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Petrus Apianus- Renaissance Astrologer, Mathematician, and Cosmographer · The Occult Rejects

0:02
Speaker 1: You see something's going to happen. What's going to happen? What?
0:24
Speaker 1: Welcome to the occult reject In this episode, returning the
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Speaker 1: paper wheels of the Renaissance, those ingenious valvels that can
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Speaker 1: summon eclipses, place the planets and whisper the hour from
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Speaker 1: a dial of string and car. At the center of
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Speaker 1: that analog magic stands Petris, appianist, court mathematician to Charles,
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Speaker 1: the Fifth, master, printer, map maker, comment watcher, and astrologer.
0:47
Speaker 1: We're covering Appianists because he sits on the hinge where
0:50
Speaker 1: enchantment meets measurement, the last great showman of the Ptolemaic cosmos.
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Speaker 1: Just before Copernicus changed the stage lights, he taught Europe
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Speaker 1: how to do cosmography, had a measural world that was
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Speaker 1: suddenly bigger, stranger, and very real. Today's episode includes imperial
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Speaker 1: promises and printing press secrets, a heart shaped world map
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Speaker 1: that helped fix the name America, a leaf shaped sundial
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Speaker 1: called the fully Unpopular, and a comet whose tail points
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Speaker 1: always away from the sun. Will step into his ingleostalt workshop,
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Speaker 1: meet to teachers who shaped him, watch him bind astrology
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Speaker 1: to astronomy with courtly elegance, and follow the bees of
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Speaker 1: his Latinized name Appianis as they swarm through his devices,
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Speaker 1: books and patronage. Expect Hobian's ambassadors, imperial knighthoods, and the
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Speaker 1: quiet audacity of a man who turned a book into
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Speaker 1: a working sky peachers. Appianis born Peter Benowitz, was a
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Speaker 1: renowned German Renaissance scholar whose life bridged the worlds of astronomy, mathematics, photography,
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Speaker 1: and instrument making. Appianis is the best known for his
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Speaker 1: influential workings on cosmography, the science of mapping the universe,
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Speaker 1: and for his popularizing practical astronomy and geography in the
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Speaker 1: sixteenth century. His beautifully crafted books, filled with innovative diagrams
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Speaker 1: and moving paper devices, was celebrated across Europe, earning him
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Speaker 1: imperial patronage and a lasting legacy in the history of science.
2:15
Speaker 1: Peter Benowitz, later Petrice Appianus, was born on the sixteenth
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Speaker 1: of April in fourteen ninety five in the town of
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Speaker 1: Leisnig in Saxony, Germany. He was one of four sons
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Speaker 1: of Martin Benowitz, a shoemaker, and his wife Gertrude. Despite
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Speaker 1: their craft background, the Benowitz family was relatively well off
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Speaker 1: and middle class by the standards of this time. This
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Speaker 1: afforded young Peter a good early education. He attended the
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Speaker 1: Latin school in nearby Rochlitz, where he would have learned
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Speaker 1: the trivium grammar, logic and rhetoric, and basic Latin classics.
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Speaker 1: Life in the late fifteenth century, Saxony was on the
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Speaker 1: cusp of great changes. Printing presses had begun disseminating knowledge widely.
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Speaker 1: The first news of Columbus and Vasco di Gama's voyages
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Speaker 1: were reaching Europe, and the strings of the Renderissance and
3:00
Speaker 1: the humanist learning were filtering into German towns. As a
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Speaker 1: child in a prosperous artisan family, Appianists grew up in
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Speaker 1: a world where education was increasingly valued. In new discoveries
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Speaker 1: geographical and scientific were capturing the popular imagination. The turn
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Speaker 1: of the sixteenth century was also a time of religious
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Speaker 1: and social Undercurrens, Saxony would soon become part of the
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Speaker 1: heartland of the Protestant Reformation. Martin Luther's ninety five Theses
3:27
Speaker 1: appeared in fifteen seventeen, when Apianists was twenty two. Though
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Speaker 1: Appianis's own family remained in Catholic territories later on in
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Speaker 1: his youth. However, these upheavals were just beginning. We have
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Speaker 1: few personal anecdotes from Appianis's childhood, but his later achievement
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Speaker 1: suggests an early aptitude for mathematics and observation. It is
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Speaker 1: known that he developed an interest in astronomy and cosmography
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Speaker 1: the mapping of the world in heavens early on, perhaps
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Speaker 1: by reading whatever treaties were available, or by observing the
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Speaker 1: night sky and a time when artificial lighting was minimal.
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Speaker 1: In fifteen sixteen, at about age twenty one, Peter enrolled
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Speaker 1: at the University of Leipzig to pursue higher studies in
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Speaker 1: mathematics and astronomy. At Leipzig fifteen sixteen to fifteen nineteen,
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Speaker 1: he immersed himself in the mathematical arts, which at the
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Speaker 1: time included arithmetic, geometry, astronomy, and cosmography, as well as
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Speaker 1: the broader humanist curriculum. It was common for scholars to
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Speaker 1: latinize their names in this period, and Peter Benowitz followed suit.
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Speaker 1: Noting that his German surname beyond mint B, he chose
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Speaker 1: the Latin equivalent Appianis from APIs b as his scholarly name.
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Speaker 1: He would be known by this name Petris Appianis in
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Speaker 1: all of his publications. This choice of name became a
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Speaker 1: personal motif. Later in life. Apianists even adopted the symbol
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Speaker 1: of the bee in his printer's device and coat of arms,
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Speaker 1: underscoring his identity as the industrious bee gathering the nectar
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Speaker 1: of knowledge. At Leipzig, Apianists received a solid grounding in
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Speaker 1: the liberal arts. His talented mathematics must have been evident,
5:02
Speaker 1: as contemporary counts in his own later writing suggests he
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Speaker 1: excelled in the applied mathematical disciplines of his day, mastering astronomy, geography, navigation, surveying,
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Speaker 1: and instrument making. These fields together constituted cosmography, a broad
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Speaker 1: science that aimed to provide a mathematical basis for the
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Speaker 1: position of everything in the universe. Oppianist's studies thus spanned
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Speaker 1: from the motions of celestial bodies to the measurement of
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Speaker 1: terrestrial lands. This was an especially exciting era for a
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Speaker 1: student of cosmography. Recent voyages of discovery were rapidly expanding
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Speaker 1: Europe's worldview. During Appianist's youth, Christopher Columbus had reached the
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Speaker 1: Americas fourteen ninety two. Vasco da Gama had opened the
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Speaker 1: sea route to India in fourteen ninety eight, and Ferdinand
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Speaker 1: Magellan's crew completed the first circumnavigation of the globe in
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Speaker 1: fifteen twenty two. These milestones occurred just as Appianists came
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Speaker 1: of age, undoubtedly fueling his passion for geography and astronomy.
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Speaker 1: In fifteen nineteen, Apianists left Leipzig and moved to the
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Speaker 1: University of Vienna, one of the leading centers of astronomy
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Speaker 1: and mathematics in Europe at the time. Vienna's intellectual Meiliu
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Speaker 1: was strongly influenced by the legacy of early German astronomers
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Speaker 1: like Johannes Reggio Montanas and by contemporary scholars such as
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Speaker 1: George Tanstetter, who was a professor of mathematics there. Tanstet
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Speaker 1: Are in fact, became one of Apianist's important mentors. Apianist
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Speaker 1: studied under George Tanstetter, absorbing advanced knowledge of geography, celestial calculations,
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Speaker 1: and instrument design. The young student proved to be exceptional.
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Speaker 1: He quickly established a reputation of an outstanding mathematician and
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Speaker 1: cosmographer even while still in university. Appianists later acknowledged Tansteta's influence.
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Speaker 1: For example, in fifteen twenty eight, Apianists published an edition
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Speaker 1: of astronomer George van Purbach's planetary Theory and dedicated it
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Speaker 1: to his famous teacher Tanstetter as a tribute. This dedication
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Speaker 1: hints at the deep respect Appianis had for the scholarly
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Speaker 1: lineage he was part of. Purbak at fifteenth century astronomer
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Speaker 1: had taught Reggio Montanis. Reggio Montanis work inspired Transsettor and Transsetdor,
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Speaker 1: now taught Appianis a chain of knowledge passing from one
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Speaker 1: generation to the next. Apianis earned a Bachelor of Arts
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Speaker 1: degree in Vienna in fifteen twenty one, solidifying his academic credentials. However,
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Speaker 1: that same year, fifteen twenty one, a severe outbreak of
7:27
Speaker 1: the plague struck Vienna. This epidemic forced the university to
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Speaker 1: close temporarily and drove many students and faculty to flee
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Speaker 1: the city. Appianis was among them. After completing his BA,
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Speaker 1: he prudently left Vienna to escape the plague's dangers. This
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Speaker 1: sudden disruption propelled Appianus into the next phase of his life,
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Speaker 1: a period of travel and independent scholarly activity. Apianists departed
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Speaker 1: Vienna in fifteen twenty one and headed west. He spent
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Speaker 1: a short time in Regensburg and then settled in Landshutt
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Speaker 1: time catam Bavaria. Bavaria under the patronage of Duke Louis
8:03
Speaker 1: the tenth and later Duke William the Fourth, was a
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Speaker 1: Catholic duchy that welcomed the learned men. Landshut, in particular,
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Speaker 1: had been a center of learning earlier. It hosted the
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Speaker 1: university before it moved to Ingolstadt in fifteen hundred, and
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Speaker 1: it had printers capable of producing scholarly works. In Landshut,
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Speaker 1: the twenty six year old Appianists quickly put his broad
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Speaker 1: knowledge to use by writing and publishing his first major works.
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Speaker 1: One of Appianis's earliest projects was the world map, reflecting
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Speaker 1: the latest geographic discoveries. In fifteen twenty he created Typus
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Speaker 1: Orbis Universalis, a map of the entire known world, based
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Speaker 1: on the groundbreaking fifteen oh seven world map of Martin Woldsomiler.
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Speaker 1: Woldsimaler's map was famous for being the first to name
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Speaker 1: the new World America and Appianis's fifteen twenty map followed suit,
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Speaker 1: being among the first widely available maps to label the
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Speaker 1: new continent as America. Appianis's Typus or Universalis was drawn
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Speaker 1: in a cortiform heart shaped projection, a stylish map projection
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Speaker 1: of the time. Notably, Oppianist's map depicted the recently discovered Americas,
9:11
Speaker 1: making it one of the earliest printed maps to include
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Speaker 1: that region. This map circulated alongside and explanatory text Appianists
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Speaker 1: wrote in fifteen twenty one, the geographical commentary or Isagogue
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Speaker 1: on the map. The commentary helped readers understand the new
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Speaker 1: World picture, and it was well received in scholarly circles.
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Speaker 1: Appianis's true breakthrough came at fifteen twenty four with the
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Speaker 1: publication of his book Cosmographicus Libre. Cosmographicus liber also called Cosmographia,
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Speaker 1: is a comprehensive introduction to cosmography the description of the
9:45
Speaker 1: world in Heavens as a unified system. First published in
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Speaker 1: Latin at Landshut in fifteen twenty four, It draws heavily
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Speaker 1: on ptolemaic astronomy and geography, while applying practical techniques like
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Speaker 1: land surveying, map projection and instrument making. Appianis defines cosmography
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Speaker 1: as the description of the world, which consists of four
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Speaker 1: elements earth, water, air, and fire. Also of the Sun,
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Speaker 1: the moon, and all the stars, and of the heavens
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Speaker 1: with whatever vault covers them accordingly. The book's content ranges
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Speaker 1: from explaining the Earth's geography and relation to the celestial
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Speaker 1: sphere to describing eclipses, constellations, and measurements of time and distance.
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Speaker 1: It includes one of the earliest printed world maps on
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Speaker 1: a heart shaped cortiform projection, notable for depicting the New
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Speaker 1: World North America soon after its discovery. Throughout Appianists emphasizes
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Speaker 1: a practical approach. The text teaches readers how to solve
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Speaker 1: real problems in navigation, timetelling, and mapping using mathematical tools.
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Speaker 1: Cosmographis liber was hugely influential as a Renaissance science text.
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Speaker 1: Although the first edition was a modest success, later expanded
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Speaker 1: editions turned it into a sixteenth century bestseller. It was
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Speaker 1: reprinted over thirty to forty times and translated into multiple languages.
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Speaker 1: The work also brought Appianis to the attention of Emperor
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Speaker 1: Charles the Fifth. Charles praised Cosmographicus liber at Ousburg in
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Speaker 1: fifteen thirty and in recognition of Appianist's achievement, he granted
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Speaker 1: him imperial printing privileges monopolies in fifteen thirty two to
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Speaker 1: fifteen thirty four, and later appointed him Court Mathematician. Thus,
11:24
Speaker 1: the book's success directly elevated Appianis's status. It became a
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Speaker 1: professor of mathematics at Ingolstadt in fifteen twenty seven, largely
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Speaker 1: on its merit. Cosmographicus liber is significant for advancing the
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Speaker 1: use of Valvel's rotating paper discs as interactive learning tools.
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Speaker 1: Appianists incorporated at least three Volvel's Apianist wills into the
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Speaker 1: fifteen twenty four edition, which readers could turn to perform calculations.
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Speaker 1: With these devices, one could find the positions of the Sun, Moon,
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Speaker 1: and planets on any date, to determine the time in
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Speaker 1: various longitudes, or even compute latitude by the Sun's altitude.
12:02
Speaker 1: This effectively made the book a working paper instrument or
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Speaker 1: analog computer. Some copies included additional cutout parts, for example,
12:10
Speaker 1: a removable nocturnal dial for telling time at night by
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Speaker 1: the stars. The use of movable parts in a printed
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Speaker 1: book was innovative and helped bridge theoretical knowledge and practical application.
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Speaker 1: Appianist's pioneering design of Vavols and the Cosmographia influenced later
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Speaker 1: scientific works. Modern historians have studied how Appianist's visual and
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Speaker 1: interactive teaching methods in this book contributed to Renaissance science education.
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Speaker 1: Appianist's cosmographicist Leaver had a profound influence on photographers, navigators,
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Speaker 1: and instrument makers of the sixteenth century. Jemmerphicius not only
12:46
Speaker 1: edited and enlarged the work in its subsequent editions, but
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Speaker 1: also used it as a platform to introduce new instruments
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Speaker 1: and techniques. The book introduced many students to cosmographical concepts,
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Speaker 1: likely influencing figures such as Gerad Mercader and so Bastian Munster.
