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Author: Robert George Publisher: Xlibris Corporation ISBN: 1984533010 Category : Fiction Languages : en Pages : 94
Book Description
On the morning of the second of May, 1519, Leonardo Da Vinci, unquestionably the greatest of geniuses in the intellectually congested Renaissance, was laid to rest in a churchyard on the castle grounds of Amboise, the fortress/estate of Francis the first, the reigning king of France. Francis, an ardent admirer of Leonardo’s artistic and scientific achievements, had invited the Maestro to Amboise where he was to serve as the king’s production designer for court events. For this service Leonardo was given quarters in the magnificent manor house Le Clos Luce within the castle grounds, together with servants and room and board for life. In 1517, he suffered a stroke that paralyzed his right arm, thus ending his phenomenal artistic career. Even though he was preferentially left-handed, his spirit was broken. His notebooks and last paintings were left in his will to his devoted disciple Francesco Melzi, all except his beloved Mona Lisa. His modest funeral procession was attended by a few remaining house servants, caretakers, priests, townspeople whom he had befriended, and of course, Melzi. In the following centuries, his burial ground was desecrated by a succession of wars, notably the Huguenot uprising and the French Revolution, and the inevitable grave robbers. His remains became commingled and scattered. Several attempts were made by an eclectic group of Da Vinciophiles to gather what might plausibly be Leonardo’s bones. Some, including a relatively large skull, were so anointed and were transferred to the newly reconstructed and rechristened Chapel of Saint-Hubert — to this day Leonardo’s shrine. On the floor of the chapel is a tableau with an inscription stating that herein might possibly repose the remains of Leonardo Da Vinci. But no one could really tell . . . until now.
Author: Robert George Publisher: Xlibris Corporation ISBN: 1984533010 Category : Fiction Languages : en Pages : 94
Book Description
On the morning of the second of May, 1519, Leonardo Da Vinci, unquestionably the greatest of geniuses in the intellectually congested Renaissance, was laid to rest in a churchyard on the castle grounds of Amboise, the fortress/estate of Francis the first, the reigning king of France. Francis, an ardent admirer of Leonardo’s artistic and scientific achievements, had invited the Maestro to Amboise where he was to serve as the king’s production designer for court events. For this service Leonardo was given quarters in the magnificent manor house Le Clos Luce within the castle grounds, together with servants and room and board for life. In 1517, he suffered a stroke that paralyzed his right arm, thus ending his phenomenal artistic career. Even though he was preferentially left-handed, his spirit was broken. His notebooks and last paintings were left in his will to his devoted disciple Francesco Melzi, all except his beloved Mona Lisa. His modest funeral procession was attended by a few remaining house servants, caretakers, priests, townspeople whom he had befriended, and of course, Melzi. In the following centuries, his burial ground was desecrated by a succession of wars, notably the Huguenot uprising and the French Revolution, and the inevitable grave robbers. His remains became commingled and scattered. Several attempts were made by an eclectic group of Da Vinciophiles to gather what might plausibly be Leonardo’s bones. Some, including a relatively large skull, were so anointed and were transferred to the newly reconstructed and rechristened Chapel of Saint-Hubert — to this day Leonardo’s shrine. On the floor of the chapel is a tableau with an inscription stating that herein might possibly repose the remains of Leonardo Da Vinci. But no one could really tell . . . until now.
Author: Domenico Laurenza Publisher: Taylor & Francis ISBN: 9788809043633 Category : Science Languages : en Pages : 248
Book Description
Leonardo nasconde un segreto? In realtà ne nasconde molti, basta cercare nelle pagine dei suoi codici, nelle migliaia di disegni di macchine o di parti di esse che quei codici contengono. Misteri e segreti che in questo libro vengono alla luce nella loro realtà progettuale. Dalle descrizioni e dai disegni dello scienziato, attraverso la rielaborazione digitale riemergono nella loro compiutezza e funzionalità imbarcazioni corazzate, argani e macchinari destinati al volo, alla guerra, al lavoro, alle imprese idrauliche. Un'operazione di ricostruzione virtuale che ha richiesto anni di studi e di applicazione e ha ottenuto il risultato di rendere accessibili le invenzioni nascoste tra le pagine dei codici leonardeschi.
Author: Francesca Fiorani Publisher: Macmillan + ORM ISBN: 0374715297 Category : Art Languages : en Pages : 373
Book Description
"[The Shadow Drawing] reorients our perspective, distills a life and brings it into focus—the very work of revision and refining that its subject loved best." —Parul Sehgal, The New York Times | Editors' Choice An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotten.
Author: Fritjof Capra Publisher: Anchor ISBN: 0385524110 Category : Biography & Autobiography Languages : en Pages : 354
Book Description
Leonardo da Vinci's scientific explorations were virtually unknown during his lifetime, despite their extraordinarily wide range. He studied the flight patterns of birds to create some of the first human flying machines; designed military weapons and defenses; studied optics, hydraulics, and the workings of the human circulatory system; and created designs for rebuilding Milan, employing principles still used by city planners today. Perhaps most importantly, Leonardo pioneered an empirical, systematic approach to the observation of nature-what is known today as the scientific method.Drawing on over 6,000 pages of Leonardo's surviving notebooks, acclaimed scientist and bestselling author Fritjof Capra reveals Leonardo's artistic approach to scientific knowledge and his organic and ecological worldview. In this fascinating portrait of a thinker centuries ahead of his time, Leonardo singularly emerges as the unacknowledged “father of modern science.”
