<p style='text-align: justify;'>Oronce Fine (1494-1555) was a prolific author on mathematics, instruments and astronomy, among other things, and held, from 1531, the chair of mathematics at the newly established Collège Royal (known since 1870 as the Collège de France) in Paris. He is credited with the promotion of mathematics through his numerous publications and instruments. He also made and sold his own instruments, encouraged others to make their own by cutting out pages from his practical manuals, and worked as editor and overseer in printing houses. Fine published on a range of topics, and was interested in practical concerns as well as abstract debates, so while he is remembered for theoretical achievements, such as giving the value of pi correct to four significant figures, he also worked extensively with instruments and maps. While traditionally Fine's competence as a mathematician has been questioned, recent assessments have emphasised how he represented Renaissance mathematical culture, encompassing geometry, surveying, optics, cosmography, cartography, and astronomy. In cartography, Fine produced a cordiform, or heart-shaped, projection which was often used by later map-makers. The <i>Protomathesis</i> is Fine's magnum opus, published in 1532 in order to set out his contribution (present and future) for the advancement of mathematics in France. Comprised of four textbooks, the <i>Protomathesis</i> resembled a monumental epitome. Its content was relatively original and, above all, it adopted a new style in illustration and typographical design. Much of the material in this book formed the basis of Fine's abundant subsequent publications. The <i>Protomathesis</i> thus played an important role in establishing a Parisian tradition of mathematical textbooks. In his <i>Protomathesis</i>, Fine included a treatise on the astrolabe-quadrant. This woodcut image shows the rectilinear universal dial that Fine recommended should be inscribed upon the back of the quadrant. An instrument by Jeremias Arsenius made in 1573 (now held at the Museu Nacional de Historia Natural e da Ciencia, Lisbon) incorporates this element into the design of his own astrolabe-quadrant, suggesting an influence of printed sources on instrument design.</p>