13:01
Speaker 1: Though Appianis's was among the first to so fully integrate
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Speaker 1: astronomy with geography, its depiction of the globe in heavens
13:07
Speaker 1: together helped propagate the idea of the coordinate system of
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Speaker 1: latitude and longitude along celestial coordinates equator, verse, ecliptic, and
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Speaker 1: so on. Culturally, the work made complex academic astronomy accessible
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Speaker 1: to a broader audience and approached praise by contemporaries. For instance,
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Speaker 1: Appianist's clear presentation attracted the interests of the Emperor, as noted,
13:29
Speaker 1: and it was cited by scholars of the time for
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Speaker 1: its utility. The book's legacy is also evident in the
13:35
Speaker 1: fact that an arithmetic text Appianists published a few years
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Speaker 1: later fifteen twenty seven, was depicted in Hans Holbien's famous
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Speaker 1: painting The Ambassadors, an indicator of Appianists being renowned in
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Speaker 1: mathematical sciences by the fifteen thirties. Though the particular work
13:50
Speaker 1: was on arithmetic, it speaks to Oppianist's overall influence in
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Speaker 1: the learned community. One notable figure in this book is
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Speaker 1: Appianist's diagram of the geocentric universe, showing Earth at the
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Speaker 1: center with concentric celestial spheres, illustrating the Tolmaic system. Opianist's
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Speaker 1: accompanying explanation reinforces the traditional model while integrating the latest
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Speaker 1: geographical knowledge, acknowledging newly found lands under the celestial sphere.
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Speaker 1: In defining cosmography, Appianist writes that it encompasses both the
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Speaker 1: heavens and the Earth, distinguishing it from geography alone. This
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Speaker 1: broad vision is captured in the opening lines of the
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Speaker 1: book and reflects the humanist ambition to synthesize knowledge about
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Speaker 1: the world's totality. Another excerpt of interest in this section
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Speaker 1: instructing readers is the use of the volveels. For example,
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Speaker 1: Appianists provides step by step problems such as finding the
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Speaker 1: time in various cities or the length of daylight on
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Speaker 1: a given date, that the reader can solve by adjusting
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Speaker 1: the paper dials, effectively an early problem set with a
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Speaker 1: mechanical aid. This interactive pedagogy was unusual for its time.
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Speaker 1: Cosmographicus LIB has been the subject of modern Skyle analysis,
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Speaker 1: particularly regarding its use of images and instruments and teaching.
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Speaker 1: Historian Steve van Danbroek in two thousand and six examined
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Speaker 1: Appianist's and Gemaphrasius's cosmographical works to show how visual media
15:14
Speaker 1: like valvels and diagrams enhanced learning in the Renaissance. Likewise,
15:19
Speaker 1: historians of photography have noted Appianist's heart shaped world map
15:22
Speaker 1: as a mildstone in map projection and the depiction of
15:26
Speaker 1: the New World. H Rotel and W. Cosner's nineteen ninety
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Speaker 1: five bibliography of Appianist's work documents the Cosmographya's many editions
15:35
Speaker 1: and variants, Reflecting its widespread impact, This book is often
15:40
Speaker 1: discussed in surveys of early modern astronomy texts for its
15:43
Speaker 1: role in transitioning from medieval cosmology to modern science. Overall,
15:49
Speaker 1: scholars view this book as an essential link between the
15:52
Speaker 1: medieval cosmos and the age of exploration, a work that
15:55
Speaker 1: packed scholarly astronomy for practical use by navigators and students alike.
16:01
Speaker 1: The first edition was printed by Johann Weisenberger in fifteen
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Speaker 1: twenty four and Lanshat. Owing to its success, Appianis continued
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Speaker 1: to update it. A notable edition appeared in fifteen twenty one,
16:11
Speaker 1: and Gemiphrasius's significantly expanded Latin edition came out in Antwerp
16:16
Speaker 1: in fifteen forty, followed by translations. By fifteen eighty four,
16:21
Speaker 1: the work was still being reissued. An Antwerp edition of
16:24
Speaker 1: that year, with Gemaphersius's co author, compiled Cosmographia along with
16:28
Speaker 1: several of Frasias's instrument treaties. These later editions offer included
16:33
Speaker 1: additional valveels or appendances. The longevity of Cosmographicus liber print
16:38
Speaker 1: history spanning at least eighty years, attests to its enduring revelance.
16:43
Speaker 1: Because it was widely printed, many copies survive in rare
16:46
Speaker 1: book collections. Notably, the University of Saint Andrews's Library holds
16:50
Speaker 1: a fifteen twenty four copy that still contained some of
16:52
Speaker 1: his original volveels and a partial Nocturnal dial, although damaged.
16:58
Speaker 1: The Whipple Library at Cambridge owns a fifth feteen eighty
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Speaker 1: four edition Oppian and Pheseas acquired to augment its collection
17:04
Speaker 1: of early Opianist works. Major libraries, such as the Bavarian
17:09
Speaker 1: State Library in Munich, the British Library, and the Library
17:12
Speaker 1: of Congress also hold various editions. In fact, some copies
17:16
Speaker 1: are treasured for their historical value as artifacts if you
17:20
Speaker 1: retain the rotating paper instruments fully intact, which is rare
17:23
Speaker 1: given their delicate nature and the tendency of readers to
17:26
Speaker 1: actually use and wear out these parts. The presence of
17:30
Speaker 1: Appianis's Cosmographia and many collections today underscore its importance. It
17:35
Speaker 1: is often exhibited as a prime example of a Renaissance
17:38
Speaker 1: scientific book that is both intellectually and visually rich. The
17:42
Speaker 1: immediate success of Cosmographia was modest. It was respected, but
17:47
Speaker 1: the first edition did not yet storm Europe. Nonetheless, Appianis's
17:51
Speaker 1: output by fifteen twenty four, The World Map, The Commentary
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Speaker 1: and Cosmographia had demonstrated his great talents and made his
17:58
Speaker 1: name known to patrons. Nonetheless, Appianis's output, by fifteen twenty four,
18:03
Speaker 1: The World Map, The Commentary and Cosmographia had demonstrated his
18:07
Speaker 1: great talents and made his name known to patrons. In
18:11
Speaker 1: fifteen twenty four, the same year as Cosmographia, Emperor Charles
18:14
Speaker 1: the fifth held an Imperial diet assembly in Augsburg. It
18:19
Speaker 1: is recorded that Charles Fifth himself examined Appianist's cosmographic as
18:22
Speaker 1: Labor and praised it highly. Such imperial attention was rare
18:27
Speaker 1: for a newly printed scientific book, and it indicates Appianis's
18:31
Speaker 1: work impressed the powerful. This imperial favor would prove pivotal
18:35
Speaker 1: for Appianis's career. Another significant event in Appianist's personal life
18:40
Speaker 1: took place in this period. He married Katharina Messner in
18:43
Speaker 1: fifteen twenty six. Katherina was the daughter of a councilman
18:46
Speaker 1: at Landshut, indicating Appianists had integrated well into the local
18:50
Speaker 1: bourgeois society. Their marriage was fruitful and long lived. Over
18:55
Speaker 1: the years, the couple would have fourteen children, nine sons
18:59
Speaker 1: and five daughters. One of their sons was Philip Appianis
19:02
Speaker 1: born in fifteen thirty one, who would later become a
19:05
Speaker 1: prominent mathematician and photographer himself. The large Apianists family provided
19:10
Speaker 1: Peter with both support and eventually collaboratives, as some of
19:13
Speaker 1: his sons assisted in his projects and carried on his
19:16
Speaker 1: work after his death. The growing reputation of Petris Appianists
19:21
Speaker 1: did not go unnoticed by academic and political patrons. In
19:25
Speaker 1: fifteen twenty seven, he received an invitation from the Duke
19:28
Speaker 1: of Bavaria, William the Fourth, to join the faculty of
19:31
Speaker 1: the University of Ingolstadt as a professor of mathematics. The
19:35
Speaker 1: age of thirty two, Appianist thus secured a prestigious appointment
19:39
Speaker 1: in Bavaria's leading university. He relocated to Ingolstadt, which would
19:43
Speaker 1: remain his base of operations for the rest of his life.
19:47
Speaker 1: Along with his professorship, Appianist was tasked with establishing a
19:50
Speaker 1: printing press for the university. This dual role as lecturer
19:54
Speaker 1: in mathematics, and as a printer was well suited to
19:57
Speaker 1: Oppianist's talents. He was not only a theorist, but also
20:00
Speaker 1: a hands on craftsman of books and instruments. In Ingostat,
20:04
Speaker 1: Appianis set up a small but high quality printing shop
20:07
Speaker 1: and became an academic publisher, publishing both his own works
20:10
Speaker 1: and those of others. One of the first products of
20:14
Speaker 1: Oppianist's Ingostot Press was a practical textbook that reached a
20:18
Speaker 1: wide audience, A new and well grounded instruction in All
20:21
Speaker 1: Merchants Calculation. Published in fifteen twenty seven, this was a
20:26
Speaker 1: handbook of commercial arithmetic written in German, aimed at merchants
20:30
Speaker 1: and businessmen who needed to perform calculations in their trade.
20:34
Speaker 1: In three books, it taught basic and advanced arithmetic, including
20:38
Speaker 1: the rule of three, currency conversions and other applications. Appianis's
20:43
Speaker 1: Underweisling was very successful. It became a bestseller in its genre.
20:48
Speaker 1: The title page of this book featured a striking mathematical image,
20:51
Speaker 1: the triangular array of binomial coefficients known today as Pascal's triangle.
20:57
Speaker 1: Appianis included this triangle, then not attributed to Pascal, of course,
21:01
Speaker 1: as a decorative and instructive diagram, marking the first time
21:05
Speaker 1: Pascal's triangle appeared in a print in Europe. The triangle
21:09
Speaker 1: had been known to Chinese and Islamic mathematicians earlier, but
21:12
Speaker 1: Apianists introduced it to European readers. This arithmetic book had
21:17
Speaker 1: a cultural moment of fame. A copy of it, open
21:21
Speaker 1: to its pages, is depicted among discholarly accouterments in Hans
21:24
Speaker 1: Holbing the Younger's famous painting The Ambassadors in fifteen thirty three.
21:28
Speaker 1: The inclusion of Apianist's book in this painting testifies to
21:31
Speaker 1: its significance. It symbolized practical mathematics and commerce in the Renaissance,
21:36
Speaker 1: suitable to adorn the portrait of learned noblemen. Meanwhile, Appianists
21:42
Speaker 1: also used his Ingosto press to print important works by colleagues.
21:46
Speaker 1: In fifty twenty eight he printed tan Status Tabula Hungarie,
21:50
Speaker 1: the earliest surviving printed map of Hungary. That same year
21:54
Speaker 1: he published an edition of George van Purbak's New Planetary Theory,
21:58
Speaker 1: which he dedicated to tanse Thatt. As noted earlier, these
22:02
Speaker 1: projects demonstrate Appianist's role in disseminating geographic and astronomical knowledge.
22:07
Speaker 1: Beyond his own authorship, His press earned a reputation for
22:10
Speaker 1: high quality geographic and cartographic publications. This is even evident
22:15
Speaker 1: that Appianists experimented with innovative printing techniques, such as using
22:19
Speaker 1: stereotype reasonable printing blocks for maps, an early attempt at
22:23
Speaker 1: mass producing images by casting molds of woodcuts. His printer's
22:26
Speaker 1: logo was trilingual, displaying the model skill overcomes strength in Greek,
22:32
Speaker 1: Hebrew and Latin around the figure of a boy. This
22:36
Speaker 1: multi lingual motto encapsulated the humanist ethos of Appianist's workshop,
22:41
Speaker 1: drawing on classical languages and wisdom and emphasizing ingenuity over
22:45
Speaker 1: brute force. At the University of Ingolstadt, Appianis's academic duties
22:50
Speaker 1: included teaching mathematics to students. However, by accounts, he eventually
22:55
Speaker 1: neglected his teaching duties as his research, writing and printing
22:58
Speaker 1: business took presidents In the initial years, though he certainly
23:03
Speaker 1: gave lectures on cosmography and astronomy, we have a tantalizing
23:07
Speaker 1: glimpse of his role as a tutor. Appianist was tasked
23:10
Speaker 1: with helping educate the young Bavarian nobility Notably, he tutored
23:14
Speaker 1: the Duke's son, Prince Albrich, the future Duke Albrich fifth
23:18
Speaker 1: of Bavaria and mathematics from a young age, alongside his
23:21
Speaker 1: own son Philip. Beginning around fifteen thirty eight. The boy
23:25
Speaker 1: Philip Apianist aged seven, and Prince Albrich age eight, were
23:28
Speaker 1: tought together by Appianis. This royal tutoring speaks to the
23:32
Speaker 1: esteem in which Apianist was held at the Bavarian court.
23:35
Speaker 1: He was effectively the astronomy mathematics tutor to the future ruler.
23:39
Speaker 1: It also cemented a long term patronage. Decades later, Duke
23:43
Speaker 1: Albrich the fifth would become the patron of Philip Apianis
23:47
Speaker 1: and creating an important map of Bavaria. The fifteen thirties
23:52
Speaker 1: was an extraordinary productive decade for Appianis. He continued to
23:56
Speaker 1: write and publish on a variety of scientific topics, often
23:59
Speaker 1: focused sing on specific instruments or celestial events. One significant
24:04
Speaker 1: focus was the appearance of bright comments in those years.
24:08
Speaker 1: Europe saw a series of notable comments in the early
24:10
Speaker 1: fifteen thirties, for example in fifteen thirty one, in fifteen
24:14
Speaker 1: thirty two, and astronomers across the continent observed them with
24:17
Speaker 1: great interest and sometimes fear, as comments were traditionally considered ominous.
24:23
Speaker 1: Appiani has joined a network of European astronomers including Johannes
24:26
Speaker 1: Schoener and Nurnberg, Nicholas Copernicus and Poland, Jie Lamo for
24:30
Speaker 1: Castro in Italy, and Jean Penna and France, who all
24:34
Speaker 1: closely observed the comments of fifteen thirty one to fifteen
24:36
Speaker 1: thirty three. These scholars were beginning to question the old
24:40
Speaker 1: Aristolian idea that comments were mere atmospheric phenomena. Appiani has
24:45
Speaker 1: made an essential discovery by tracking the comment of fifteen
24:47
Speaker 1: thirty one, now known to be Haley's comment, He noticed
24:51
Speaker 1: that a comet's tale always points away from the sun.
24:55
Speaker 1: He published this observation in a short work likely as
24:58
Speaker 1: fifteen thirty two pamphlet on the com along with an
25:01
Speaker 1: illustrative woodcut. For Castorro in Italy independently noted the same thing,
25:06
Speaker 1: and he and Penya hypothized that a comet's tale might
25:08
Speaker 1: be an optical effect of sunlight passing through the comet's
25:11
Speaker 1: transparent material. But Appianis was the first to publish the
25:15
Speaker 1: phenomenon clearly complete with a diagram, The comic is shown
25:20
Speaker 1: with its tail directed oppositely from the Sun's position. This
25:24
Speaker 1: was a breakthrough in commentary astronomy, a step toward understanding
25:27
Speaker 1: comments as celestial bodies interacting with solar light. Chinese astronomers
25:32
Speaker 1: had recorded the tail direction phenomenon much earlier, but in
25:35
Speaker 1: Europe it was new. These observations contributed to a gradual
25:39
Speaker 1: change in how comets were perceived. By the fifteen seventies,
25:43
Speaker 1: astronomers like Tycho Brahe would demonstrate that comets travel far
25:46
Speaker 1: beyond the Moon in interplanetary space. Apianis's comment pamphlet gave
25:51
Speaker 1: both the observation and his judgment on the comet. While
25:55
Speaker 1: the observation described the comments behavior scientifically, including the tail
25:59
Speaker 1: pointing away from the Sun, the judgment likely offered an interpretation,
26:03
Speaker 1: possibly astrological and meteorological, of what the comment portended. It
26:07
Speaker 1: was common then to discuss comments of both physical and
26:09
Speaker 1: astrological terms. This shows Appianists straddling the line between emerging
26:13
Speaker 1: scientific explanation and traditional belief in comments as omens. In
26:19
Speaker 1: the same period, Appianius wrote a series of technical manuals
26:22
Speaker 1: on instruments, sharing his inventive designs with the public. In
26:26
Speaker 1: fifteen thirty two, we published Quadrants appiano Astronomicists, a treatise
26:30
Speaker 1: on an astronomical quadrant of his design. A quadrant is
26:34
Speaker 1: a quartis circle measuring device used for determining angles, and
26:37
Speaker 1: Appianis's work likely described a new quadrant that could be
26:40
Speaker 1: used to tell time at night or determined latitude by stars.
