By André Heck (auth.), André Heck (eds.)
Seated in a sun-lit nook of his seventeenth century Dutch residence, his hand touching a celestial globe, Johannes Vermeer's "Astronomer" turns out to pon der in regards to the mysteries of the universe. we would make the journey to Paris and ask him, within the Louvre, what accurately is on his brain. regrettably, there'll be no resolution. yet we do comprehend what his brain used to be no longer on. It used to be no longer at the forthcoming time cut-off dates for the proposals he must write for purchasing money and telescope-time, now not at the assembly of the watching courses committee, now not on his refereeing accountability for the magazine Astronomy & Astrophysics, nor on his university's tightening price range for technology. within the Kapteyn Institute at Groningen I stand nose to nose with the im pressive portrait of J.C. Kapteyn, painted within the 12 months 1918. Seated at his table he's doing his calculations with pen, pencil and tables, maybe fee ing the paintings of his expert employees of human desktops. Early in his occupation he had accomplished his magnum opus, the Cape Photographic Durchmusterung in collaboration along with his shut good friend David Gill at Capetown, South Africa.