Author: Stephen R. Graubard Publisher: Routledge ISBN: 135130691X Category : Science Languages : en Pages : 257
Book Description
Twenty-five years ago, Gerald Holton's Thematic Origins of Scientific Thought introduced a wide audience to his ideas. Holton argued that from ancient times to the modern period, an astonishing feature of innovative scientific work was its ability to hold, simultaneously, deep and opposite commitments of the most fundamental sort. Over the course of Holton's career, he embraced both the humanities and the sciences. Given this background, it is fitting that the explorations assembled in this volume reflect both individually and collectively Holton's dual roots. In the opening essay, Holton sums up his long engagement with Einstein and his thematic commitment to unity. The next two essays address this concern. In historicized form, Lorraine Daston returns the question of the scientific imagination to the Enlightenment period when both sciences and art feared imagination. Daston argues that the split whereby imagination was valued in the arts and loathed in the sciences is a nineteenth-century divide. James Ackerman on Leonardo da Vinci meshes perfectly with Daston's account, showing a form of imaginative intervention where it is irrelevant to draw analogies between art and science. Historians of religion Wendy Doniger and Gregory Spinner pursue the imagination into the bedroom with literary-theological representations. Science, culture, and the imagination also intersect with biologist Edward Wilson and physicist Steven Weinberg. Both tackle the big question of the unity of knowledge and worldviews from a scientific perspective while art historian Ernst Gombrich does the same from the perspective of art history. To emphasize the nitty-gritty of scientific practice, chemists Bretislav Fredrich and Dudley Herschback provide a remarkable historical tour at the boundary of chemistry and physics. In the concluding essay, historian of education Patricia Albjerg Graham addresses pedagogy head-on. In these various reflections on science, art, literature, philosophy, and education, this volume gives us a view in common: a deep and abiding respect for Gerald Holton's contribution to our understanding of science in culture. Peter Galison is Mallinckrodt Professor of History of Science and of physics at Harvard University. Stephen R. Graubard is editor of the American Academy of Arts and Sciences and its journal, Daedalus, and professor of history emeritus at Brown University. Everett Mendelsohn is director of the History of Science Program at Harvard University.
Author: Enrico Marani Publisher: Springer ISBN: 3319921053 Category : Medical Languages : en Pages : 541
Book Description
This book offers a critical review of the head and neck from an anatomical, physiological and clinical perspective. It begins by providing essential anatomical and physiological information, then discusses historical and current views on specific aspects in subsequent chapters. For example, the anatomy of the skull cap or cranial vault provided in the first chapter is discussed in the context of malformation and identity, as well as the development of the bony skull, in the following chapters. These chapters provide stepping-stones to guide readers through the book. There are new fields of research and technological developments in which Anatomy and Physiology lose track of progress. One of the examples discussed is the automated face recognition. In some respects, e.g. when it comes to cancers and malformations, our understanding of the head and neck – and the resulting therapeutic outcomes – have been extremely disappointing. In others, such as injuries following car accidents, there have been significant advances in our understanding of head and neck dysfunctions and their treatment. Therefore head movements, also during sleep, and head and neck reflexes are discussed. The book makes unequivocal distinctions between correct and incorrect assumptions and provides a critical review of alternative clinical methods for head and neck dysfunctions, such as physiotherapy and lymphatic drainage for cancers. Moreover, it discusses the consequences of various therapeutic measures for physiological and biomechanical conditions, as well as puberty and aging. Lastly, it addresses important biomedical engineering developments for hearing e.g. cochlear implants and for applying vestibular cerebellar effects for vision.
Author: Carol Ann Rinzler Publisher: Bellevue Literary Press ISBN: 1934137634 Category : Science Languages : en Pages : 192
Book Description
A Selection of the Scientific American, History, and BOMC2 Book Clubs “An in-depth look at the anatomy and history of feet reveals their often overlooked importance in human evolution, medicine and art.” —Science News “Stylish, informative, entertaining, and pleasantly personal . . . Whether Rinzler is exploring how our feet explain or illuminate such topics as evolution, disability, racism, diet, or desire, she maintains a fascinating perspective on the peculiarities of being human.” —Rain Taxi Review of Books “This neat little book draws a clear picture of our feet, providing understanding that extends far beyond the obvious. Readers often like to walk away from a book feeling they learned something—that the author left them with a new way to look at an old idea, and this book fulfills that need.” —City Book Review “Rinzler lifts the lowly human foot to new heights in this appealing book.” —Booklist (starred review) Leonardo’s Foot stretches back to the fossil record and forward to recent discoveries in evolutionary science to demonstrate that it was our feet rather than our brains that first distinguished us from other species within the animal kingdom. Taking inspiration from Leonardo da Vinci’s statement that “the human foot is a masterpiece of engineering and a work of art,” Carol Ann Rinzler leads us on a fascinating stroll through science, medicine, and culture to shed light on the role our feet have played in the evolution of civilization. Whether discussing the ideal human form in classical antiquity, the impressive depth of the arching soles on the figures in Sandro Botticelli’s Birth of Venus, an array of foot maladies and how they have affected luminaries from Lord Byron to Benjamin Franklin, or delving into the history of foot fetishism, Rinzler has created a wonderfully diverse catalog of details on our lowest extremities. This is popular science writing at its most entertaining—page after page of fascinating facts, based around the playful notion that appreciating this often overlooked part of our body is essential to understanding what it is to be human. Carol Ann Rinzler, a former nutrition columnist for the New York Daily News, has contributed to a number of publications, including the New York Times. She is the author of more than twenty books on health and medicine, including Nutrition for Dummies, an international bestseller translated into fourteen languages.
Author: Robert George
Author: Robert George
Author: Martin Clayton
Author: Domenico Laurenza
Author: Claire J. Farago
Author: Francesca Fiorani
Author: Fritjof Capra
Author: Stephen R. Graubard
Author: Eugène Müntz
Author: Enrico Marani
Author: Carol Ann Rinzler