26:45
Speaker 1: The title suggests it could find the hours of the
26:47
Speaker 1: day and night using the sun, moon, planets, or certain stars.
26:52
Speaker 1: We're going to talk about this one a little bit
26:54
Speaker 1: more in depth now. The Astronomical Quadrant of Appianists, newly
27:00
Speaker 1: invented and now first published, is a fifteen thirty two
27:02
Speaker 1: work in which Appianist introduces and explains a specific astronomical
27:07
Speaker 1: quadrant that he designed. A quadrant is a quarter circle
27:11
Speaker 1: measuring instrument traditionally used for determining angles in astronomy, like
27:15
Speaker 1: the altitude of celestial bodies, or for survey. Apianis, being
27:19
Speaker 1: an instrument maker, created his own improved version of the
27:22
Speaker 1: quadrant in this book serves as an instruction manual and
27:25
Speaker 1: advertisement for it. The content is practical. Apianis's text describes
27:31
Speaker 1: how to use the quadrant to measure heights, distance, and
27:34
Speaker 1: the altitude of the sun or stars to tell time
27:37
Speaker 1: or determine latitude. It likely includes woodcut illustrations demonstrating various
27:42
Speaker 1: measurement scenarios. For example, one woodcut shows a person using
27:46
Speaker 1: the quadrant to measure an object's height by the length
27:49
Speaker 1: of its shadow. Another shows more complicated measuring situations, perhaps
27:54
Speaker 1: determining the width of a river or the depth of
27:56
Speaker 1: a well by geometric tricks with the quadrant. Apianus covers
28:01
Speaker 1: both simple applications and more creative ones, teaching the reader
28:04
Speaker 1: not just the basics, but also problem solving with the instrument.
28:10
Speaker 1: The quadrant itself likely had special features. Apianis's quadrant may
28:15
Speaker 1: have been engraved with additional scales, possibly a shadow square,
28:19
Speaker 1: calendar squares, and trigonometric lines to make it a multifunctional device.
28:24
Speaker 1: Some quadrants of that period doubled as sun dials or estrolibs.
28:28
Speaker 1: The book presumably details these features and the construction of
28:31
Speaker 1: the quadrant, perhaps including a fold out template. Indeed, evidence
28:36
Speaker 1: suggests appian has provided a printed paper quadrant that readers
28:39
Speaker 1: could cut out and mount. His mounted paper quadrants first
28:42
Speaker 1: appeared as inserts in this fifteen thirty two publication. The
28:46
Speaker 1: quadrant's apiani is significant as an early published manual for
28:50
Speaker 1: a specific scientific instrument. It reflects the shift in the
28:53
Speaker 1: sixteenth century toward printed instrument guides, which allowed knowledge of
28:57
Speaker 1: instrument making and usage to spread beyond individual crasman. Appianis's
29:02
Speaker 1: quadrant was recently invented, so he is essentially patenting his
29:06
Speaker 1: idea in print. Patent law as we know it didn't
29:09
Speaker 1: cover such inventions then, but printing a description was a
29:12
Speaker 1: way to claim credit and market it. This is one
29:15
Speaker 1: of the first times a new astronomical instrument came with
29:17
Speaker 1: a how to book for a broader audience. The quadrant
29:21
Speaker 1: instrument itself was a crucial tool of the era for
29:23
Speaker 1: both astronomy and navigation. While Appianis's design was geocentric and
29:28
Speaker 1: met from land use surveying, similar quadrants were used on
29:32
Speaker 1: ships for navigation. By distilling complex estrolabe functions into a
29:37
Speaker 1: similar quarter circle device, Appianists was contributing to the trend
29:40
Speaker 1: of the simplifying instruments for ease of use and production.
29:44
Speaker 1: His quadrant was presumably cheaper and easier to handle than
29:47
Speaker 1: a full astrolabe, making astronomy more accessible to scholars and
29:51
Speaker 1: perhaps well to do amateurs. From a historical perspective, Quadrants
29:57
Speaker 1: Appiani also holds interest because a depiction of this very book,
30:00
Speaker 1: or one of Apianis's instrument books, appears in the famous
30:03
Speaker 1: fifteen thirty three painting The Ambassadors by Hans Holben. In
30:08
Speaker 1: that painting, a mathematical book is opened on the table
30:10
Speaker 1: showing an instrument diagram. In reality, the book is Appianis's arithmetic,
30:15
Speaker 1: but various astronomical instruments also appear around the ambience of
30:19
Speaker 1: that painting full of scientific instruments. Mirror is the kind
30:23
Speaker 1: of practical mathematics Apianists was teaching. In Quadrant's Appiani, it
30:27
Speaker 1: symbolizes the pride of knowledge during the Renaissance. Apihanis's work
30:31
Speaker 1: contributed to that culture. Later in the sixteenth century, authors
30:36
Speaker 1: like Thomas Diggs and John Dane England wrote about new instruments,
30:39
Speaker 1: and one can trace the practice back to Appianis's efforts.
30:43
Speaker 1: The idea providing two sets of instrument prints, as Appihanis
30:46
Speaker 1: did in the fifteen thirty threes, to encourage actual use,
30:50
Speaker 1: was likely gleaned from the success of the Quadrant booklet,
30:53
Speaker 1: where many readers presumably cut out the provided woodcut quadrant
30:56
Speaker 1: and assembled it. The quadrant remained a primary tool for centuries,
31:01
Speaker 1: eventually evolving into the backstaff and the sexton for navigation.
31:05
Speaker 1: Appianis's particular design might not have been the standard later
31:10
Speaker 1: many variants existed, but educating people on how to use
31:13
Speaker 1: a quadrant was invaluable. We see echoes of Apianis's in
31:17
Speaker 1: structural approach and later works like Leonard Digg's Tectonicon in
31:20
Speaker 1: fifteen sixty six, which teaches surveying instruments, or the myriad
31:24
Speaker 1: seventeenth century pamphlets on using the new sector or proportional compass.
31:29
Speaker 1: Apianis pioneered the notion that an instrument's inventor should also
31:33
Speaker 1: teach the public how to use it, thereby creating a
31:36
Speaker 1: market and ensuring the instrument's adoption. The book's introduction likely
31:41
Speaker 1: emphasizes the utility of the quadrant. Appianist probably begins by
31:45
Speaker 1: touting how with the one quarter of a circle one
31:47
Speaker 1: could perform many measurements that would otherwise require complicated geometry.
31:52
Speaker 1: In one part of the text, Appianist demonstrates a simple
31:55
Speaker 1: shadowed measurement. Simple applications evolving use of shadows are demonstration.
32:00
Speaker 1: As one modern summary puts it. A woodcut from the
32:04
Speaker 1: book shows the quadrant measuring the shadow of a vertical
32:06
Speaker 1: stick to tell time or determined height. For more complex uses,
32:11
Speaker 1: Apianists might present a scenario like measuring the distance to
32:14
Speaker 1: an inaccessible object by taking angular readings from two points,
32:18
Speaker 1: effectively an early exercise in triangulation. With the quadrant, he
32:23
Speaker 1: encourages creative thinking. For such cases, one can imagine Appianis's
32:27
Speaker 1: tone being encouraging, showing the mathematics can solve real problems.
32:31
Speaker 1: A telling quote is from Apianis's preface. He implies that
32:35
Speaker 1: a maker of instruments, was natural for him to write
32:38
Speaker 1: about how to use them, calling it a bit of
32:40
Speaker 1: self promotion in modern terms. This candid admission reveals Appianis's
32:45
Speaker 1: entrepreneurial spirit. Indeed, Appianist was selling these quadrants either as
32:49
Speaker 1: prints or as finished wooden instruments, so the book served
32:52
Speaker 1: as both an educational text and a sales catalog. This
32:56
Speaker 1: work is discussed in the context of history of mathematical
32:59
Speaker 1: education reviewed Opianist's trigonometry and geography works and mentioned the
33:05
Speaker 1: Quadrant manual as part of Oppianist's teaching repertoire. The MIAs
33:10
Speaker 1: convergence feature on Appianist's quadrant highlights images from Columbia University's copy,
33:15
Speaker 1: underscoring its value as mathematical treasure. They interpret Appianist's approach
33:20
Speaker 1: as early stem outreach, demonstrating practical problems to engage learners.
33:26
Speaker 1: In academic literature on instrument history, Appianist's quadront appears as
33:30
Speaker 1: an example of early modern innovation. For instance, literature on
33:34
Speaker 1: the origins of the Davis quadront or octan eighteenth century
33:38
Speaker 1: often traced back the lineage of quadrants back to Opianists
33:41
Speaker 1: and others. Additionally, Appianist's quadront is sometimes referenced in museum catalogs.
33:47
Speaker 1: The Dutch Museum or the Oxford Museum of History of
33:50
Speaker 1: Science have collections of historical quadrants. Even if an actual
33:53
Speaker 1: Oppianist's made quadrant is not extend, replicas or similar ones
33:57
Speaker 1: are often attributed to following Appianist's Desas again, this book
34:02
Speaker 1: was published in Ingostot in fifteen thirty two. It may
34:05
Speaker 1: have had had a fairly small print run, but it
34:08
Speaker 1: was likely popular enough among scholarly circles. There is no
34:11
Speaker 1: record of a second edition by Appianis, but the content
34:14
Speaker 1: was partly absorbed into his Instrument Book in fifteen thirty three,
34:18
Speaker 1: which covered multiple instruments, including the quadrant. The Latin quadrons
34:23
Speaker 1: might have effectively translated or paraphrase the German Instrument Book
34:26
Speaker 1: for a broader audience. Indeed, Appianis's fifteen thirty three Instrument
34:30
Speaker 1: Book includes at least three observational instruments, the quadrants, the astrolabe,
34:35
Speaker 1: the device, and others, indicating overlap. Interestingly, in fifteen forty
34:40
Speaker 1: opian Has published a work called Instrumentum Premi Mobilis, which
34:45
Speaker 1: contains sign tables and more advanced astronomy that shows Apiana's
34:49
Speaker 1: shifting focus from pure instrumentation to computation. So the early
34:53
Speaker 1: fifteen thirties were the prime time of his instrument manuals.
34:57
Speaker 1: Copies of Quadrants Appiani are found in major life libraries
35:00
Speaker 1: with Renaissance science collections. Columbia Universities Butler Library has one
35:05
Speaker 1: from which images have been shared online. The Internet Archive
35:09
Speaker 1: hosts a scan of a fifteen thirty two edition, possibly
35:12
Speaker 1: from the University of Illinois or another collection. The Bavarian
35:15
Speaker 1: State Library likely holds a copy as well. It may
35:17
Speaker 1: be the Herzog August BiblioTech. The book is not extremely rare,
35:21
Speaker 1: but compared to Cosmographia, fewer were printed, so each surviving
35:25
Speaker 1: copy is important. Often copies of Quadron z Appiani have
35:29
Speaker 1: the engraved or woodcut quadrant diagram intact only if the
35:32
Speaker 1: owner did not cut it out. Many might be missing
35:35
Speaker 1: that insert if it was used. Some surviving copies might
35:38
Speaker 1: be the ones where the second set of prints, if provided, remained.
35:42
Speaker 1: The Columbia copy images suggest the illustrations are present, meaning
35:46
Speaker 1: that the copy was not disassembled by a user. In conclusion,
35:51
Speaker 1: Quadron's Appiani Astronomicis is a snapshot of Peter Appianis's role
35:54
Speaker 1: as a hands on educator. It showcases his ability to
35:58
Speaker 1: simplify and to communicate practical and reflects the Renaissance zeal
36:02
Speaker 1: for applying mathematics to everyday problems. Through this little book,
36:06
Speaker 1: Oppianists both marketed his invention and made a lasting contribution
36:09
Speaker 1: to scientific pedagogy, one that resonates in the continuing tradition
36:13
Speaker 1: of publishing user manuals for new technology. In fifteen thirty three,
36:22
Speaker 1: he followed up with Horoscopian Apiani literally Appianis's horoscope instrument,
36:28
Speaker 1: which was a treatise on sun dials and devices to
36:30
Speaker 1: find the hour. The term horoscope here is used in
36:34
Speaker 1: its older meaning of our pointer. Appianis's horoscopian was not
36:39
Speaker 1: for casting astrological birth charts, but rather an instrument to
36:42
Speaker 1: measure time by the sun, essentially a type of sundial
36:45
Speaker 1: or solar quadrant. Apianis also invented entirely new instruments. In
36:51
Speaker 1: October fifteen thirty three, he published a slim book called
36:55
Speaker 1: fully im Popular Latin for leaf of the Popular in Ingolstadt.
37:01
Speaker 1: The Falling un Popular was an instrument Appianis had recently invented.
37:05
Speaker 1: Its very name indicates its shape was like a popular leaf.
37:09
Speaker 1: Appianist describes this ingenious device like this instrument recently invented
37:14
Speaker 1: by Peter Appianis and shaped in the form of a
37:17
Speaker 1: popular leaf, shows the common hours throughout the whole world
37:21
Speaker 1: by means of the sun's rays. In other words, the
37:25
Speaker 1: Falling of Popular was a portable worldwide sun dial. By
37:29
Speaker 1: aligning it with the sun, one could read the hour
37:31
Speaker 1: in different parts of the world. The device was illustrated
37:34
Speaker 1: and explained in Apianis's booklet, which had texts in Latin
37:38
Speaker 1: and German to reach a broad audience. The Falling of
37:41
Speaker 1: Popular pamphlet was often bound together with his other instrument
37:44
Speaker 1: book of that year, instrument book buh in Ingostot in
37:48
Speaker 1: fifteen thirty three. We will discuss those two publications now
37:52
Speaker 1: followed up with howerscopian Apiani First Falling Unpopular. Falling a
37:59
Speaker 1: Popular by a Latin for Leaf of the People or
38:02
Speaker 1: Poplar Leaf is a short publication by Appianists in fifteen
38:05
Speaker 1: thirty three that presents a single ingenious instrument for timetelling.
