Sunday, March 30, 2008

Mexico and Environs

Antigüedades mexicanas

Mexican antiquities, which exist in the National Museum of Mexico, 1857.



Catedral de Mexico
Cathedral of Mexico



Interior de la Catedral de México

Inside the Cathedral of Mexico
(in April 1855 during the celebration of the Immaculate Conception of Mary)



La Fuente del Santo del Agua
The Cascading Fountain



Plaza de Morelos
Morelos Square, formerly Guardiola Square



El Saghario de Mexico
Principal parish church



Casa Municipal

Municipal House or Deputation (?)



El Pueblo de Ixtacalco
The village of Ixtacalco



Plaza de armas de México
Public Square of Mexico



La Villa de Guadelupe
The town of Guadalupe, taken from a balloon



Trajes mexicanos b
Mexican costumes



Trajes mexicanos
Mexican costumes



Trajes mexicanos a
Mexican costumes



Frontispieces
Frontispieces from the 1869 and 1855 editions


The album of chromolithographs, 'México y sus Alrededores' (Mexico and Environs), is online at NYPL. The principal lithographer/artist for the project was Casimiro Castro, one of Mexico's foremost landscape artists in the nineteenth century. The forty illustrations were originally published in 1855-1856 [available at Biblioteca Virtual Miguel de Cervantes (click 'leer'), which includes the text]. The version at NYPL was published in 1869.

Speaking of NYPL, check out the newly designed Digital Gallery, announced as a 'soft launch' last week.

Saturday, March 29, 2008

Recreational Microscopy

Amusement microscopique MF Ledermuller 1766 d


Amusement microscopique MF Ledermuller 1766 i


Amusement microscopique MF Ledermuller 1766 j


Amusement microscopique MF Ledermuller 1766 u


Amusement microscopique MF Ledermuller 1766 e


Amusement microscopique MF Ledermuller 1766 f


Amusement microscopique MF Ledermuller 1766 h


Amusement microscopique MF Ledermuller 1766 1


Amusement microscopique MF Ledermuller 1766 o


Amusement microscopique MF Ledermuller 1766 p


Amusement microscopique MF Ledermuller 1766 k


Amusement microscopique MF Ledermuller 1766 l


Amusement microscopique MF Ledermuller 1766 m


Amusement microscopique MF Ledermuller 1766 b


Amusement microscopique MF Ledermuller 1766 3


Amusement microscopique MF Ledermuller 1766 n


Amusement microscopique MF Ledermuller 1766 a


Amusement microscopique MF Ledermuller 1766 r


Amusement microscopique MF Ledermuller 1766 s


Amusement microscopique MF Ledermuller 1766 2


Amusement microscopique MF Ledermuller 1766 x


Amusement microscopique MF Ledermuller 1766 y


Amusement microscopique MF Ledermuller 1766 4

insect in tweasers


Amusement microscopique MF Ledermuller 1766 t


Amusement microscopique MF Ledermuller 1766 v


Amusement microscopique MF Ledermuller 1766 z

history of science illustration


18th century engraving


A century after Robert Hooke's extraordinary treatise introduced the microscopic world to an astonished public, the German polymath, physician and keeper of the Margrave of Brandenburg's natural history collection, Martin Frobenius Ledermüller (1719-1769), succeeded in elaborating the potential of this emerging scientific art of popular microscopy.

Ledermüller produced a series of books in the second half of the eighteenth century whose success was directly related to the visual quality of the engravings made from his own drawings. Illustrations of previously invisible material - fungi, plants, insects, plankton and crystals - were a great commercial draw card in their own right of course. But Ledermüller augmented the basic findings he recorded from his microscopic studies with a graphic designer's aesthetic.

Specimens are arranged in the pictures to achieve an overall symmetry or balanced appearance, the details are unnaturally precise and handcolouring enhances the artistic effects. These attractive plates may not win any art show prizes necessarily and the scientific content may not represent ground breaking research per se, but Ledermüller (and similar early microscopists) occupies a nonetheless important place in the history of science. These embellished visual works - still informative and based in fact - served as a means by which the esoteric world of science could be communicated to a fascinated lay audience. If enthusiastic dilettantes failed to successfully visualise similar quality details after dashing out to purchase their own microscope, well, it could only be a matter of practice and modifying their techniques right?


Within the last two days, the formidable Strasbourg Universities Digital Library uploaded a three volume work by Ledermüller. The selection of images above is from the first two volumes (I've only just now discovered that the third is also on line). About a quarter(?) of the available plates from the first two volumes are shown. I think there are one hundred and fifty plates in total in the series. The only adjustments I made were cropping and a slight reduction in size (the large versions posted to flickr are still huge).

