The principia_ mathematical principles of natural philosophy_ the authoritative translation 2016.pdf

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ISAAC NEWTON
THE PRINCIPIA
Mathematical Principles of Natural Philosophy
The Authoritative Translation
by
I. Bernard Cohen and Anne Whitman
assisted by Julia Budenz
U N I V E R S I T Y OF C A L I F O R N I A PRESS
THE PRINCIPIA
The publication of this wort^ has been made possible in part by a grant from the
National Endowment for the Humanities, an independent federal agency. The
publisher also gratefully acknowledges the generous contribution to this boo\
provided by the General Endowment Fund of the Associates of the University
of California Press.
Portrait of Isaac Newton at about the age of sixty, a drawing presented
by Newton to David Gregory. For details see the following page.
Portrait of Isaac Newton at about the age of sixty, presented by Newton to David Gregory
(1661—1708). This small oval drawing (roughly 3
3
/4 in. from top to bottom and 3!/4 in. from
left to right) is closely related to the large oval portrait in oils made by Kneller in 1702, which
is considered to be the second authentic portrait made of Newton. The kinship between this
drawing and the oil painting can be seen in the pose, the expression, and such unmistakable
details as the slight cast in the left eye and the button on the shirt. Newton is shown in both
this drawing and the painting of 1702 in his academic robe and wearing a luxurious wig,
whereas in the previous portrait by Kneller (now in the National Portrait Gallery in London),
painted in 1689, two years after the publication of the
Principia,
Newton is similarly attired
but is shown with his own shoulder-length hair.
This drawing was almost certainly made after the painting, since Kneller's preliminary
drawings for his paintings are usually larger than this one and tend to concentrate on the
face rather than on the details of the attire of the subject. The fact that this drawing shows
every detail of the finished oil painting is thus evidence that it was copied from the finished
portrait. Since Gregory died in 1708, the drawing can readily be dated to between 1702 and
1708. In those days miniature portraits were commonly used in the way that we today would
use portrait photographs. The small size of the drawing indicates that it was not a copy made
in preparation for an engraved portrait but was rather made to be used by Newton as a gift.
The drawing captures Kneller's powerful representation of Newton, showing him as a
person with a forceful personality, poised to conquer new worlds in his recently gained position
of power in London. This high level of artistic representation and the quality of the drawing
indicate that the artist responsible for it was a person of real talent and skill.
The drawing is mounted in a frame, on the back of which there is a longhand note
reading: "This original drawing of Sir Isaac Newton, belonged formerly to Professor Gregory
of Oxford; by him it was bequeathed to his youngest son (Sir Isaac's godson) who was later
Secretary of Sion College; & by him left by Will to the Revd. Mr. Mence, who had the
Goodness to give it to Dr. Douglas; March 8th 1870."
David Gregory first made contact with Newton in the early 1690s, and although their
relations got off to a bad start, Newton did recommend Gregory for the Savilian Professorship
of Astronomy at Oxford, a post which he occupied until his death in 1708. As will be evident to
readers of the Guide, Gregory is one of our chief sources of information concerning Newton's
intellectual activities during the 1690s and the early years of the eighteenth century, the period
when Newton was engaged in revising and planning a reconstruction of his
Principia.
Gregory
recorded many conversations with Newton in which Newton discussed his proposed revisions
of the
Principia
and other projects and revealed some of his most intimate and fundamental
thoughts about science, religion, and philosophy. So far as is known, the note on the back of
the portrait is the only record that Newton stood godfather to Gregory's youngest son.
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