38:10
Speaker 1: The work consists of a large fold out woodcut in
38:12
Speaker 1: the shape of a leaf, specifically a poplar leaf, accompanied
38:16
Speaker 1: by instructions. Appianist describes this creation as an instrument recently
38:22
Speaker 1: invented by him, fashioned in the form of a popular leaf,
38:25
Speaker 1: which by the rays of the sun, shows the common
38:27
Speaker 1: hours throughout the world. In other words, it is a
38:30
Speaker 1: universal sun dial. Uniquely, the Falling and Popular dial was
38:35
Speaker 1: designed to indicate the correct hour simultaneously across different locations worldwide,
38:40
Speaker 1: accounting for differences in longitude. By aligning the device with
38:44
Speaker 1: the sun, a user cared off local time in various
38:47
Speaker 1: cities inscribed on it, thus demonstrating the concept of time
38:50
Speaker 1: zones or common hours around the globe. The idea of
38:54
Speaker 1: a portable universal dial that works throughout the entire world
38:58
Speaker 1: was novel and reflects the growing aware and of global
39:01
Speaker 1: geography and Oppianist's time. The content of Falling Unpopular primarily
39:05
Speaker 1: teaches how to use and construct his instrument. The leaflet,
39:09
Speaker 1: about twelve pages of text plus the large woodcut plate,
39:13
Speaker 1: gives step by step guidance. Notably, Opionist provides practical assembly instructions.
39:20
Speaker 1: He advises the reader to transfer the print to a
39:22
Speaker 1: sturdier material for actual use. In the publication, Opionist explains
39:27
Speaker 1: that one should soak the printed sheet for several hours
39:30
Speaker 1: and then press it onto wood or pasteboard so that
39:33
Speaker 1: the delicate leaf shaped dial can be mounted without distortion.
39:37
Speaker 1: This level of detail shows Appianist's intent that readers physically
39:41
Speaker 1: build the instrument themselves. In essence, Falling up Popular is
39:45
Speaker 1: both a description of an invention and a do it
39:48
Speaker 1: yourself kit. Falling a Popular is significant as one of
39:53
Speaker 1: the earliest instances of a printed scientific instrument meant to
39:56
Speaker 1: be assembled by the user. It exemplifies Oppianists this innovative
40:00
Speaker 1: approach to disseminating practical knowledge. By printing an interactive device
40:05
Speaker 1: on paper, Oppianists made advanced instruments affordable and widely available,
40:10
Speaker 1: whereas previously such instruments were handmade and expensive. The work
40:14
Speaker 1: also demonstrates the globalization of timekeeping. It implicitly addresses the
40:18
Speaker 1: need to compare local times across different longitudes, an issue
40:22
Speaker 1: that would become increasingly important for navigation and photography. Technically,
40:27
Speaker 1: Folium popular can be seen as a precursor to later
40:29
Speaker 1: universal sun dials and world time converters. It showcases Oppianist's
40:33
Speaker 1: talent for miniaturizing cosmography into a single sheet. The shape
40:37
Speaker 1: a leaf might be symbolic. Some historians also note the
40:41
Speaker 1: play on Oppianist's Latin surname Opionists comes from APIs a
40:46
Speaker 1: bee and leaf folium, as suggesting natural simplicity combined with knowledge,
40:51
Speaker 1: although this may be coincidental. Because the folium was essentially
40:56
Speaker 1: a tool, many copies were likely used to destruction. Owners
41:00
Speaker 1: would cut out the leaf dial and use it. Indeed,
41:02
Speaker 1: contemporary evidence shows that many extent copies of Apianis's instrument
41:06
Speaker 1: books are missing the very parts meant to be cut
41:08
Speaker 1: out an Apianis's fifteen thirty three Instrument Book, a larger
41:14
Speaker 1: work on instruments published the same year. He even included
41:17
Speaker 1: duplicate prints of instrument components so that one could cut
41:20
Speaker 1: one set and keep the other in the book. The
41:25
Speaker 1: falling of Popular being a standalone sheet, it appears api
41:28
Speaker 1: Hoists anticipated its use as a working device, not just
41:31
Speaker 1: a diagram. While falling on Popular itself might not have
41:35
Speaker 1: spawned a broad cultural movement in influence, the way scientific
41:39
Speaker 1: knowledge was shared is an early example of democratizing technology
41:43
Speaker 1: via print, a concept that would blossom in later centuries
41:46
Speaker 1: with printed astrolabes, volvol calendars, and slide charts. Appianis's idea
41:51
Speaker 1: of providing a universal instrument likely influences contemporaries and successors.
41:56
Speaker 1: For instance, George Hartman and Nuremberg instrument maker also produced
42:00
Speaker 1: printed sundial sheets and astrolabes in the mid sixteenth century,
42:03
Speaker 1: a practice that Appianists helped pioneer. The folium can be
42:07
Speaker 1: seen as a forerunner to the volvel charts and mathematical
42:10
Speaker 1: print kits that became common in the seventeenth century for
42:13
Speaker 1: teaching purposes. Moreover, Appianist's focus on worldwide timekeeping prefigures the
42:19
Speaker 1: later development of coordinating time globally. Though true standard time
42:23
Speaker 1: zones came much later, the conceptual groundwork was being laid
42:27
Speaker 1: by such early efforts. Culturally, the beautiful design of the Folium,
42:32
Speaker 1: a blend of botanical form and scientific function, reflects the
42:35
Speaker 1: Renaissance ideal of uniting art and science. It would have
42:39
Speaker 1: been a conversation piece in educated circles, potentially stimulating interest
42:43
Speaker 1: in astronomy and time measurement among those who saw or
42:45
Speaker 1: used it. The publication's bilingual presentation is notable. After the
42:51
Speaker 1: Latin description of the instrument, Folium Popular includes a German explanation,
42:55
Speaker 1: making the knowledge accessible to readers of the vernacular. This
42:58
Speaker 1: aligns with Appianist's pattern of issa showing works in German
43:00
Speaker 1: when targeting a broader audience. One translated excerpt from the
43:05
Speaker 1: Latin text reads, this instrument, newly invented by Petris Appianists
43:09
Speaker 1: and reduced into the shape of a popular leaf, shows
43:12
Speaker 1: by the sun rays the common hours throughout the entire world.
43:16
Speaker 1: The matter of fact tone underlines Opianis's confidence in the
43:19
Speaker 1: device's universal utility. Another interesting aspect is the engraved detail
43:24
Speaker 1: on the leaf dial itself and includes numerous city names
43:28
Speaker 1: in their coordinates or our offsets, plus our lines and
43:31
Speaker 1: solar declination curves. It effectively compresses a world's map worth
43:35
Speaker 1: of data onto a leaf shaped sundial. There are also
43:39
Speaker 1: decorative elements. Oppianists did not shy from beautifying his instruments,
43:43
Speaker 1: including perhaps allegorical figures or the personification of the sun
43:47
Speaker 1: to embellish the functional diagram. Because Falling on Popular is
43:51
Speaker 1: a brief work, it has often been discussed in the
43:54
Speaker 1: context of Appianis's instrument making in general. Mario Biagioli in
43:59
Speaker 1: two thousand eight mentions the Folium as an example of
44:02
Speaker 1: Oppianis's care and instructing users on instrument construction, noting the
44:07
Speaker 1: detailed wet transfer method Appianists provided to ensure the large
44:10
Speaker 1: print could be mounted without distortion. This indicates Appianist's practical
44:16
Speaker 1: mindset and foresight about the difficulties users might face in
44:19
Speaker 1: recreating his instruments. Historians of scientific instruments have also highlighted
44:24
Speaker 1: fully unpopular and surveys of early technical prints. For instance,
44:29
Speaker 1: an analysis by our Krema on paper Instruments in twenty
44:33
Speaker 1: eleven cites Appianis's instruments as early user assembled scientific devices
44:38
Speaker 1: that pre date modern do it yourself scientific kids. Additionally,
44:44
Speaker 1: volume popularized reference in museum catalogs and rare book listings.
44:48
Speaker 1: Due to its rarity and uniqueness. Modern institutions like the
44:52
Speaker 1: Bavarian State Library and BIC have digitized their copies of
44:56
Speaker 1: fully unpopular allowing contemporary researchers to examine its content. This
45:01
Speaker 1: digital preservation underscores its value as part of the heritage
45:04
Speaker 1: of scientific innovation. This book was printed in Ingostadt on
45:10
Speaker 1: the twenty second of October in fifteen thirty three. As
45:13
Speaker 1: noted on the imprint by Appianis's own press, it appears
45:17
Speaker 1: to have been published in Latin with parallel German text.
45:20
Speaker 1: Unlike Oppianis's larger books, it did not go through multiple editions.
45:24
Speaker 1: Its nature as an instrument sheet meant it was a
45:26
Speaker 1: singular product of Appianis's workshop. However, it was closely related
45:31
Speaker 1: to Appianis's Instrument Book in fifteen thirty three, a larger
45:35
Speaker 1: German compendium of instrument designs released around the same time.
45:39
Speaker 1: One might consider the Folium a spinoff or supplement to
45:42
Speaker 1: that compendium. There is no evidence of translations of the
45:46
Speaker 1: Folium Popular into other languages, likely because the Latin German
45:49
Speaker 1: combination already covered Appianis's main audiences and the utility of
45:54
Speaker 1: the piece was tied to its diagram rather than extensive text.
45:59
Speaker 1: Surviving in tach copies of fully unpopular are quite scarce. Again,
46:03
Speaker 1: the Bavarian State Library and Munich holds a copy, now digitized,
46:07
Speaker 1: as part of its collection of Apianist's works. Another copy
46:10
Speaker 1: has been preserved and digitized by the BEEC in Milan.
46:14
Speaker 1: The rarity is partly due to many copies being used
46:17
Speaker 1: and thus damaged or bound into composite volumes of pamphlets
46:20
Speaker 1: that later got split up. The fact that any copy
46:24
Speaker 1: survive with the fold out leaf uncut is amazing. These
46:27
Speaker 1: are often kept in research libraries or museums with early
46:30
Speaker 1: science collections. For example, the Falling and popular woodcut is
46:34
Speaker 1: sometimes displayed in exhibitions of scientific instruments on paper. Given
46:39
Speaker 1: its striking appearance and in structural value, scholars can access
46:43
Speaker 1: it today through the aforementioned digital libraries, ensuring that Appianist's
46:47
Speaker 1: ingenius leaf continues to be studied even if few physical
46:50
Speaker 1: originals remain. And now a little bit about the Instrument Book.
46:55
Speaker 1: The Instrument Book literally Instrument Book of fifteen thirty three
46:59
Speaker 1: was one of Appianist's most significant contributions to technical literature.
47:04
Speaker 1: It is a comprehensive manual of over forty different mathematical
47:07
Speaker 1: instruments and their uses. Importantly, Appianists wrote the Instrument Book
47:12
Speaker 1: in German, not Latin. This was a deliberate choice. He
47:17
Speaker 1: intended the work for practitioners, navigators, surveyors, craftsmen who might
47:22
Speaker 1: not know Latin. In the introduction, Appianists even urged other
47:27
Speaker 1: scholars to publish in German to spread technical knowledge more widely.
47:31
Speaker 1: By using the vernacular, Appianists massively broadened the potential readership
47:36
Speaker 1: of his work. Indeed, the Instrument Book is among the
47:39
Speaker 1: earliest technical books published in the German language rather than Latin.
47:44
Speaker 1: The book is richly illustrated with woodcuts demonstrating the construction
47:47
Speaker 1: and operation of instruments, astrolabes, quadrants, sun dials, globes, and
47:52
Speaker 1: even included uncut paper instrument parts, print of volvel's and
47:56
Speaker 1: patterns that readers could cut out and assemble themselves. One
48:01
Speaker 1: copy described by modern collectors contained uncut valvels with each
48:05
Speaker 1: part separated, so Appianis intended that readers would cut out
48:08
Speaker 1: the individual items and assemble the instruments. This interactive approach
48:13
Speaker 1: was essentially Appianis turning a book into an instrument kit.
48:16
Speaker 1: It also shows Appianis's pedagogical bent. He wanted users to
48:20
Speaker 1: learn by doing, constructing their own working models. The instrument
48:25
Speaker 1: Book proved popular in the German Lands as a practical reference.
48:29
Speaker 1: All these activities won Apianis increasing fame. Universities and patrons
48:34
Speaker 1: across Europe took notice. During the fifteen thirties, Appianists reportedly
48:39
Speaker 1: received calls to high positions from the universities of Leipzig, Tubingin, Vienna,
48:44
Speaker 1: and even the renowned Italian University of Padowa. Despite these
48:47
Speaker 1: attractive authors, Apianists declined them all and remained in Ingolstadt
48:51
Speaker 1: for the rest of his career. His reasons were likely
48:55
Speaker 1: twofold loyalty to his Bavarian patrons, who treated him well,
49:00
Speaker 1: favorable situation he had in Ngostat, where he owned a
49:02
Speaker 1: printing business and enjoyed imperial favor. Indeed, Appianis's relationship with
49:07
Speaker 1: the Holy Roman Emperor Charles the Fifth deepened in this period,
49:11
Speaker 1: bringing further honors. And now we will go right into
49:15
Speaker 1: Horoscopian Apiani from fifteen thirty three. Horoscopian Apiani is a
49:23
Speaker 1: treatise devoted to timekeeping instruments, especially sun dials and astrological clocks.
49:28
Speaker 1: The title can be translated as Appianis's General Horoscopian for
49:32
Speaker 1: determining the hours of any region under any latitude. In essence,
49:37
Speaker 1: it describes a universal sundial, an instrument that can be
49:40
Speaker 1: adjusted to tell time in any part of the world
49:42
Speaker 1: at any latitude or elevation of the pole. The word
49:45
Speaker 1: horoscopian in this context refers to an instrument for finding
49:49
Speaker 1: the hour from Greek aura hour escorpion observer. Appianis's work
49:55
Speaker 1: provides designs and instructions for constructing such devices that work
49:59
Speaker 1: not only by day with the sun, but also by
50:02
Speaker 1: night using the moon or certain bright stars. This dual
50:06
Speaker 1: capacity is explicitly mentioned in the full title, which notes
50:10
Speaker 1: the instrument can be used not only by day with
50:12
Speaker 1: the sun, but also at night with the moon and
50:15
Speaker 1: some fixed stars, enabling timetelling at any hour. One notable
50:20
Speaker 1: component of this treatise is a planispheric star chart included
50:23
Speaker 1: to aid in telling time at night. This star chart
50:26
Speaker 1: is special. Appian has created a map of constellations on
50:30
Speaker 1: a polar projection which the user could rotate to simulate
50:33
Speaker 1: the night sky. By aligning the chart with known stars
50:37
Speaker 1: like the Big Dipper Orion, one could approximate the hour
50:40
Speaker 1: after sunset, akin to using a nocturnal device. Appianis. The
50:45
Speaker 1: star chart published with horoscopy and Appiani is extraordinary because
50:49
Speaker 1: it combines classical ptolemaic constellations with non classical indigenous asterisms.
50:55
Speaker 1: Besides stella methods, Appianis's horoscopion covers the use of the
50:59
Speaker 1: fingers of one's hand and for night timekeeping, essentially an
51:02
Speaker 1: empirical method to gauge hours by the angle of stars
51:05
Speaker 1: above the horizon. The title mentions an observation by the
51:08
Speaker 1: fingers of the hand for nighttime hours as an appended section.
