stars. We discover how light reveals the chemical composition of the sun, and we are with Einstein as he works out that space and time are one and the same. A four-billion-year-old meteor inspires a search for extraterrestrial life. The cosmically liberating, summary revelation is that star-gazing made us human.
Paints a lucid picture of the medieval world view, providing the historical and cultural background to the literature of the Middle Ages and Renaissance. This, Lewis's last book, has been hailed as 'the final memorial to the work of a great scholar and teacher and a wise and noble mind'.
Theologian Harry Lee Poe and chemist Jimmy H. Davis argue that God's interaction with our world is a possibility affirmed equally by the Bible and the contemporary scientific record. Rather than confirming that the cosmos is closed to the actions of the divine, advancing scientific knowledge seems to indicate that the nature of the universe is actually open to the unique type of divine activity portrayed in the Bible.
