Léonard De Vinci (1452-1519)
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Leonardo and the Whale
Biology Faculty Publications Biology 6-17-2019 Leonardo and the Whale Kay Etheridge Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/biofac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Biology Commons, Ecology and Evolutionary Biology Commons, and the Marine Biology Commons Share feedback about the accessibility of this item. Recommended Citation Etheridge, Kay. "Leonardo and the Whale." In Leonardo da Vinci – Nature and Architecture, edited by C. Moffat and S.Taglialagamba, 89-106. Leiden: Brill, 2019. This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/biofac/81 This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Leonardo and the Whale Abstract Around 1480, when he was 28 years old, Leonardo da Vinci recorded what may have been a seminal event in his life. In writing of his travels to view nature he recounted an experience in a cave in the Tuscan countryside: Having wandered for some distance among overhanging rocks, I can to the entrance of a great cavern... [and after some hesitation I entered] drawn by a desire to see whether there might be any marvelous thing within..." [excerpt] Keywords Leonardo da Vinci, fossils, whale Disciplines Ancient, Medieval, Renaissance and Baroque Art and Architecture | Biology | Ecology and Evolutionary Biology | Marine Biology Comments Please note that that this is pre-print version of the article and has not yet been peer-reviewed. -
Works Issued As Multipart Monographs Works Issued
LC-PCC: Policy Statements for Chapter 6: Identifying Works and Expressions Policy Statements for Chapter 6: Identifying Works and Expressions LC-PCC PS FOR 6.1.3.1 WORKS ISSUED AS MULTIPART MONOGRAPHS LC practice/PCC practice: If a work embodied in a multipart monograph is identified by a creator based on the first or earliest volume received, and subsequent volumes indicate additional creators are involved, do not change the authorized access point for the work, but record additional creators when considered important. [2013-01] LC-PCC PS FOR 6.1.3.2 WORKS ISSUED AS SERIALS Expressions When Preferred Title of Work Changes LC practice/PCC practice: When there are different language expressions of a serial work and the preferred title of the work (as determined according to RDA 6.2.2 ) changes, create a new description for each different expression of that work even if the title proper of the manifestation of the specific language expression did not change. 130 0# $a Inzhenernyĭ zhurnal. Mekhanika tverdogo tela. $l English. 245 10 $a Mechanics of solids. 785 00 $a $t Izvestiíà. Mekhanika tverdogo tela. English. Mechanics of solids 130 0# $a Izvestiíà. Mekhanika tverdogo tela. $l English. 245 10 $a Mechanics of solids. 780 00 $t Inzhenernyĭ zhurnal. Mekhanika tverdogo tela. English. Mechanics of solids "Mechanics of solids" is the title proper of an English-language expression of a work in Russian. Although the English title proper did not change, a new description is necessary because the preferred title of the work in Russian changed. LC Policy & Standards Division and PCC Standing Committee on Standards LCPCC6-1 LC-PCC: Policy Statements for Chapter 6: Identifying Works and Expressions Subseries and the Omission/Addition of Main Series PCC practice: When either of the situations below occurs, create a new series authority record (SAR) and link the two authorized access points via MARC 5XX fields . -
Gerald Holton: Worlds Within Worlds by Barbara Delman Wolfson
NATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 2 NUMBER 2 • APRIL 1981 Humanities Gerald Holton: Worlds within worlds by b a r b a r a d e l m a n w o l f s o n PROLOGUE: It is January 1934 in the city of Par working nature, of the style and life of the sci is. A husband and wife are at work in a university entist, and of the power of the human mind." laboratory. They are exposing a piece of ordinary alu Hundreds of thousands of students in this minum to a stream of tiny charged bits of matter country in secondary schools and colleges have called alpha particles. Stated so simply, this hardly used the course, now in the third edition since sounds like an important event. But look more Close its commercial publication in 1970, and millions ly, for it is important indeed. Later you will look at more around the world have used the materials the technical details, but for now they will not get in in French, Arabic, Japanese, Hebrew, Italian the way of the story. and other language adaptations. Although few The story is something of a family affair. The will ever become scientists, they will have a husband and wife are the French physicists Frederic chance to "see physics as the wonderfully Joliot and Irene Curie. The alpha particles they are many-sided human activity that it really is." using in their experiment are shooting from a piece of Throughout his career as physicist, histori naturally radioactive metal. This metal is polonium, an, editor, and educator, Holton has been a lu first identified 36 years before by Irene's parents, cid interpreter of the complexity of the scientific Pierre and Marie Curie, the discoverers of radium. -
Johannes Gutenberg Zim:///A/Johannes Gutenberg.Html
