Wikimedia Commons · CC0 · Hover to magnify, click for fullscreen
Original filePhonurgia nova, sive conjugium mechanico-physicum artis & natvrae paranympha phonosophia concinnatum . .
About This Work
A central figure plays a large keyboard instrument while three smaller harpsichord-like instruments on tables appear to play in synchronization without visible human contact. A group of elegantly dressed spectators watches from the right, capturing the era's fascination with mechanical wonders and acoustic engineering. The setting is a grand, theatrical interior adorned with classical columns, statues, and heavy curtains.
This work illustrates Athanasius Kircher’s investigations into 'acoustic magic' and the mechanical reproduction of sound, bridging the gap between natural philosophy and the Baroque culture of wonder. It reflects the Neoplatonic idea of universal harmony being made manifest through human artifice and 'mechanico-physical' ingenuity.
Inscriptions(Latin)
168 PHONURGIÆ LIBER I. SECT. VII. Quo ordine Author hujus prodigij experimentum faciat Auditoribus. minora B. & C. Medium deinde nonnihil reliquis majus D. or- dine ita disposita, & ab invicem eo modo separata, ut singula suis fulcita columnellis liberrimo spatio, neque parietem attingant, neque alio quopiam fulcimento circum aspectabili sustineri vi- deantur. Author igitur Symphoniarcha in machina specimina daturus artis suae, se accingit ad Archiclavicymbalum A. Registra accom- modans modo omnibus incognito, incipit sonare concertum à se tanta & tam suavi, & concinna Symphoniâ compositum, ut aures omnium Auditorum statim dulcedine harmoniæ raptas arrigat: Post hæc cymbalum B. suavissimè consonat, quod sequitur cym- balum D. concertans cum cymbalo B. & tandem instrumen- tum C. & deinde omnia simul clavicymbala plenum & absolu- tissimum sonum & concentum efficiunt; in quo illud Auditores veluti attonitos reddit, quod in tribus clavicymbalis B C D. marculi, quos tastos vocant, nunc in cymbalo B. modò in C. jam in omnibus tribus per intervalla certatim sine ullo manus vestigio, nulla abditorum filorum ope, nullo per vicinum murum, aut pa- vimentum artificioso chordarum ductu moveri, & alternatim sub- fultare videantur; Symphonia verò, quam exhibent, est mirum in