A print after Vanderbank ’s portrait, for instance, was used as the frontispiece for the third edition of Newton’s Principia (a flattering image of an elderly invalid which was frequently copied and pirated).

One of Godfrey Kneller’s two painted portraits and John Vanderbank ’s painting also became popularized through engravings. She notes the variety of images, from oil paintings and sculptures, including MichaelRysbrack’smonument to Newton in Westminster Abbey, LouisFranc ̧ois Roubiliac’s statue for Trinity College, Cambridge, to less expensive tributes, including coins and medals, Wedgwood plaques, statuettes and engravings. Richard Mead, a collector and Newton’s physician, displayed portraits of Newton and Pope, as he noted, ‘‘near the Busts of their great Masters, the antient Greeks and Romans.’’ Her second chapter concerns his iconography. The first section sets forth Newton’s developing reputation during the eighteenth century, including how his portraits were collected and displayed-equating Newton ’s scientific accomplishments (at a time when science was not as highly valued as it would later be) with those of Pope. Fara to wrest an enormous wealth of information into manageable chunks. Arranged moreor lesschronologically, the book’s thematic chapters allow Ms. As she notes in the Preface, ‘‘Repeatedly made to mean different things for different people, Newton has become an intellectual icon for our modern age, when genius commands the reverence formerly reserved for sanctity.’’ Intended for a nonspecialistaudience,her book will interest scholars due to its copious endnotes and extensive secondary sources. Fara has written a cultural history of his evolving reputation and image. Rather than a biography of Newton (1642–1727), Ms. Goldieobserves, ‘‘stands low among postmodern and postcolonial doubters of the Enlightenment ‘project.’’’ Some who have not bowed the knee to Baal may be inclined to think that this is high praise indeed. Goldie’s observation that Locke had deficiency in music, drama, and the visual arts. His interests were so wide that there is a certain consolation in Mr. Locke is also revealed as one who could be crochety, sympathetic, angry, gentle. The stir caused by The Reasonableness of Christianity is covered. A number of philosophical topics are reviewed with Molyneux, while publishers are denounced for issuing poor editions of Locke’s works at inflatedprices. need want noe preferment.’’Toleration, Calvinism, and free will are discussed with Limborch the distinctionbetween the natural and the divine law, with Tyrrell. In lieu of an abstract, here is a brief excerpt of the content:ĩ6 as there are dunces in the world a man of parts.

Patricia fara