Caus of Caus — Wikipedia

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For homonymous articles, see CAUS.

View of Wilton House, the largest of the achievements of Isaac de Caus.

ISAAC DE CAUS , born in Dieppe in 1590 and died in Paris on , is a French architect engineer.

Isaac de Caus went, in 1612, to England to work with his parent [ first ] Solomon de Caus. Pupil of the architect of kings Jacques I is And Charles I is , Inigo Jones, he participated in some of his work. He was employed with the exterior decoration of Gorhambury and Campden House, Kensington. We owe him the creation of Wilton House, the countryside of the counts of Pembroke, built in Venetian style. Until recently, the design of this property, comprising two major reception rooms and where – at the time – Paintings by Antoine Van Dyck for the Count of Pembroke, was attributed to Inigo Jones, but We are now almost sure of the authorship of Isaac de Caus, considered one of the main architects of the English baroque.

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Isaac de Caus is also known by his book published in London in 1644, in-folio with figures, entitled: New invention of lifting water higher than its source, with some moving machines by means of water, and a discourse of the driving of Ycelle : After a foreword where the author explains some general notions, he goes to the theory of water conduct, the first part which contains the demonstration of 19 proposals which, most of all, to bring the reader to the Intelligence of the hydraulic machine which it gives the description. Of a very simple construction, this machine, according to the author, “between all pneumatic machines is that which with less strength is raising more water”, and what is to be considered, it raises it to such height that we want, and without the help of a waterfall. If this machine operated according to the inventor’s forecasts, it would carry out the perpetual movement, because the resistance to defeat themselves contribute to the production of the movement. It is based on the principle of the compressibility of air and the [relative] incompressibility of water, combined with atmospheric pressure. At that time when physical and mechanical sciences were still in their early days, Isaac de Caus was still penetrated by the horror that nature has emptiness. “Water rises,” he writes, “against its ordinary course to avoid emptiness, which is more repugnant to nature than the opposite of this element. This is how all the errors found their natural explanation that satisfied science for a time.

Entitled Moving , the second part of the New invention of lifting water consists in the explanation of twenty-six plates placed at the end of the volume. Isaac de Caus borrows there, word for word, from Solomon de Caus most of his problems, such as his birds singing, his swan who drinks, his owl who makes the office of chapel, his cyclops who plays Flageolet , its galate which walks on the waters, its walking clock and its organ playing that sounds by means of water, its statue of Memnon, etc. He borrows his most beautiful inventions, without even quoting it, taking it as from his inheritance, as from his good. But the problem that was to make in Solomon de Caus an immortal name – he disdains to reproduce it – he only sees it as a breeze. He thought, and perhaps with reason, that his “very subtle machine to raise dormant water, by means of the sun”, had greater practical value. So there is no failure to appropriate it. From the discovery and the application of the elastic force of the air driven by the heat to the discovery and the application of the elastic force of the steam, there was only the distance of an analogy, d ‘A rapprochement, of an idea. To increase heat, Solomon de Caus even used ardent mirrors: “which, he observes, will cause great heat to water, and by this means, it will come out in greater abundance. »»

In his foreword, Isaac de Caus teaches his readers that he was taking care of a commentary on Archimedes’ books, but the bibliographers do not speak of this work. Like Solomon, Isaac de Caus quotes from Bartas by calling him an excellent poet. At that time of religious animosities, the judgments, even literary, had difficulty emerged from the prevention of the parties. A Catholic writer had not cited the author of The Sepmaine Without bringing some restriction to his praise, and even he would not have cited it without being obliged to it by the nature of his subject. He seems to have had baptized, the , at the French church of Threadneedle Street, a daughter by the name of Suzanne de Caus that he would have had his wife Marguerite. When he died, he was buried in the cemetery of the Saints-Pères in Paris.

  1. ↑ Brother or perhaps nephew, but not son as we sometimes wrote, the difference between them was fourteen.
  • Roy C. Strong, The Renaissance garden in England , London, Thames and Hudson, 1979, (ISBN  9780000012093 ) ;
  • John, Harris, A. A. Tait, Catalogue of the drawings by Inigo Jones, John Webb, and Isaac de Caus at Worcester College, Oxford , Oxford, Clarendon Press ; New York, Oxford University Press, 1979, (ISBN  9780198173625 ) .
  • E. Haag, Protestant France , t. III , Paris, bookstore Sandoz and Fischbacher, 1854, p. 278-9;
  • Noémi-Noire Oursel, New Norman biography , t. 1, Paris, Picard, 1886, p. 169.

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