Hooke, Robert, Micrographia, or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries thereupon. By R. Hooke, Fellow of the Royal Society, London printed for James Allestry, Printer to the Royal Society and are to be sold at his shop at the rose and crown in Duck Lane. MDCLXVII (1667)Condition: no boards or spine present, text block complete, old damp throughout, minimal to no foxing, edges of pages lightly oxidised, all stitching failed, end papers still present.Plate Count:Plate I – missingPlate II – opposite page 2Plate III – opposite page 6Plate IV – MissingPlate V – opposite page 47Plate VI – opposite page 61Plate VII – opposite page 82 (loss to edge)Plate VIII – opposite page 88Plate IX – opposite page 93 (water stain to top and bottom)Plate X – opposite page 107 (water stain)Plate XI – opposite page 112 (water Stain)Plate XII – opposite page 123 (water stain to top)Plate XIII -opposite page 131 (water stain and loose from stitching)Plate XIIII – opposite 141 (water stain)Plate XV – opposite page 142 (water stain to top)Plate XVI – opposite page 163 (water stain)Plate XVII – opposite page 152 (water stain)Plate XVIII – opposite page 153 (water stain)Plate XIX – opposite page 154 (water stain)Plate XX – opposite 156Plate XXI – opposite page 162 (water stain, chip to edge)Plate XXII – opposite page 167 (water stain)Plate XXIII – opposite page 196 (water stain)Plate XXIV – opposite page 182 (the famous fly’s eyes, no water stains)Plate XXV – opposite page 181 (water stain, tear from corner 7cm)Plate XXVI - opposite page 183 (water stain)Plate XXVII - Opposit page 185 (water stain)Plate XXVIII – opposite page 193 (loose from stitching)Plate XXIX – opposite page 193 (water stain to top, loose from stitching)Plate XXX – opposite page 196 (loose from stitching)Plate XXXI – opposite page 198Plate XXXII – opposite page 203 (water mark to top left corner)Plate XXXIII – opposite page 204 (loose from stitching)Plate XXXIV – opposite page 210 (the famous flea, tear to fold on bottom right leg, no loss, no water stains)Plate XXXV - missingPlate XXXVI – opposite page 214Plate XXXVIII – opposite page 245 (tear from top to centre, no loss) Hooke’s Micrographia: or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses. With Observations and Inquiries Thereupon. Is an important work by Robert Hooke, delving into his observations through an array of lenses. This historically significant book stands as the first to feature illustrations of insects and plants as observed through microscopes. It marked the first major publication of the Royal Society and swiftly emerged as the pioneering scientific best-seller of its time, sparking widespread fascination with the burgeoning field of microscopy.One of Micrographia's enduring legacies lies in its introduction of the term "cell" to the biological lexicon, inspired by Hooke's examination of plant cells, which bore a resemblance to the compartments of a honeycomb. Through meticulous prose and vivid illustrations, Hooke unveiled the intricacies of nature on a miniature scale, offering captivating depictions of insects and plants as seen through the lens of his microscope.The book's captivating copperplate engravings, notably its fold-out plates showcasing insects, conveyed the awe-inspiring power of the microscope. These plates, extending beyond the dimensions of the large folio, magnified the minute creatures to an astonishing scale, with the engraving of a louse unfolding to four times the size of the book itself. Yet Micrographia goes further than its microscopic prowess; it ventures into diverse realms of inquiry, touching upon topics ranging from distant celestial bodies to the wave theory of light and the organic origins of fossils.Hooke's meticulous observations extended beyond the natural world, encompassing human artifacts such as the jagged edge of a razor and the seemingly blunt tip of a needle under the microscope. Through such juxtapositions, he subtly contrasted the imperfections of human craftsmanship with the innate perfection of nature, echoing prevailing notions of divine creation.Published under the patronage of The Royal Society, Micrographia not only elevated Hooke's stature as a scientist but also bolstered the society's reputation as England's foremost scientific institution. Its enchanting illustrations and illuminating narratives captivated the public imagination, earning accolades from luminaries such as Samuel Pepys, who hailed it as "the most ingenious book" of his lifetime. In its pages, Micrographia unfurls a wondrous panorama of the microscopic realm, forever altering humanity's perception of the infinitesimal world that lies beyond the naked eye.The difference between the 1665 & 1667 editions.Micrographia was first published in 1665, its rapid popularity prompted reprints. This particular edition is a 1667 printing, printed by John Martyn, the Royal Society’s appointed printer. Micrographia, an early cornerstone of the Royal Society’s publications, played a pivotal role in bolstering the Society's reputation, extending its influence beyond the scientific comunity.Although the years 1665 and 1667 might suggest distinct editions, they actually denote different issues of the same edition. A close examination reveals that both were produced from identical typesetting, with the text remaining unchanged across both printings. However, differences arise in the title page and certain particulars of the engraved plates, especially plate 5 which is in reverse in the 1667 print.In the 1665 edition, the title page features red and black printing, a technique not replicated in the 1667 issue, where all letterpress appears in black. Both versions include an image of the Royal Society’s arms, printed from an engraved copper plate. This method was somewhat unconventional, as engraved plates required a separate rolling press for printing. This necessitated a meticulous alignment process to ensure proper registration between the image and the text.Moreover, employing dual-color printing, as seen in the 1665 edition, posed additional challenges, demanding multiple printings. This technique, while capable of producing visually striking results, often struggled to maintain precise registration between the two colours. Consequently, advancements in typography, particularly the development of new "titling" typefaces, gradually rendered the need for dual-color printing obsolete by the eighteenth century.The intricate process involved in combining copperplate imagery with letterpress printing led to its gradual abandonment by the late seventeenth century. Despite its initial allure, the expense and technical limitations associated with this method ultimately contributed to its decline in favor of more efficient printing techniques.