(Article II.15.) Baroque Mind-set and New Science a Dialectic of 17th-Century High Culture Sarton Chair Lecture, Ghent University, 13 November 2008

The “New Science” of Galileo, Kepler, Harvey, Descartes, Boyle, Steno, etc., and the Baroque in visual arts and literature, are two conspicuous aspects of 17th-century European elite culture. If standard historiography of science can be relied upon, the former of the two was not affected by the latter. The lecture asks whether this is a “fact of history” or an artefact of historiography. A delimitation of the “Baroque” going beyond the commonplaces of overloading and contortion concentrates on the acceptance of ambiguity and the appurtenance to a “representative public sphere”, contrasting with the quest for clarity and the argument-based public sphere of the new science, suggesting that Baroque and New Science were indeed incompatible currents. A close-up looks at Juan Caramuel y Lobkowitz, who was a major Baroque theoretician but also wrote much on mathematics, finding even within his mathematics love for ambiguity. The way his mathematics is spoken about in the Oldenburg correspondence shows that the mainstream of the New Science saw no interest in this.