Abstract
UNFETTERED BY TRADITION, ALGEBRA made rapid strides during the fifteenth and sixteenth centuries, while geometry, still felt by mathematicians to be in thrall to the towering achievements of the ancient Greeks, languished. But at the beginning of the seventeenth century geometry received a decisive stimulus through the injection of the methods of algebra. This was occasioned largely through the work of Fermat—in his Ad Locos Planos et Solidos Isagoge, “Introduction to Plane and Solid Loci”, written in 1629 but not published until 1679—and the philosopher-mathematician Descartes— in his La Géométrie, which appeared as an appendix to his seminal philosophical work Discours de la Methode of 1637. The major effect of the coordinate—also known as algebraic or analytic—geometry they created was to establish a correspondence between curves or surfaces and algebraic equations, thereby opening up geometric investigation to the powerful quantitative methods of the newly emerged algebra.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
The degree of a polynomial equation F(x, y) = 0 is the largest sum of the powers of x and y to be found in a term of F. Thus, for example, the equation x3y2 + 3x2y − 5xy +2x + 4y + 7 = 0 has degree 5.
The origin of the name “witch” is intriguing. The curve was discussed by Fermat and, in 1718, the Italian mathematician Luigi Guido Grandi (1671–1742) gave it the Latin name versoria, with the meaning “rope turning a sail,” in accordance with its shape. Grandi also supplied the Italian versiera for the Latin versoria. In her book Instituzioni Analitiche of 1748—the first textbook on the calculus to be written by a woman, and a popular book of its day—Agnesi states that the curve is called la versiera. In his English translation of Agnesi’s book, published in 1801, the British mathematician John Colson (1680–1760) apparently mistook “la versiera” for “l’aversiera”, meaning “the witch,” or “the she-devil.” It is with this name that the curve came to be known in the English-speaking world.
Thus time constitutes the “fourth dimension” in Minkowski spacetime.
Both were in fact anticipated by Gauss, who, however, fearing critical reaction—to which he referred as “the cries of the Boeotians”—, never published his discoveries in noneuclidean geometry.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 1999 Springer Science+Business Media Dordrecht
About this chapter
Cite this chapter
Bell, J.L. (1999). The Development of Geometry, I. In: The Art of the Intelligible. The Western Ontario Series in Philosophy of Science, vol 63. Springer, Dordrecht. https://doi.org/10.1007/978-94-011-4209-0_7
Download citation
DOI: https://doi.org/10.1007/978-94-011-4209-0_7
Publisher Name: Springer, Dordrecht
Print ISBN: 978-1-4020-0007-2
Online ISBN: 978-94-011-4209-0
eBook Packages: Springer Book Archive