51:13
Speaker 1: This shows Appianis's thoroughness in compiling various techniques for finding
51:16
Speaker 1: the hour. The text is written in Latin and perhaps
51:20
Speaker 1: partly in German. Some of Appianis's in structure manuals were bilingual.
51:24
Speaker 1: It was printed in Ingolstadt in fifteen thirty three by
51:27
Speaker 1: Appianis's press Horoscopi and Apiani is significant as a compendium
51:32
Speaker 1: of practical sun dial science and universal timekeeping. During the
51:36
Speaker 1: sixteenth century, determining accurate time was not just a daily concern,
51:40
Speaker 1: but also an astronomical and astrological necessity. Hence, horoscope originally
51:45
Speaker 1: refers to the ascendant sign based on precise time of birth.
51:49
Speaker 1: Oppianis's contribution was to create instruments that were universal, adapted
51:53
Speaker 1: to any latitude, whereas many sun dials of the time
51:56
Speaker 1: were fixed for one locality. This was important for travelers
52:00
Speaker 1: and navigators moving across different regions. A particularly noteworthy aspect
52:04
Speaker 1: of Appianis's Horoscopian is its star chart, which preserved Middle
52:08
Speaker 1: Eastern constellation lore. As mentioned, Appianus's fifteen thirty three Planisphere,
52:15
Speaker 1: likely published as an insert or appendix to the Horoscopian,
52:18
Speaker 1: includes the only known depiction of Bedouin Arabic constellations and
52:22
Speaker 1: a European printed star map of that era. He labels
52:26
Speaker 1: ursa minor as garava or an old woman with her daughters,
52:30
Speaker 1: Draco as camels, and so on, alongside the traditional Greco
52:34
Speaker 1: Roman constellations. This cultural inclusion is significant for the history
52:39
Speaker 1: of astronomy. It indicates Appianists had access to Arab astronomical sources,
52:44
Speaker 1: probably via the Star Catalog or Al Sufi, and chose
52:47
Speaker 1: to illustrate them. By doing so, Appianis inavertently became an
52:51
Speaker 1: ethnographer of sky lore. Paul Koonich and other historians have
52:56
Speaker 1: highlighted this as a unique melding of astronomical traditions every
52:59
Speaker 1: reflect the Renaissance appetite for knowledge from all sources and
53:02
Speaker 1: Oppianis's own scholarly breath. Scientifically, the Horoscopian advanced the design
53:08
Speaker 1: of instruments called altitude sundials or orry quadrants that could
53:11
Speaker 1: be adjusted for latitude. Appianus's work may have described this
53:15
Speaker 1: specific invention of his, possibly a combination of an astrolabe
53:19
Speaker 1: and a sun dial. The fact that he calls it
53:21
Speaker 1: the most suitable such that you can use it throughout
53:23
Speaker 1: the whole Roman Empire and indeed anywhere in the world
53:26
Speaker 1: suggests a proud claim of a truly general instrument. This
53:30
Speaker 1: was cutting edge at the time. The first truly universal
53:34
Speaker 1: sun dial sometimes called horizontal dialing instruments or Navicula type dials.
53:40
Speaker 1: The first truly universal sun dial were just being developed
53:44
Speaker 1: Appianis's design likely influenced later instrument makers who made popular
53:48
Speaker 1: universal sun dials in the seventeenth century. Historically, the horoscopy
53:53
Speaker 1: and appiani also documents techniques like measuring heights, distances, and
53:57
Speaker 1: depths using the same instrument. This indicates the instrument was
54:00
Speaker 1: not only for time, but also served as a surveying tool,
54:03
Speaker 1: a common crossover for quadrants and astrolabes. It also shows
54:08
Speaker 1: how closely linked time measurement was with other astronomical measurements.
54:13
Speaker 1: Appianis's work on sun dials and time finding influenced both
54:16
Speaker 1: instrument makers and mathematicians. In fifteen thirty three, at the
54:20
Speaker 1: same time Apianist was publishing another mathematician, Reggio Montana's follower,
54:24
Speaker 1: Sebastian Munster, was writing about sundials and horologies. Apianis's contributions
54:29
Speaker 1: would have been noticed by such contemporaries. Jemmaphicius, in the
54:33
Speaker 1: fifteen fifties developed the Astrolabum Catholicum, a universal astrolabe. Apianis's
54:39
Speaker 1: Horoscopian was a precursor in spirit tackling the same problem
54:43
Speaker 1: of universality. Later in the seventeenth century, the Horoscopian was
54:48
Speaker 1: likely read by Dalists like Thomas Hunter and others who
54:51
Speaker 1: continued to make star charts and time finding instruments culturally,
54:56
Speaker 1: because Horoscopi and Appiani so beautifully combined star loar and
54:59
Speaker 1: instrument as it preserved knowledge that might have otherwise been lost.
55:04
Speaker 1: The Bedouin consolation depictions, for example, did not reappear in
55:07
Speaker 1: Europe until modern anthropological studies. Appianus was ahead of his
55:12
Speaker 1: time in recording them. This had no immediate influence in
55:15
Speaker 1: his error. Indeed, latest star aalysies did not copy those asterisms,
55:20
Speaker 1: but he gives modern scholars a rare snapshot of cross
55:23
Speaker 1: cultural astronomy in the fifteen hundreds. The full Latin title
55:27
Speaker 1: of Horoscopian Apiani is notable for its length and detail.
55:31
Speaker 1: Translated in essence, it announces a general horoscopium by Petrus
55:35
Speaker 1: Appianis for finding the hours of any kind, equal or
55:39
Speaker 1: unequal hours of any region, in this not only by
55:43
Speaker 1: day from the sun, but also by night from the
55:45
Speaker 1: moon and certain fixed stars, so that it can be
55:48
Speaker 1: used throughout the entire Roman Empire and indeed everywhere in
55:51
Speaker 1: the world, with a very simple method appended for its use.
55:55
Speaker 1: Now for the first time invented and published by him.
55:58
Speaker 1: To this is added a very accurate an ingenious method
56:01
Speaker 1: for measuring distances, heights and depths with this same instrument.
56:05
Speaker 1: Also attached is a Nocturnal Observation of Hours by means
56:09
Speaker 1: of the fingers of the hand. This title itself reads
56:13
Speaker 1: almost like a mini table of contents, highlighting the instrument's versatility.
56:18
Speaker 1: One can see Appianis's marketing flare. Here he underscores novelty
56:22
Speaker 1: now first invented and published. A notable excerpt would be
56:27
Speaker 1: Appianis's instructions for the star chart use. He presumably explains
56:31
Speaker 1: how to find the time at night by aligning the
56:33
Speaker 1: rotating star discs such that a known star is at
56:36
Speaker 1: a certain position, mimicking its altitude in the sky, and
56:39
Speaker 1: then reading the hour from an attached scale. Opianists might
56:44
Speaker 1: reference the polestar and constellations like URSA Major and these instructions,
56:48
Speaker 1: given those were common for nocturnals. Another interesting element is
56:52
Speaker 1: Oppianist's inclusion of a method using one hand. Likely he
56:56
Speaker 1: describes how many finger withs a certain star is above
56:58
Speaker 1: the horizon, how a core to the time after sunset.
57:01
Speaker 1: A folks see yet practical trick This shows Appianis's comprehensive
57:06
Speaker 1: approach from sophisticated instruments down to naked eye techniques. Horoscopy
57:13
Speaker 1: and Appiani has not been studied as extensively on its own,
57:17
Speaker 1: but it features in studies of astronomical instruments. For example,
57:21
Speaker 1: Rotel and Korsner in nineteen ninety five listed in Oppianis's
57:25
Speaker 1: workings and describe it as dealing with sundials. The unique
57:29
Speaker 1: star chart in it has been analyzed by historians of
57:31
Speaker 1: photography like Deborah Warner and Elie Decker when tracing the
57:35
Speaker 1: development of celestial maps. They note Appianis's fifteen thirty three
57:40
Speaker 1: chart as an innovative polar projection that slightly modified albrich
57:44
Speaker 1: Dura's earlier star maps by adding the hunting dogs in
57:47
Speaker 1: boots and the figure in a ratinus, as well as
57:50
Speaker 1: those Arabic constellations. In the History of Photography Volume three,
57:54
Speaker 1: Appianist planet spheres of fifteen thirty six and the one
57:57
Speaker 1: in fifteen thirty three are discussed as important steps between
58:00
Speaker 1: medieval star charts and later globes. Furthermore, Appianis's work is
58:06
Speaker 1: cited in broader histories of sun dials for example, J. D.
58:09
Speaker 1: Nort's writings on Renaissance astronomy mentioned Appianis's contributions to dialing.
58:15
Speaker 1: Appianists essentially straddled the line between astronomy and astrology. Horoscopian
58:20
Speaker 1: hints at astrological hours, and indeed the determination of time
58:24
Speaker 1: is fundamental to casting horoscopes. Historians of astrology note Appianis's
58:29
Speaker 1: Horoscopian as an instrument enabling more precise horoscope calculations, which
58:33
Speaker 1: were popular in that era for medicine and politics. Horoscopian
58:38
Speaker 1: Appiani was printed at Ingolstadt, likely in a similar format
58:41
Speaker 1: to Appianis's other instrument works of that year. It might
58:45
Speaker 1: not have been separately reprinted, but portions of it, like
58:48
Speaker 1: the star map, were reused. For instance, Apianists published imagine
58:52
Speaker 1: Siderium Images of the Stars in fifteen thirty six as
58:56
Speaker 1: a separate broadside star chart, which was essentially an evolution
58:59
Speaker 1: of the chart in the Horoscopian. That fifteen thirty six
59:04
Speaker 1: chart was later incorporated into the fifteen forty Astronomicum Cassarium
59:07
Speaker 1: as of Volvel, so one could say Horoscopian. Appiani's legacy
59:11
Speaker 1: continued through Oppianis's later works, though translations of Horoscopi and
59:15
Speaker 1: Appiani are known. It remained in Latin, with some German possibly. However,
59:20
Speaker 1: its concepts were echoed by others, such as Johannes Stoeffler's
59:24
Speaker 1: earlier works on sun dials and later by Giovanni Padovini.
59:28
Speaker 1: Appianis's instrument might have been known in the vernacular indirectly
59:32
Speaker 1: through such authors. Copies of Horoscopi and Appiani survive in
59:36
Speaker 1: a few libraries. The Bavarian State Library Munich holds a copy.
59:40
Speaker 1: This copy has been digitized, indicating its importance. The Herzog
59:45
Speaker 1: August BiblioTech and Wolfembuttle and the Austrian National Library may
59:49
Speaker 1: also have copies, since they have extensive sixteenth century holdings.
59:54
Speaker 1: It's possible that horoscopian Is sometimes found bound with Oppianis's
59:58
Speaker 1: instrument book or quadrants incompar volumes. Collectors sometimes bound several
1:00:02
Speaker 1: of Oppianist's small treaties together. Given the rarity of these
1:00:06
Speaker 1: instrument pamphlets, each surviving example is valuable. The Munich digitization
1:00:12
Speaker 1: allows researchers worldwide to examine Appianist's star chart and dial diagrams.
1:00:17
Speaker 1: There is also at least one copy in the University
1:00:20
Speaker 1: of Cambridge Library systems used for the Whipple Museum's research. Overall,
1:00:25
Speaker 1: while less famous than Appianis's cosmography or astronomy books, the
1:00:29
Speaker 1: Horoscopi and appiani Is preserved as a testament to Renaissance
1:00:32
Speaker 1: ingenuity in timekeeping. Through their early fifteen thirties, Emperor Charles
1:00:39
Speaker 1: the Fifth continued to be impressed by Appianis's work. Charles
1:00:43
Speaker 1: the Fifth was a ruler of vast domains from Spain
1:00:45
Speaker 1: in the Netherlands to Austria Naples, and he understood the
1:00:48
Speaker 1: value of cosmography for the empire. It was even speculated,
1:00:53
Speaker 1: though not confirmed, that Charles the Fifth may have had
1:00:56
Speaker 1: personal cosmography lessons from Appianists around fifteen thirty during the
1:01:00
Speaker 1: Diet of Augsburg. What is certain is that Charles the
1:01:04
Speaker 1: Fifth showed exceptional favor for Appianis. In fifteen thirty two,
1:01:09
Speaker 1: the emperor granted Appianis a printing monopoly for certain types
1:01:12
Speaker 1: of books. Such monopolies were lucrative privileges, perhaps allowing Appianist's
1:01:17
Speaker 1: sole right to print empirical ethics or specific calendars. Again,
1:01:21
Speaker 1: in fifteen thirty four, another monopoly was granted, Then in
1:01:25
Speaker 1: fifteen thirty five, Charles the Fifth bestowed upon Oppianists the
1:01:29
Speaker 1: status of an armiger, granting him a personal coat of
1:01:32
Speaker 1: arms or a nobility crust. Appianis's new coat of arms
1:01:37
Speaker 1: fittingly featured imagery of bees aligning with his name, and
1:01:41
Speaker 1: it can still be seen carved in places like his
1:01:43
Speaker 1: hometown Leisning. This elevation effectively ennobled Appianist. Further honors followed
1:01:50
Speaker 1: by fifteen forty one, Charles the Fifth knighted Opianists, making
1:01:54
Speaker 1: him a Knight of the Empire. According to one source,
1:01:58
Speaker 1: Charles even extended that knight who to Appianis's three brothers,
1:02:02
Speaker 1: ennobling the whole Benowitz family line, And in fifteen forty
1:02:05
Speaker 1: four Appianist was appointed and Empirical Court Palatine, a title
1:02:10
Speaker 1: that gave him, in his university certain legal privileges, such
1:02:14
Speaker 1: as the right to confer degrees and legitimize births. These
1:02:18
Speaker 1: cascading honors from the Emperor were extraordinary for a university scholar.
1:02:22
Speaker 1: They reflect how valued Appianists was as a mathematicus the
1:02:25
Speaker 1: term then for mathematician, astronomer and astrologer in the service
1:02:29
Speaker 1: of the realm. During his time with Emperor Charles the fifth.
1:02:33
Speaker 1: He produced the work Instrumentum Primi Mobilis, published in Nuremberg
1:02:38
Speaker 1: in fifteen thirty four by the renowned printer Johannes Petrius.
1:02:41
Speaker 1: Instrument of the Primum Mobile is Appianis's major work on
1:02:44
Speaker 1: trigonometry and astronomical computation. This Latin treatise deals with the
1:02:50
Speaker 1: use of mathematical instruments in the calculation of trigonometric tables,
1:02:54
Speaker 1: which were essentral for astronomy and Oppianist's cosmology. The premium
1:03:00
Speaker 1: im mobile refers to the outermost celestial sphere, whose daily
1:03:03
Speaker 1: rotation carries all the stars, a concept from ptolemaic astronomy.
