CONSTELLATIONS IN THE MIDDLE AGES Sternbilder des Mittelalters: Der gemalte Himmel zwischen Wissenschaft und Phantasie, Band I: 800-1200. Dieter Blume, Mechthild Haffner and Wolfgang Metzger (Akademie Verlag, Berlin, 2012). Pp. 651+ 403 in two vols. euro298. ISBN 978-3-05-005664-7.In 1898 Georg Thiele published a first, very suggestive of the delineation of celestial in Greek and Roman Antiquity. Thiele's approach was of an art historian, since the process of isolating groups of stars and of naming them involves the projection of figurative into the heavens. However, this nineteenth-century scholar was also familiar with more specialized, mathematical aspects of the of astronomy.More than a century later, a collective of three art historians has extended into the Middle the of celestial conceived primarily as pictorial representations. The first part of their two-part publication, in two volumes, ends with the twelfth century; the second part will cover the period from 1200 through the end of the Middle Ages. The authors relate their work not to Thiele but to Fritz Saxl, who in 1915 published a first catalogue of medieval manuscripts containing astrological and mythological illustrations. And indeed, Sternbilder des Mittelalters is, above all, an extensive catalogue of 68 manuscripts present illustrations of the then usual forty-two (cf., for instance, Hyginus), both isolated and gathered within celestial maps (pp. 179-566). The second volume of Part I is devoted entirely to illustrations.Over the last century, our knowledge of manuscript material has greatly increased and publications dealing with a period of the Middle usually ignored by historians of science have multiplied, especially those concerning time-reckoning (i.e., beyond the work of Charles W. Jones and Amo Borst on the Carolingian period). Relying on an extensive bibliography, Blume, Haffner and Metzger offer, as an introduction, a cultural of the of celestial (pp. 13-176). They systematically contextualize the documents, distinguishing types of manuscripts and textual traditions, as well as general cultural and intellectual environments (monastic and courtly). They focus especially on the computistical manuscripts, comprised of texts deal with time-reckoning and establishing the Church calendar. They also include calendars and more general cosmological expositions. The introduction also attempts to subdivide the period spanning the end of Antiquity to 1200.The authors present their history of the representations of constellations as being, above all, a case study of the usage of in the Middle Ages (p. 66), assigning to these particular three functions: didactical, a bridge to observing nature, and stimulation of viewers' fantasy and imagination (p. 16). Obviously, of the represent a chapter of the of astronomy. However, the authors' understanding of medieval science in general and of astronomy in particular may perplex some readers. Thus, while pushing the beginning of modem science of nature (Naturwissenschaft) as far back as the tenth century, they simultaneously note that the concept 'modem' does not make any sense. For the period of the tenth to the late twelfth century, science is understood to be about questions relating to the calendar, scientific curiosity, and the fascination with images (p. 16). The scope of astronomy is never defined, but appears to be reduced, in their presentation, to the practice of calendar-making and the subject of constellations, occasionally also to representing planets and their movements (the latter in reference to the work of Bruce S. Eastwood). Mathematical aspects are excluded. One might agree, of course, the latter were not a dominant aspect of pre-twelfth-century Latin astronomy. But when it comes to the twelfth century and the reception of Arabic astronomy, the authors' overly general remarks about diagrams are part of geometrical demonstrations are simply inadequate in they are treated as some kind of additions (p. …