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Portraiture and Arithmetic in Sixteenth-Century Bavaria: Deciphering Barthel Beham’s Calculator*
Published online by Cambridge University Press: 20 November 2018
Abstract
In his portrait of an unidentified man (Vienna, 1529), Barthel Beham portrays the sitter paused in the midst of a math problem. As has been discovered, the numbers and symbols belong to the vocabulary of numerical calculation. This finding first raises the question of why a patron would want to be shown doing computation with Arabic numerals in a portrait. In 1529, numerical calculation was a commercial tool, not a field with humanistic/social cachet such as geometry. Further, the depicted computation does not make sense: the symbols and numbers are arranged in the form of a problem without actually being one. Yet the patron either did not notice or care. This article argues that the incomplete computation is not only a reflection of the contemporary status of mathematics using Arabic numbers, but also provides a way of understanding how the painting functioned as a portrait in the social milieu of the sixteenth-century Munich court.
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- Studies
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- Copyright
- Copyright © 2013 The University of Chicago Press
Footnotes
Over the long, long course of writing this article, I received help and advice from so many people that I cannot thank them all. I owe a primary debt of gratitude to Jürgen Müller and Kerstin Küster, my colleagues in the Collaborative Research Centre 804 at the Technical University Dresden, for suggesting the project in the first place. Beyond that, I would like to thank Michael Korey, Kathryn Rudy, Jutta Charlotte von Bloh, Matthew Hunter, Richard Kremer, Jane Carroll, Peter Stabel, Elke Oberthaler, Alexandra Scharmueller, and my anonymous reviewers at Renaissance Quarterly for their advice. I am also grateful to Bertram Kaschek for reading and improving the manuscript and to the Collaborative Research Centre 804, Technical University Dresden, for their financial support.
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