1:03:08
Speaker 1: The title implies that the work provides tools to understand
1:03:11
Speaker 1: or compute aspects of that fundamental rotation. Essentially, it is
1:03:16
Speaker 1: about the mathematical underpinnings of the heaven's motion. Apianists indeed
1:03:21
Speaker 1: focuses on trigonometric methods, signs, chords, and etc. Needed for
1:03:26
Speaker 1: astronomical observations of geodesy. A key component of this book
1:03:31
Speaker 1: is the presentation of new sign tables. Apianists compile the
1:03:35
Speaker 1: Table of Sign Values, one of the earliest extensive sign tables,
1:03:39
Speaker 1: published in Europe, and he describes the instrument or graphical
1:03:42
Speaker 1: method he used to compute them. For example, one page
1:03:45
Speaker 1: features an homogram, a graphical calculating device with which Appianists
1:03:49
Speaker 1: determines signs and verse signs geometrically. The text preceding the
1:03:53
Speaker 1: tables explains this procedure. Appianis's work also incorporates prior knowledge. Notably,
1:04:00
Speaker 1: it contains the first European printed edition of the Latin
1:04:02
Speaker 1: translation by Jarrett of Cremona of an Arabic astronomical treatise,
1:04:07
Speaker 1: the revision of Ptolemy's Omagest by Jabir ibin Afla. Apianist
1:04:12
Speaker 1: links medieval Islamic astronomy with Renaissance science. Overall, the treatise
1:04:17
Speaker 1: covers how to use instruments, likely astrolabes, quadrants, or specific
1:04:21
Speaker 1: trigonometric devices for measuring angles and distances, as well as
1:04:25
Speaker 1: the theory behind calculating tables of signs. This book is
1:04:29
Speaker 1: therefore both a practical manual and a mathematical text. It
1:04:33
Speaker 1: effectively provides readers with the computational tools signed and chord
1:04:37
Speaker 1: functions to solve astronomical triangles, crucial for tests like determining
1:04:41
Speaker 1: planetary positions or geographic coordinates. This book marks an important
1:04:46
Speaker 1: step in the development of trigonometry as an independent discipline
1:04:49
Speaker 1: in Europe. Coming just a year after Johannes Riggiomontanus's d
1:04:54
Speaker 1: Triangulus was finally published, Appianis's work helped to spread trigonometric
1:04:58
Speaker 1: techniques more widely. Its signing tables likely represented an advanced
1:05:03
Speaker 1: and accuracy or scope over previous ones. Modern analysis notes
1:05:07
Speaker 1: that Appianis's book presented new developments in the compiling of
1:05:11
Speaker 1: trigonometric tables for its time. In fact, Appianis's signing table
1:05:16
Speaker 1: from fifteen thirty four is sometimes credited as one of
1:05:19
Speaker 1: the first to be printed in a relatively fine increment,
1:05:22
Speaker 1: possibly at one degrees or even smaller intervals. This would
1:05:26
Speaker 1: have been invaluable for astronomers until more comprehensive tables came along.
1:05:31
Speaker 1: Another significant aspect is Appianis's inclusion of gerardive Kromona's translation
1:05:36
Speaker 1: of Geber's work. By doing so, Appianist reintroduced to Europe
1:05:40
Speaker 1: the sophisticated astronomical insights of the twelfth century Islamic scholar.
1:05:46
Speaker 1: Geber had critiqued and refined Ptolemy's models, and Appianis's publications
1:05:50
Speaker 1: made those ideas accessible to Renaissance readers. This cross cultural
1:05:55
Speaker 1: transmission is historically important. It shows Appianis as a conduit
1:06:00
Speaker 1: of knowledge between the Islamic Golden Age and the sixteenth
1:06:03
Speaker 1: century Europe. This cross cultural transmission is historically important. It
1:06:08
Speaker 1: shows Apianis as a conduit of knowledge between the Islamic
1:06:11
Speaker 1: Golden Age and sixteenth century Europe. This book also underscores
1:06:17
Speaker 1: Opianis's dual expertise as a mathematician and instrument maker. He
1:06:22
Speaker 1: not only printed tables, but also described instruments to measure angles,
1:06:26
Speaker 1: perhaps an innovative sign quadrant or an instrument of signs. Indeed,
1:06:31
Speaker 1: the alternate title of later edition instrument of signs, indicating
1:06:35
Speaker 1: the work's focus on trigonometric instrumentation. Appianis's efforts contributed to
1:06:40
Speaker 1: treating trigonometry as a practical tool for navigation and mapping,
1:06:44
Speaker 1: not just theoretical geometry. This book influenced the scientific community
1:06:50
Speaker 1: by providing a reference for trigonometric calculations for navigators and
1:06:54
Speaker 1: astronomers of the mid fifteen hundreds who didn't have access
1:06:57
Speaker 1: to huge mathematical tables. US sign tables were a valuable resource.
1:07:02
Speaker 1: The techniques described by Appianists for a graphical computation of
1:07:05
Speaker 1: signs were part of the pedagogical arsenal for later mathematicians.
1:07:10
Speaker 1: Scholars like Gemma Phesias and Pedro Nuns, who are contemporaries
1:07:14
Speaker 1: of Apianists focusing on navigation and cosmography, would have been
1:07:17
Speaker 1: aware of Appianis's work. Gemma in fact collaborated with Opianists
1:07:21
Speaker 1: on other projects and may have used Oppianist's trigger methods
1:07:25
Speaker 1: in his own teaching. In the longer term, as trigonometry
1:07:29
Speaker 1: textbooks evolved, Appianis's early contributions were built upon, though eventually
1:07:34
Speaker 1: surpassed by more extensive tables and more systematic treaties. Nevertheless,
1:07:39
Speaker 1: Appianis is remembered as one of the pioneers in printing
1:07:42
Speaker 1: trigonometric data. Modern mathematical historiography, such as the Locke met project,
1:07:49
Speaker 1: which surveys historical tables, includes Appianis's fifteen thirty four sign
1:07:53
Speaker 1: table as a milestone in European computational mathematics. Additionally, the
1:07:58
Speaker 1: integration of Islamic Ish and comical material in this book
1:08:01
Speaker 1: may have quietly influenced later European astronomers to pay attention
1:08:05
Speaker 1: to Arabic sources. For example, Copernicus also referenced Muslim astronomers.
1:08:10
Speaker 1: Appianis's publication of Gemmer's amagust Critique in fifteen thirty four
1:08:14
Speaker 1: made that content readily available in print, possibly reaching Copernicus
1:08:19
Speaker 1: or his peers. It is notable that this occurred in Nuremberg,
1:08:23
Speaker 1: a hub of printing, which helped disseminate Appianis's book widely.
1:08:28
Speaker 1: One notable section of this book is Appianis's preface or introduction,
1:08:32
Speaker 1: where he often explained the purpose of his works. The
1:08:35
Speaker 1: title page itself is telling. It declares, now for the
1:08:39
Speaker 1: first time invented and published signaling Appianis's pride and original contributions.
1:08:45
Speaker 1: This reflects the humanist error's competitive spirit in mathematics, where
1:08:49
Speaker 1: authors highlighted their innovations. One more technical note. A fascinating
1:08:53
Speaker 1: page in this book shows a diagram used to derive
1:08:56
Speaker 1: the sign values. Appianis includes a pair of scales or
1:09:00
Speaker 1: a specific geometric construction that allows one to read off
1:09:04
Speaker 1: sign and verse sign by a straight edge alignment. This
1:09:08
Speaker 1: is essentially a computational aid, an early analog device printed
1:09:11
Speaker 1: on paper. Appianis's explanation of it is an example of
1:09:15
Speaker 1: sixteenth century ingenuity and computation, before algebraic formulas and calculators
1:09:20
Speaker 1: were common. Also of interest is the section where Appianist
1:09:24
Speaker 1: introduces Gebber's material. He credits the source, thereby acknowledging the
1:09:29
Speaker 1: contributions of earlier scholars. This was at a time when
1:09:32
Speaker 1: printing somebody else's work, even long dead, was a form
1:09:35
Speaker 1: of homage and scholarship. The inclusion demonstrates Appianis's role as
1:09:40
Speaker 1: an editor of scientific heritage, not just an author. Modern
1:09:44
Speaker 1: scholars have studied this book in the context of history
1:09:47
Speaker 1: of trigonometry. The Mathematical Association of America's Convergence Collection discusses
1:09:52
Speaker 1: Appianis's book, noting that it presents new developments in the
1:09:56
Speaker 1: compiling of trigonometric tables and contains the first print of
1:10:00
Speaker 1: gebra's omagest revision. Dennis Rogal in twenty twenty one has
1:10:04
Speaker 1: even reconstructed Appianis's fifteen thirty three thirty four table of
1:10:08
Speaker 1: signs to analyze its accuracy, indicating ongoing interest in the
1:10:12
Speaker 1: technical details of Appianis's work. Historians like Victor Katz and
1:10:16
Speaker 1: Frank Sweets have highlighted Oppianist's blending of instruments use with
1:10:20
Speaker 1: pure computation as exemplifying Renaissance supplied mathematics. Furthermore, this book
1:10:26
Speaker 1: is sometimes cited in studies of astronomical instruments. For instance,
1:10:31
Speaker 1: this book describes an astronomical staff appended to a geographic
1:10:35
Speaker 1: introduction Apianist wrote in fifteen thirty three. This staff, together
1:10:40
Speaker 1: with a new quadrant, is explained as a useful tool
1:10:43
Speaker 1: in geography, showing Appianis's interdisciplinary approach. Scholars like Rayner Karston
1:10:49
Speaker 1: and others have examined how Oppianis's instrument designs in fifteen
1:10:52
Speaker 1: thirty three to fifteen thirty four set this stage for
1:10:55
Speaker 1: more elaborate instruments in his later Astronomicum Cassarium. The first
1:11:00
Speaker 1: edition of this book was in fifteen thirty four. It
1:11:02
Speaker 1: was issued in quatro format. A revised edition followed in
1:11:06
Speaker 1: fifteen forty one. The fifteen forty one edition likely expanded
1:11:10
Speaker 1: the sign table or corrected it, and the title explicitly
1:11:13
Speaker 1: emphasized the sign tables. This suggests Appianis continued refining the work,
1:11:18
Speaker 1: possibly incorporating feedback or new calculations. Notably, Petreeus was the
1:11:24
Speaker 1: same printer who would later print Copernicus's De Revolution of
1:11:27
Speaker 1: Us in fifteen thirty four. His press was a center
1:11:30
Speaker 1: for advanced mathematical astronomy works, and Appianis's Treaties was part
1:11:34
Speaker 1: of that legacy. After the Appianis's death, this book did
1:11:40
Speaker 1: not see further reprints or translations. Trigonometry texts in vernacular
1:11:44
Speaker 1: were still uncommon at that time. However, its content was
1:11:49
Speaker 1: absorbed into subsequent astronomical literature. The book remained available in
1:11:54
Speaker 1: learned libraries. For example, Tycho brahe owned many contemporary astronomy books.
1:11:58
Speaker 1: It may have had work on his shelves. Copies of
1:12:05
Speaker 1: the fifteen thirty four editions survive in a number of
1:12:07
Speaker 1: rare book libraries. For instance, Columbia University's Library and the
1:12:11
Speaker 1: U S Library of Congress hold copies. The BIC in
1:12:15
Speaker 1: Milan has digitized a copy of this book, making it
1:12:19
Speaker 1: accessible online. Likewise, the Bavarian State Library has this work
1:12:23
Speaker 1: in its collection of mathematical astronomical texts because it was
1:12:27
Speaker 1: a notable Petrias publication. Copies likely reside in German libraries
1:12:32
Speaker 1: such as Nuberg or Munich. The work is less commonly
1:12:35
Speaker 1: found than Oppianist's Cosmographia, but Any library with a strong
1:12:39
Speaker 1: history of science collection from that era often has Appianis's
1:12:42
Speaker 1: fifteen thirty Treaties. In summary, this book stands as Oppianis's
1:12:47
Speaker 1: contribution to the mathematical infrastructure of astronomy. It provides tools,
1:12:52
Speaker 1: both intellectual trigonometric tables and physical instructions for instruments that
1:12:56
Speaker 1: empowered astronomers and geographers of his day. Through surviving copies
1:13:01
Speaker 1: of modern scholarship, we recognized this work as an important
1:13:05
Speaker 1: link in the chain that led from Ptolemaic astronomy to
1:13:07
Speaker 1: the precise mathematical astronomy of the later sixteenth century. It
1:13:13
Speaker 1: was also during this time of imperial favor that Apianis
1:13:16
Speaker 1: undertook his magnum opus, The Astronomicum case Serrium The Emperor's Astronomy,
1:13:22
Speaker 1: published in fifteen forty and Ingolstad. This book, dedicated to
1:13:26
Speaker 1: Charles the Fifth, hence Emperor, is often hailed as one
1:13:30
Speaker 1: of the most beautiful scientific books of the Renaissance. Apianas
1:13:34
Speaker 1: spent roughly eight years working on it, and the result
1:13:36
Speaker 1: was a large folio volume that is as much a
1:13:39
Speaker 1: work of art as astronomy. The work visualizes the Ptolemaic
1:13:43
Speaker 1: geocentric universe through a series of richly colored diagrams and
1:13:47
Speaker 1: ingenious rotating paper instruments. Vaalvel's apianists designed about twenty one
1:13:52
Speaker 1: valvels and included numerous full page woodcut illustrations, intending the
1:13:56
Speaker 1: book to be a functional toolkit for astronomers as well
1:13:59
Speaker 1: as a showpiece for his imperial patron. The content covers
1:14:02
Speaker 1: the motions of the Sun, Moon, and the five known
1:14:05
Speaker 1: planets according to ptolemaic epiicyclic theory. Each planet has its
1:14:10
Speaker 1: own set of movable wheels that allow the user to
1:14:12
Speaker 1: determine its position, longitude and latitude, and the zodiac at
1:14:16
Speaker 1: any given time. For example, there are vol vels to
1:14:20
Speaker 1: calculate planetary positions day by day, a lunar eclipse predictor,
1:14:24
Speaker 1: and the famous Dragon vall vels which compute lunar node
1:14:27
Speaker 1: positions crucial for eclipses. The book is organized into sections
1:14:32
Speaker 1: for each celestial body, with accompanying explanatory texts and tables.
1:14:37
Speaker 1: This book also includes star charts. One notable page is
1:14:41
Speaker 1: a Planetsphere circular star map that can rotate to show
1:14:44
Speaker 1: the visible stars at different times, effectively a form of
1:14:47
Speaker 1: astrolab printed on paper. This star map integrates classical constellations
1:14:53
Speaker 1: with some unusual asterisms derived from Arabic star lore. A
1:14:57
Speaker 1: point we will get back to the overall theme is
1:15:01
Speaker 1: providing a pre Copernican astronomical calculator. Readers could work out
1:15:05
Speaker 1: celestial events, conjunctions, planetary retrogrades, eclipse states by manipulating the
1:15:10
Speaker 1: book's wheels rather than performing lengthy calculations by hand. The
1:15:15
Speaker 1: design and decoration, hand painted in many copies, underscore that
1:15:19
Speaker 1: this was also a deluxe project merging science and art.