'Amusement Microscopique tant pour l'Esprit, que pour les Yeux; Contenant Cinquante Estampes [..] Dessinées d'après Nature et Enluminées, avec leurs Explications' was published between 1766 and 1768 with engravings by Adam Wolfgang Winterschmidt.
[Approximately: 'Recreational Microscopy for the Spirit and the Eyes, Containing Fifty Coloured Drawings from Nature with Explanations' - this is the title from Volume One]

Volume One (note: after clicking 'See digitalized document', click the little folder icon top left to get thumbnail pages)
Volume Two
Volume Three
Previously

Friday, March 28, 2008

Walter Burley Griffin

Walter Burley Griffin's Plan of Canberra as finally revised and accepted 1913

"Walter Burley Griffin's Plan of Canberra as finally revised and accepted 1913"
[satellite map]



Unidentified municipal incinerator No. 1 1930s

"Unidentified municipal incinerator No. 1, 1930s"



Perspective view of incinerator, Thebarton, South Australia, ca. 1937

"Perspective view of incinerator, Thebarton, South Australia, ca. 1937"



Perspective view of Brunswick incinerator, Brunswick, Victoria 1934

"Perspective view of Brunswick incinerator, Brunswick, Victoria 1934"



Oblique perspective view of unidentified municipal incinerator 1930s a

"Oblique perspective view of unidentified municipal incinerator, 1930s"



Oblique perspective view of unidentified municipal incinerator 1930s

"Oblique perspective view of unidentified municipal incinerator, 1930s"



Exterior facade perspective of Romance Theatre, Melbourne, Victoria 1931

"Exterior facade perspective of Romance Theatre, Melbourne, Victoria 1931"



Elevation of Jwala Bank, Jhansi, India 1936

"Elevation of Jwala Bank, Jhansi, India 1936"



Perspective of General Post Office, Sydney showing proposed additions and alterations 1919

"Perspective of General Post Office, Sydney
showing proposed additions and alterations 1919"



Opera House for Sydney 1938

"Opera House for Sydney 1938"



Walter Burley Griffin (1876-1937) was a Chicago architect with a background in landscape design. He is closely associated with the Prairie School, a uniquely American style of architecture that favoured horizontal lines (reflecting prairies) and whose most famous practitioner was Frank Lloyd Wright.

Griffin worked under Wright for a few years at the beginning of the 20th century until they had a dispute over salary payments. Ultimately, this led to an irreconcilable estrangement, and it seems Wright was rather disparaging of Griffin's talents whenever he referred to him later on.

One of the benefits of the association with Wright (beyond the obvious professional influence) was that Griffin met his future wife, Marion Mahony, at the Wright office. She, too, was an architect and a particularly gifted draughtsman (draughtswoman?).
"In the 28 years of their architectural partnership, the Griffins designed over 350 building, landscape and urban-design projects as well as designing construction materials, interiors, furniture and other household items."
Dare I suggest that their marriage was established on a strong foundation? It was while they were on their honeymoon that the Griffins learned of a competition to design the city of Canberra which would become the new capital city of Australia (1927). They "worked feverishly to prepare the plans" before the submission deadline.

Their proposal was of course the winning entry (1912) and gave the Griffins international recognition. Of the Canberra plan, Walter Burley Griffin remarked:
"I have planned a city that is not like any other in the world. I have planned it not in a way that I expected any government authorities in the world would accept. I have planned an ideal city - a city that meets my ideal of the city of the future."
Whether or not a survey among Australians today would give such a favourable review of the outcome is perhaps a moot point. The circular alignments and satellite arrangements of the suburbs evoke an overtly artificial reality, but after visiting (and, significantly, not living in) Canberra many times over the last couple of decades, I've become comfortable with its atmosphere at least. And, as a government bureaucracy-heavy city, it's fairly well appointed with amenities like good quality transport and roads, as well as cultural establishments. It's also close to our snowfields which is a big plus! An eponymous lake, built in 1963 in the centre of Canberra, assures that anyone who visits the city is familiar with the name of Burley Griffin.

The Griffins moved to Australia soon after their Canberra design was selected and they stayed for the next twenty-odd years. Walter Burley Griffin died in Lucknow in India in 1937 following a two year stint working in the sub-continent.

I was particularly taken with the modernist/Art Deco building designs and I'm sure I've over emphasised - in the selection above - the prevalence of incinerator designs among his legacy. It would be a starving architect that tried to rely upon municipal incinerator designing for a decent living in today's world.

 
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