Petrus Camper In Context

‘A meteor of spirit, science, talent and activity’ – thus Goethe described Petrus Camper (1722-1789). Goethe’s words contain all the elements that make Camper such a fascinating figure in the history of science and arts in the eighteenth-century Dutch Republic. This volume sheds new light on Camper’s versatility, engagement, and charisma in all fields and disciplines he ventured into and published on. It not only addresses his scientific activities, findings, and opinions, but also delves into his careers at the universities of Franeker, Amsterdam, and Groningen, his travels, relationships, friendships, and feuds, as well as the ways he communicated his wide-ranging research. Eleven case studies illustrate Camper’s views on eighteenth-century life and society, which motivated not just his scientific, but also his political, societal, literary, and artistic practice. Together they amount to a plea for an integration of all aspects of his scholarly life and persona.

Contains various lectures, notes etc. compiled in non chronological order, dated from 1756 onwards. Partly in Camper's own hand. From the last volume it appears that these papers were collected posthumously.

After the discovery of the anthropoid ape in Asia and in Africa, eighteenth-century Holland became the crossroads of Enlightenment debates about the human species. Material evidence about human diversity reached Petrus Camper, comparative anatomist in the Netherlands, who engaged, among many other interests, in "menschkunde." Could only religious doctrine support the belief of human demarcation from animals? Camper resolved the challenges raised by overseas discoveries with his thesis of the "facial angle," a theory which succeeding generations distorted and misused in order to justify slavery, racism, antisemitism, and genocide. Thanks to his abundant papers in Dutch archives, Camper's ideas are restored to their original state. Eighteenth-century issues differed from those of other centuries: Did orang-utans talk like humans, walk like humans; even rape humans? What was the skin pigmentation of Adam and Eve? Did the spectrum of human physiognomies around the globe reflect the Fall of Man, the Creator's bounty, or merely bizarre beauty practices? Why did the ideal beauty of the Greeks appear to be the reverse of the Hottentots? The book contains some 50 illustrations, including apes with hiking sticks or tea cups, metamorphoses of living forms, and Apollo or Venus icons which titillated the "science of man."

The most famous monument of the Dutch Golden Age is undoubtedly the Amsterdam Town Hall by architect Jacob van Campen inaugurated in 1655. Today we stand in awe confronted with the grand Classicist façade, the delightful horror of the sculptures in the Tribunal, and the magnificence of the huge Citizens' Hall. In the period of its construction, many artists and writers tried to capture the overwhelming impact of the building by, among other comparisons, relating it to the ancient Wonders of the World and by stressing its splendour, riches, and impressive scale. In doing so, they constructed the Town Hall as the ultimate wonder, thus offering a silent, but very powerful testimony to the power and position of the City of Amsterdam and its rulers as equals of the other European regimes. To fully understand these mechanisms of power, this book relates the Town Hall to other, impressive buildings of the same period-the palace of the Louvre, Saint Peter's Basilica, and Banqueting House-and their visual and textual representations. Thus, this book gives a broad audience of readers new insights into the agency of magnificent buildings. The Amsterdam Town Hall in Words and Images does not restrict itself to a national scope or a purely architectural analysis, but clarifies how artists and writers all over Europe presented buildings as wonders of the world. This book is pioneering in its analysis of seventeenth and eighteenth-century paintings, prints, drawings, poems, and travel accounts and offers a new understanding of how the wondrous character of these grand buildings was constructed.

For nearly two centuries, the racial significance of the human brain has absorbed a huge amount of scientific energy, despite the frequency of shortcomings and disappointing results. This book tries to show and explain the resilience of such a thorny issue.

Passion and Control explores Dutch architectural culture of the eighteenth century, revealing the central importance of architecture to society in this period and redefining long-established paradigms of early modern architectural history. Architecture was a passion for many of the men and women in this book; wealthy patrons, burgomasters, princes and scientists were all in turn infected with architectural mania. It was a passion shared with artists, architects and builders, and a vast cast of Dutch society who contributed to a complex web of architectural discourse and who influenced building practice. The author presents a rich tapestry of sources to reconstruct the cultural context and meaning of these buildings as they were perceived by contemporaries, including representations in texts, drawings and prints, and builds on recent research by cultural historians on consumerism, material culture and luxury, print culture and the public sphere, and the history of ideas and mentalities.

Thirteen chapters on individual authors such as Spinoza, Bayle, Van Effen and Hemsterhuis, and on schools of thought such as Dutch Cartesianism, Newtonianism and Wolffianism. It also addresses the early Dutch reception of Kant.

Over the last fifty years the life and work of Edmund Burke (1729-1797) has received sustained scholarly attention and debate. The publication of the complete correspondence in ten volumes and the nine volume edition of Burke's Writings and Speeches have provided material for the scholarly reassessment of his life and works. Attention has focused in particular on locating his ideas in the history of eighteenth-century theory and practice and the contexts of late eighteenth-century conservative thought. This book broadens the focus to examine the many sided interest in Burke's ideas primarily in Europe, and most notably in politics and aesthetics. It draws on the work of leading international scholars to present new perspectives on the significance of Burke's ideas in European politics and culture.