1:15:23
Speaker 1: This book is often held as one of the most
1:15:25
Speaker 1: beautiful scientific books ever produced. Visually, it represents the high
1:15:29
Speaker 1: point of the tradition of the paper estrolabe and valveol Technically,
1:15:34
Speaker 1: it was extremely ambitious. Appianists reportedly spent eight years developing
1:15:38
Speaker 1: and perfecting it, and he personally oversaw the coloring, cutting,
1:15:42
Speaker 1: and assembly of the rotating parts in his workshop. This
1:15:46
Speaker 1: was unusual most printed books were not hand assembled by
1:15:49
Speaker 1: the author after printing. It speaks to Oppianis's dedication to
1:15:53
Speaker 1: quality and accuracy that he ensured each copy's instruments were
1:15:57
Speaker 1: correctly put together. From a scientific standpoint, this book captures
1:16:02
Speaker 1: the state of the Art of fifteen forty in computational Astronomy,
1:16:06
Speaker 1: just before the Copernican Revolution took hold. In fact, Appianis's
1:16:11
Speaker 1: masterpiece appeared only three years before Copernicus published The Revolution
1:16:14
Speaker 1: of Us in fifteen forty three. Thus, it provides modern
1:16:18
Speaker 1: historians with a vivid insight into the pre Copernican cosmic imagination.
1:16:23
Speaker 1: It shows how complex and precise Ptolemaic astronomy had become
1:16:26
Speaker 1: by the sixteenth century. Practitioners could predict celestial phenomena with
1:16:30
Speaker 1: considerable accuracy using these analog devices, despite the geocentric model.
1:16:36
Speaker 1: The book's dedication to Emperor Charles the Fifth and King
1:16:39
Speaker 1: Ferdinand I, Charles's brother, also underscores the relationship between science
1:16:43
Speaker 1: and patronage. Charles fifth was so impressed by this book
1:16:47
Speaker 1: that he rewarded Appianists richly, promising three thousand gold guilders,
1:16:52
Speaker 1: and in fifteen forty one knighted him as a reward
1:16:55
Speaker 1: for his service. This is reflected in some copies. Appianists
1:16:59
Speaker 1: added his new court of Arms and later prints of
1:17:01
Speaker 1: the book after he became a nobleman. The work thus
1:17:05
Speaker 1: had a strong political dimension. It was as much as
1:17:08
Speaker 1: a sumptuous gift to the emperor. As it was a
1:17:10
Speaker 1: scientific text, it symbolized the Holy Roman Empire's leadership in
1:17:14
Speaker 1: arts and sciences. One of Astronomicon's unique scientific contributions is
1:17:19
Speaker 1: its preservation of Arabic Islamic star war. Appianis incorporated star
1:17:25
Speaker 1: names and constellations from the Persian astronomer Abd al Rahman
1:17:28
Speaker 1: al Sufi and other Arabic sources. Appianis's fifteen thirty three
1:17:33
Speaker 1: star chart reproduced, and Astronomicon contains the only known European
1:17:38
Speaker 1: depiction of certain Bedouin constellations Ursamina, Draco, Cepheus, and so on.
1:17:44
Speaker 1: This cultural syncretism in a prominent imperial book is of
1:17:47
Speaker 1: great interest to historians of astronomy, demonstrating a transmission of
1:17:51
Speaker 1: knowledge from East to west. However, scientifically, Astronomicon was soon superseded.
1:17:59
Speaker 1: The Copernican heele ceocentric model and later the Redolphin Tables
1:18:02
Speaker 1: of Kepler provided more straightforward ways to compute planetary positions.
1:18:07
Speaker 1: But in fifteen forty, Appianis's book was arguably the pinnacle
1:18:11
Speaker 1: of computational astronomy, essentially an analog computer for the heavens.
1:18:16
Speaker 1: In retrospect, it stands as the last grand embodiment of
1:18:19
Speaker 1: the ptolemaic system in print. In terms of direct scientific influence,
1:18:25
Speaker 1: astronomicun had a limited lifespan because of the rapid advancements
1:18:28
Speaker 1: in astronomy soon after. It did not lead to a
1:18:31
Speaker 1: school of followers in making similar tons, simply because the
1:18:34
Speaker 1: effort and cost were prohibitive and the science was moving on. Nevertheless,
1:18:39
Speaker 1: the book was highly prized by astronomers and collectors. The
1:18:43
Speaker 1: renowned Danish astronomer Tycho Brahe, who remained a geoheliocentric advocate,
1:18:49
Speaker 1: owned a copy and likely used Appianis's techniques for inspiration
1:18:53
Speaker 1: in designing his own instruments. Even Johannes Kepler, though at Copernican,
1:18:58
Speaker 1: was familiar with Oppianis's works and referenced Appianis's observations. For example,
1:19:03
Speaker 1: Appianist's observation that a comet's tale points away from the sun,
1:19:06
Speaker 1: first noted in fifteen thirty one, appears in the Astronomicon
1:19:10
Speaker 1: or related pamphlets. Culturally, Astronomicon influenced the traditional pop up
1:19:16
Speaker 1: and interactive books. It has been exhibited as an early
1:19:20
Speaker 1: example of a movable book and an analog computing device.
1:19:24
Speaker 1: Modern artists and book design is sometimes cited as an
1:19:26
Speaker 1: inspiration for combining functionality with aesthetics. The imagery of the
1:19:31
Speaker 1: dragons on Opianis's lunar node vavels, for instance, has captured
1:19:35
Speaker 1: imagination to the point that it was highlighted in a
1:19:38
Speaker 1: twenty twenty five Library of Congress blog titled Dragons in
1:19:41
Speaker 1: the Astronomicon Cassarium. Additionally, the very creation of such a
1:19:47
Speaker 1: deluxe book set a benchmark for imperial patronage of science
1:19:51
Speaker 1: is comparable to the large star atlases of the seventeenth century.
1:19:54
Speaker 1: Oppianist's work may have indirectly inspired those later works in
1:19:58
Speaker 1: terms of ambition and artistry if In summary, while appianist
1:20:04
Speaker 1: Astronomicon did not change the course of astronomy, it served
1:20:07
Speaker 1: as a capstone for an era. It influenced how later
1:20:10
Speaker 1: generations viewed the Ptolemaic era as something capable of great
1:20:14
Speaker 1: beauty and ingenuity. Nearly every page of Astronomicon is notable.
1:20:19
Speaker 1: The title page itself is often cited. It features an
1:20:22
Speaker 1: imperial double headed eagle and an image of a dragon
1:20:25
Speaker 1: encircling a wheel symbolizing the eclipsed dragon, heralding the theme
1:20:30
Speaker 1: of imperial authority. Over cosmic knowledge. Appianus's preface, addressed to
1:20:36
Speaker 1: Charles the Fifth is a piece of humanist rhetoric, praising
1:20:39
Speaker 1: the emperor's enlightened patronage and comparing the ruless power to
1:20:42
Speaker 1: the orderly motion of the heavens. One striking excerp is
1:20:47
Speaker 1: Appianis's explanation of the dragon volvel for lunarodes. Appianists cleverly
1:20:52
Speaker 1: uses the birth dates of Charles the fifth and Ferdinand
1:20:54
Speaker 1: the First as examples in the text, explaining how to
1:20:57
Speaker 1: use the volvel to find the moon's latitude. This personal
1:21:01
Speaker 1: touch not only flatters his patrons, but also provides a
1:21:04
Speaker 1: practical demonstration. It exemplifies Apianis's knack for teaching. He turns
1:21:09
Speaker 1: an instruction example into a dedication of sorts. Another excerpt
1:21:13
Speaker 1: of interest is Appianist's note that some plates took an
1:21:16
Speaker 1: entire month to engrave in print. Simpler almanacs were common,
1:21:21
Speaker 1: but nothing at this level of complexity. For a sense
1:21:25
Speaker 1: of Appianist's writing style, in the introduction, he states that
1:21:28
Speaker 1: he has constructed this entire work with utmost diligence over
1:21:32
Speaker 1: eight years, and that with color, knife and paste, I
1:21:37
Speaker 1: myself have mounted all the instruments in each copy. This
1:21:41
Speaker 1: combination of pride and meticulousness permeates the text. The astronomicun
1:21:47
Speaker 1: has attracted considerable scholarly attention. Famed historian of astronomy Owen
1:21:52
Speaker 1: Gingerish published an analysis and a facsimile commentary on it
1:21:56
Speaker 1: in nineteen seventy one. Famed historian of astronomy Owen ginger
1:22:00
Speaker 1: Rich published an analysis and a fact simile commentary on
1:22:04
Speaker 1: it in nineteen seventy one, cataloging cataloging known copies, and
1:22:08
Speaker 1: commentating on Appianis's methods, sa Ionid's earlier rot Kassar's Astronomy,
1:22:14
Speaker 1: analyzing the book's content and historical contexts. More recent studies,
1:22:19
Speaker 1: like a twenty seventeen paper by Lars Gilson, examined the
1:22:22
Speaker 1: construction and position of Appianis's vowels, how the latitude discs
1:22:26
Speaker 1: were made and used. Another study by Richard Kremer in
1:22:30
Speaker 1: twenty eleven looks at Appianis's paper instruments with the broader
1:22:34
Speaker 1: history of analog computation, connecting the Astronomicon's techniques to prior
1:22:38
Speaker 1: and subsequent instrument traditions. A very recent twenty twenty four
1:22:42
Speaker 1: Heritage Science study published an NPJ Heritage Science conducted a
1:22:47
Speaker 1: technical analysis of five surviving copies of Astronomicon. This research
1:22:52
Speaker 1: examined pigments, inks, and assembly differences between deluxe presentation copies
1:22:57
Speaker 1: and standard copies, revealing details about Appiontos workshop practices, and
1:23:01
Speaker 1: even proposing an order of production of copies. Such analysis
1:23:06
Speaker 1: underscores that Astronomicon is not only of interest to historians
1:23:09
Speaker 1: of science, but also to conservators and art historians. Furthermore,
1:23:14
Speaker 1: Paul Kunich's work Peter appian and Aslophi delves into the
1:23:18
Speaker 1: Oppianist use of Islamic star names and constellations, highlighting Appianist's
1:23:23
Speaker 1: role in transmitting that knowledge. The book is frequently referenced
1:23:27
Speaker 1: in discussions of early modern scientific publishing, given its status
1:23:31
Speaker 1: as an extravagant production. This book is frequently referenced in
1:23:36
Speaker 1: discussions of early modern scientific publishing, given its status as
1:23:40
Speaker 1: an extravagant production. Susan Dackermann's exhibition Prints and the Pursuit
1:23:45
Speaker 1: of Knowledge, Harvard Art Museum in Baltimore Art Museum in
1:23:48
Speaker 1: twenty eleven featured Appianist's Astronomicon, analyzing how interactive prints engaged
1:23:53
Speaker 1: readers in learning by doing. In essence, this book is
1:23:56
Speaker 1: as much a subject of scholarly fascination as it is
1:23:59
Speaker 1: a historical art effect. It stands at the intersection of astronomy, art,
1:24:03
Speaker 1: and imperial propaganda and literature on it reflects all these facets.
1:24:09
Speaker 1: A Pianist printed Astronomicon in fifteen forty in Ingolstadt, using
1:24:13
Speaker 1: his own press. The print run was relatively small due
1:24:17
Speaker 1: to the enormous effort per copy. It's estimated that about
1:24:21
Speaker 1: one hundred to one hundred and thirty copies were produced,
1:24:24
Speaker 1: of which a remarkable number around one hundred and thirty
1:24:27
Speaker 1: have survived to some degree. Some copies were specifically prepared
1:24:31
Speaker 1: as deluck presentation copies for important figures. These DeLux versions
1:24:35
Speaker 1: have even finer quality paper, more elaborate hand coloring, with
1:24:39
Speaker 1: gold and silver details, and sometimes extra decorative flourishes. Only
1:24:44
Speaker 1: about eleven deluxe copies are identified. The standard copies were
1:24:49
Speaker 1: also colored, but perhaps less lavishly, on ordinary paper. There
1:24:54
Speaker 1: was no second edition. By fifteen forty, the winds of
1:24:57
Speaker 1: change in astronomy were already blowing. However, the Appianis's methods
1:25:01
Speaker 1: continued to be of interest. His student and son in
1:25:04
Speaker 1: law Gemma Phesius did not reprint to Astronomicon, probably impossible
1:25:09
Speaker 1: without Appianist's christmanship, but Gemma did publish simpler instruments and tables.
1:25:14
Speaker 1: Late astronomers like Kepler admired the work. Kepler mentions Appianis's
1:25:19
Speaker 1: ingenuity even as he helped render Tolmaic tools obsolete. A
1:25:24
Speaker 1: large number of astronomic in copies survive in libraries and
1:25:27
Speaker 1: museums worldwide, making it one of the more accessible sixteenth
1:25:30
Speaker 1: century rare books despite its initial scarcity. The Library of
1:25:35
Speaker 1: Congress and Washington d C. Holds two copies born from
1:25:39
Speaker 1: the Lessing Jay Rosenwald collection, which has been fully digitized
1:25:42
Speaker 1: for public viewing. The Fritz William Museum in Cambridge holds
1:25:46
Speaker 1: it de luxe hand colored copy, which was the subject
1:25:49
Speaker 1: of the twenty twenty four technical study. Other notable copies
1:25:53
Speaker 1: are in the Bavarian State Library in Germany, the British
1:25:56
Speaker 1: Library and UK, the BiblioTech Nationale de France, the Austrian
1:26:01
Speaker 1: National Library, and the Vatican Library. Many universities rare book
1:26:06
Speaker 1: libraries have acquired copies due to the books fame and
1:26:09
Speaker 1: importance when displayed Astronomicon never fails to impress viewers with
1:26:15
Speaker 1: its intricate layered wheels and vibrant illustrations. It serves not
1:26:19
Speaker 1: only as a window into Renaissance science, but also as
1:26:22
Speaker 1: a tangible connection to the era of courtly science patronized
1:26:25
Speaker 1: by kings and emperors. After fifteen forty Apianists had reached
1:26:31
Speaker 1: the pinnacle of fame and accomplishment. He was wealthy, ennobled,
1:26:35
Speaker 1: and occupied a unique niche as schalar publisher favoured by
1:26:38
Speaker 1: the emperor. Apianists largely stayed in Ingolstadt for the remainder
1:26:42
Speaker 1: of his life, despite those earlier offers from elsewhere. He
1:26:46
Speaker 1: and his family enjoyed the patronage of the Bavarian Ducal
1:26:49
Speaker 1: Court and the Habsburg Imperial Court, with so many duties
1:26:53
Speaker 1: and honors. Appianis's output of major works slowed after the Astronomicon.
1:26:58
Speaker 1: He continued publishing in a smaller capacity. For instance, he
1:27:01
Speaker 1: brought out revised editions of his earlier works and perhaps
1:27:04
Speaker 1: some almanacs. Appianists also devoted time to supervising his printing
1:27:08
Speaker 1: shop and to his family. In fifteen forty four, Appianis's
1:27:12
Speaker 1: son Philip, then about thirteen enrolled at the University of Ingolstadt,
1:27:17
Speaker 1: effectively becoming a student of his father. Philip studied under
1:27:21
Speaker 1: Petris Apianist until he was eighteen, then continued his education abroad,
1:27:25
Speaker 1: but he would soon step into his father's shoes. In
1:27:29
Speaker 1: fifteen fifty, another bright student matriculated at Ingolstadt, Michael Moslin,
1:27:33
Speaker 1: who studied under Philip Appianis. A couple of decades later, Moslyn,
1:27:38
Speaker 1: in turn taught Johannes Kepler, a lineage tracing back to
1:27:41
Speaker 1: Petris Apianis's teachings. Thus Appianis's pedagogical line extended into the
1:27:46
Speaker 1: next generation of astronomers. Appianis's health and activity in the
1:27:51
Speaker 1: late fifteen forties was not well documented. We do know
1:27:55
Speaker 1: that in fifteen forty nine he wrote to Emperor Charles
1:27:57
Speaker 1: the Fifth reminding him of the unpaid reward for the Astronomicon.
1:28:01
Speaker 1: Appianis diplomatically requested the payment of the three thousand guilders
1:28:05
Speaker 1: promised in fifteen forty, indicating perhaps that he could use
1:28:08
Speaker 1: the funds even eminent scholars had to mine their finances.
1:28:13
Speaker 1: By fifteen fifty, Appianis was around fifty five years old,
1:28:17
Speaker 1: which was entering old age. For that era, he had
1:28:20
Speaker 1: lived through an intense period of scientific change, witnessing the
1:28:23
Speaker 1: publication of Copernicus's De Revolution of Us in fifteen forty three.
1:28:27
Speaker 1: There was no record that Appianists ever publicly commented on
1:28:30
Speaker 1: Copernicus's heliocentric theory. Given that Oppianists was in a Catholic
1:28:34
Speaker 1: stronghold and his own work was deeply rooted in the
1:28:37
Speaker 1: Ptolemaic tradition, it's likely he stayed with the established geocentric model. However,
1:28:42
Speaker 1: his son Philip would later correspond with and befriend heliocentric
1:28:45
Speaker 1: advocates like Johannes Kepler through Masln, illustrating how quickly the
1:28:50
Speaker 1: intellectual tide was turning in the generation after Appianis. On
1:28:55
Speaker 1: the twenty second of April fifteen fifty two, Beatrice Apianist
1:28:58
Speaker 1: died in Ingolstad at the as age of fifty seven.
1:29:01
Speaker 1: The cause of his death is not recorded in the
1:29:03
Speaker 1: sources at hand. It may have been due to illness
1:29:06
Speaker 1: or simply age. He was buried with honors, befitting his status.
1:29:11
Speaker 1: At the time of his death, Apihanis was still the
1:29:13
Speaker 1: holder of the mathematics chair at Ingolstadt, though he had
1:29:16
Speaker 1: delegated much teaching to others, perhaps even to his son.
1:29:20
Speaker 1: The university and the scholarly community mourned the loss of
1:29:23
Speaker 1: the mathematician to the Emperor. Philip Apuhanis, then only twenty
1:29:29
Speaker 1: one years old, inherited his father's printing business and his
1:29:32
Speaker 1: position at the university in fifteen fifty two. This transition
1:29:36
Speaker 1: was markeably smooth. It speaks to the regard for the
1:29:39
Speaker 1: Appianists family that the son was immediately appointed to the professorship.
1:29:43
Speaker 1: Philip Apianis carried on his father's work in photography and mathematics,
1:29:48
Speaker 1: the most notable achievement being his monumental map of Bavaria,
1:29:51
Speaker 1: completed in fifteen sixty eight, a five x six meter
1:29:54
Speaker 1: map created at Duke Albrich the Fifth's commission, which remained
1:29:58
Speaker 1: the standard for centuries. Philip also constructed a large globe
1:30:02
Speaker 1: for the Duke and taught the next generation in this way.
1:30:05
Speaker 1: Petris Appianis's intellectual legacy continued well after his death. Appianis's
1:30:10
Speaker 1: impact on the Renaissance scientific world was multifaceted. As an
1:30:15
Speaker 1: innovator in astronomical and geographical instrumentation, Appianist was a true
1:30:19
Speaker 1: Pioneer historian George Kish summed up Oppianist's contributions by saying
1:30:25
Speaker 1: Appianis was a pioneer in astronomical and geographical instrumentation and
1:30:30
Speaker 1: one of the most successful popular rises of these subjects
1:30:33
Speaker 1: during the sixteenth century. Indeed, Opianists made science accessible. His
1:30:38
Speaker 1: textbooks and manuals taught complex concepts through simple language and
1:30:43
Speaker 1: clever visuals. Through the works like Cosmographia and the instrument Book,
1:30:48
Speaker 1: thousands of students and practitioners across Europe got their first
1:30:51
Speaker 1: introduction to cosmology, map making, and the use of scientific instruments.
1:30:56
Speaker 1: These books remained in demand for decades after Appianis's death.
1:31:00
Speaker 1: Cosmographicist liber especially in the expanded editions by Gemma Persius,
1:31:05
Speaker 1: went through over thirty editions in fourteen languages by sixteen
1:31:08
Speaker 1: oh nine, making it one of the era's best sellers
1:31:11
Speaker 1: in science. It was translated into Dutch, French, Spanish and
1:31:15
Speaker 1: other major languages, spreading Apianis's name far and wide through Gemma.
1:31:21
Speaker 1: Appianis's work influenced the Netherlandish cartographic tradition. Gemma and his
1:31:26
Speaker 1: student Gerardis Mercada took cosmography forward and they built on
1:31:30
Speaker 1: Oppianis's instrument making and teaching style. In the realm of mathematics,
1:31:34
Speaker 1: Appianis is remembered for early contributions such as printing Pascal's
1:31:38
Speaker 1: triangle and producing the first minute level sign tables. His
1:31:41
Speaker 1: fifteen thirty four book Instrumentum Signum Sieve Premium Mobilis contained
1:31:46
Speaker 1: a complete table of signs for every minute of art,
1:31:49
Speaker 1: calculated with a remarkable decimal precision for its time. This
1:31:54
Speaker 1: was a leap in computational astronomy and was useful for
1:31:57
Speaker 1: more accurate surveying, gunnery, and architecture calculations as well. Opianists
1:32:03
Speaker 1: did not develop new mathematical theory per se, but he
1:32:06
Speaker 1: advanced applied mathematics significantly, applying math to solve practical problems
1:32:11
Speaker 1: of navigation, cartography, and instrument design. As an astronomer, Appianist's
1:32:17
Speaker 1: influence is evident in the observational tradition he helped forster
1:32:21
Speaker 1: the fifteen thirties. Comet observations by Appianis and Peers paved
1:32:24
Speaker 1: the way for later astronomers to treat comets as part
1:32:27
Speaker 1: of the celestial realm by demonstrating the tail phenomena and
1:32:31
Speaker 1: questioning Aristotle's view Appianists indirectly influenced Tycho Brahe and others
1:32:36
Speaker 1: who later conclusively proved comets travel beyond the moon. These
1:32:41
Speaker 1: beautiful star charts and inclusion of Arabic star law may
1:32:44
Speaker 1: have inspired later star atlases. However, Apianists remained the geocentrist,
1:32:49
Speaker 1: so his direct influence on the acceptance of heliocentrism was minimal.
1:32:53
Speaker 1: In fact, Apianists can be seen as the last great
1:32:56
Speaker 1: flower of the Ptolema cosmology. His astronomy was arguably the
1:33:01
Speaker 1: pinnacle of the old system explanatory power in tangible form,
1:33:05
Speaker 1: and shortly after the astronomy world would shift to Copernicus's framework. Nevertheless,
1:33:10
Speaker 1: even in a Copernican world, Oppianis's mechanical methods found uses.
1:33:15
Speaker 1: For example, the design of valvels in Equatoria would be
1:33:18
Speaker 1: repurposed by later scholars. Modern historians of astronomy look at
1:33:22
Speaker 1: Astronomicon as an important pedagogical link. It toward how to
1:33:26
Speaker 1: do astronomy with analog computing, a skill that persisted in
1:33:30
Speaker 1: cartography and geography. Appianis's influence was both direct and indirect. Directly,
1:33:35
Speaker 1: Appianists produced the maps his World Map of fifteen twenty
1:33:38
Speaker 1: and maps of Europe that were used by kotographers. Indirectly
1:33:42
Speaker 1: through cosmographia, he educated many in the art of map
1:33:45
Speaker 1: making and use. Indirectly through cosmographia, he educated many in
1:33:50
Speaker 1: the art of map making and use. One tangible legacy
1:33:53
Speaker 1: is that the name America was solidified in part by
1:33:56
Speaker 1: Appianist's adoption of it on his maps and in his
1:33:59
Speaker 1: writings and historical analysis notes. It is quite possible that
1:34:03
Speaker 1: had Peter Appianis not adopted the name America for the
1:34:06
Speaker 1: New World, the name would not have survived. Given Appianis's
1:34:09
Speaker 1: influence as a popular author, his son Philip's Vervaria map
1:34:13
Speaker 1: was an outstanding achievement of regional photography and remained in
1:34:17
Speaker 1: use for centuries. Philip also trained under him and then
1:34:20
Speaker 1: taught Michael Maslin, who, as we noted, Todt Kepler. Thus
1:34:24
Speaker 1: Appianist sits in the genealogy of Great German astronomers bridging
1:34:27
Speaker 1: the late fifteenth to the sixteenth century. Apianis's work had
1:34:32
Speaker 1: an impact on art and culture as well. The inclusion
1:34:35
Speaker 1: of his arithmetic book in the Hobians the Ambassadors has
1:34:38
Speaker 1: been mentioned. Through that painting, Appianis's name entered the art
1:34:42
Speaker 1: historical canon as a symbol of Renaissance science. The intiicate
1:34:46
Speaker 1: engravings and frontispieces of his books, often depicting Armillary's fears
1:34:50
Speaker 1: and scientific instruments, influenced the iconography of science in art.
1:34:55
Speaker 1: The very idea of paper instruments in vaal Velve's was
1:34:57
Speaker 1: something that captured the imagination of both sks and lay people.
1:35:01
Speaker 1: One could say Appianists contributed to the visual culture of
1:35:05
Speaker 1: knowledge in the realm of religion and mysticism. Apianists lived
1:35:09
Speaker 1: during a time of great religious upheaval, but kept his
1:35:12
Speaker 1: work largely secular and technical. As a loyal Catholic academic
1:35:16
Speaker 1: in Bavaria, he even helped the counter Reformation cause indirectly
1:35:20
Speaker 1: by printing works of the Catholic theologian Johann Eck against
1:35:24
Speaker 1: Martin Luther. Apianists steered clear of religious controversies in his
1:35:28
Speaker 1: own publications, focusing on empirical and practical science. Yet interestingly,
1:35:34
Speaker 1: his life shows the compatibility of scientific pursuit with faith
1:35:37
Speaker 1: and patronage by the Church. The University of Ingolstadt was
1:35:41
Speaker 1: a Catholic stronghold later run by Jesuits, and Appianist's success
1:35:45
Speaker 1: there demonstrates that the Catholic world in the Renaissance did
1:35:48
Speaker 1: forster mathematics and astronomy. Contrary to some stereotypes concerning a
1:35:53
Speaker 1: cult of mystical knowledge, Appianist's interest in astrology tie him
1:35:57
Speaker 1: to the broader occult traditions of the time. Though he
1:35:59
Speaker 1: was and a cult philosopher like Agrippa or Paracelsus, he
1:36:03
Speaker 1: did not write about magic or alchemy. However, the astrological
1:36:06
Speaker 1: aspect of his work is undeniable. His title Mathematicus in
1:36:11
Speaker 1: the sixteenth century context implied he would cast horoscopes and
1:36:14
Speaker 1: advise on celestial influences. The emperor and nobles consulted his
1:36:19
Speaker 1: astronomicon for guidance and fate in the stars. Therefore, Appianists
1:36:23
Speaker 1: contributed to and legitimized the astrological practices at court. His
1:36:27
Speaker 1: integregation of astrology with rigorous astronomy exemplifies the Renaissance mindset
1:36:32
Speaker 1: where the occult in scientific or intertwined. By teaching how
1:36:36
Speaker 1: to use planetary positions for predictions. Through his volvels, Appianists
1:36:40
Speaker 1: helped preserve astrological law even as he advanced observational science. Finally,
1:36:46
Speaker 1: Apianists has been honoured in modern times in the realm
1:36:49
Speaker 1: of science. The lunar crater Appianis on the Moon's surface
1:36:53
Speaker 1: is named after him, as is the asteroid one nine
1:36:57
Speaker 1: one three nine Appianists discovered in the late twentieth century.
1:37:01
Speaker 1: These name memorials echo his contribution to lunar and planetary studies.
1:37:06
Speaker 1: In summary, Peatrice, Appianist's life and work epitomized the Renaissance polymath.
1:37:11
Speaker 1: At the crossroads of old and new. He gathered the
1:37:15
Speaker 1: wisdom of the past, added creative innovations of his own,
1:37:19
Speaker 1: and delivered it in novel ways to an audience that
1:37:21
Speaker 1: ranged from emperor's to students and craftsmen. His legacy in
1:37:25
Speaker 1: scientific publishing, education, and instrumentation persisted well beyond his lifetime,
1:37:31
Speaker 1: earning him a distinguished place in the history of astronomy
1:37:33
Speaker 1: and photography. As one historian aptly noted, Appianist was one
1:37:39
Speaker 1: of the most successful popular rises of cosmography in the
1:37:42
Speaker 1: sixteenth century, a man who brought the cosmos to the
1:37:45
Speaker 1: common reader without compromising on accuracy or beauty, truly living
1:37:50
Speaker 1: up to his motto that skill and industry conquer all.
1:37:55
Speaker 1: If you close your eyes you can almost hear it.
1:37:57
Speaker 1: The soft rasp of paper discs turning in account the
1:38:00
Speaker 1: lit room, the breath of an emperor leaning closer, the
1:38:03
Speaker 1: steady patience of a cressman's setting type up. Be honest
1:38:07
Speaker 1: reminds us that wonder isn't an accident. It's built line
1:38:11
Speaker 1: by line, wheel by wheel, with a cradle that still
1:38:14
Speaker 1: belongs in our studio. Skill and industry conquer brute force.
1:38:18
Speaker 1: He stitched the heavens to the counting house, the star
1:38:21
Speaker 1: to the ship's course, the omen to the observation, and
1:38:24
Speaker 1: in that stitching he left us away to navigate both
1:38:27
Speaker 1: mystery and math. As the eclipse shadow moves on and
1:38:31
Speaker 1: the comet slips back into the dark, carry him with you,
1:38:35
Speaker 1: the teacher who made instruments out of pages and turned
1:38:38
Speaker 1: readers into voyagers, maybe be a little more like his bees,
1:38:43
Speaker 1: curious exacting tirelessly, gathering from many flowers to make a
1:38:47
Speaker 1: single luminous honey. Until next time, keep your eyes on
1:38:53
Speaker 1: the heavens, your hands on the craft, and your heart
1:38:56
Speaker 1: open to the old music of the spheres. Will meet
1:38:59
Speaker 1: you where the map ends and the sky begins.