People David Livingstone p2 Henry Morton Stanley p12 Johann Gutenberg p16 Leonardo da Vinci p24 http://cd3wd.com wikipedia-for-schools http://gutenberg.org page no: 1 of 41 David Livingstone zim:///A/David_Livingstone.html David Livingstone 2008/9 Schools Wikipedia Selection. Related subjects: British History 1750-1900; Geographers and explorers David Livingstone ( 19 March 1813 – 1 May 1873) was a British Congregationalist pioneer medical missionary with the London Missionary Society and explorer in central Africa. He was the first European David Livingstone to see Mosi-oa-Tunya (Victoria Falls), to which he gave the English name in honour of his monarch, Queen Victoria. He is the subject of the meeting with H. M. Stanley, which gave rise to the popular quotation, " Dr Livingstone, I presume?" Perhaps one of the most popular national heroes of the late-nineteenth century in Victorian Britain, Livingstone had a mythic status, which operated on a number of interconnected levels: that of Protestant missionary martyr, that of working-class "rags to riches" inspirational story, that of scientific investigator and explorer, that of imperial reformer, anti-slavery crusader and advocate of commercial empire. His fame as an explorer helped drive forward the obsession with discovering the sources of the Nile River that formed the culmination of the classic period of European geographical discovery and colonial penetration of the African continent. At the same time his missionary travels, "disappearance" and death in Africa, and subsequent glorification as posthumous national hero in 1874 led to the founding of several major central African Christian missionary initiatives carried forward in the era of the European "Scramble for Africa." Early life Born 19 March 1813 David Livingstone was born on March 19, 1813 in the mill town of Blantyre, Lanarkshire, Scotland, into Blantyre, United Kingdom a Protestant family believed to be descended from the highland Livingstones, a clan that had been Died 4 May 1873 (aged 60) previously known as the Clan MacLea. -
A Bird in the Hand Is Worth Two in the Bush
S T Y L E 生活時尚 15 TAIPEI TIMES • WEDNESDAY, AUGUST 4, 2010 EXHIBITIONS Jawshing Arthur Liou, The Insatiable (2010). PHOTO COURTESY OF TAIPEI ARTIST VILLAGE Taipei Artist Village is holding exhibitions by artists who have spent the past few months in their residency program. First up, Taiwan-born, US-based artist Jawshing Arthur Liou (劉肇興) employs video and animation installation to delve into the culinary practices of different cultures in Things That Are Edible (食事). With titles such as Round (圓) and The Insatiable (未央), Liou’s videos are also an ironic look at our gluttonous times. ■ Barry Room, Taipei Artist Village (台北國際 藝術村百里廳), 7 Beiping E Rd, Taipei City (台北市北平東路7號). Open daily from 10am to 7:30pm. Tel: (02) 3393-7377 ■ Opening reception on Saturday at 7pm. Until Aug. 29 Meanwhile, out at Grass Mountain Village, a collective of young photographers called Invalidation Brothers (無效兄弟) — Chiu Chih- A bird in the hand is worth hua (丘智華), Tien Chi-chuan (田季全), Lee Ming-yu (李明瑜) and Lin Cheng-wei (林正偉) — have snapped images of religious rituals with mountain scenes as a backdrop. Entitled Penglai Grass Mountain (蓬萊仙山), these two in the bush black-and-white photos point at the ubiquity of the sacred in our mundane lives. ■ Grass Mountain Artist Village (草山國際藝術 Researchers unveil the ‘holy grail’ of Audubon illustration 村), 92 Hudi Rd, Taipei City (台北市湖底路92號). Open Wednesdays to Sundays from 10am to BY JON HURDLE 4pm. Tel: (02) 2862-2404 REUTERS, PHILADELPHIA ■ Opening reception on Saturday at 11am. Until Sept. 5 esearchers have found the first because it was at a significant turning in the Journal of the Early Republic, in 1825 and its only other branch, in published illustration by John point in his life.” an historical periodical, this fall. -
FOR IMMEDIATE RELEASE August 18, 2015
FOR IMMEDIATE RELEASE August 18, 2015 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] North Carolina Museum of Art Presents M. C. Escher, Leonardo da Vinci Exhibitions and Related Events Raleigh, N.C.—The North Carolina Museum of Art (NCMA) presents two exhibitions opening in October 2015: The Worlds of M. C. Escher: Nature, Science, and Imagination and Leonardo da Vinci’s Codex Leicester and the Creative Mind. The Worlds of M. C. Escher features over 130 works (some never before exhibited) and will be the most comprehensive Escher exhibition ever presented in the United States. The Codex Leicester is a 500-year-old notebook handwritten and illustrated by inventor, scientist, and artist Leonardo da Vinci—the only manuscript by Leonardo in North America—that offers a glimpse into one of the greatest minds in history. “This is going to be an exciting fall at the Museum—an incredibly rare opportunity for our visitors to see not only centuries-old writings and sketches by Leonardo da Vinci, but also the work of M. C. Escher, another observer of nature and a perfect modern counterpart to Leonardo,” says NCMA Director Lawrence J. Wheeler. “These exhibitions will thrill art lovers and science lovers alike, and we hope that all visitors leave with a piqued curiosity, an ignited imagination, and a desire to more closely observe the world around them.” The Worlds of M. C. Escher: Nature, Science, and Imagination October 17, 2015−January 17, 2016 Comprising over 130 woodcuts, lithographs, wood engravings, and mezzotints, as well as numerous drawings, watercolors, wood blocks, and lithographic stones never before exhibited, The Worlds of M. -
Or Leonardo Da
GVIR_A_522394.fm Page 382 Saturday, September 18, 2010 1:48 AM 382 Reviews La Bella Principessa: The Story of a New Masterpiece by Leonardo da Vinci (or Leonardo da Vinci “La Bella Principessa”: The Profile Portrait of a Milanese Woman) by Martin Kemp and Pascal Cotte, with contributions by Peter Paul Biro, Eva Schwan, 5 Claudio Strinati, and Nicholas Turner London, Hodder & Stoughton, 2010 208 pp., illustrated, some color, £18.99 (cloth). ISBN: 978-1-444-70626-0 Reviewed by David G. Stork 10 On 30 January 1998, an exceptionally elegant profile portrait of a young woman, executed on vellum in black, red, and white chalk (trois crayon) and highlighted with pen and ink, was purchased at Christie’s auction house for US$21,850. 15 Although it was cataloged “German School, Early 19th Century,” as images of the drawing passed among experts, a few scholars tentatively dared to utter the “L word” and suggest that the portrait was a major discovery: a new work by Leonardo da Vinci (1452–1519). 20 This book, by Martin Kemp, an expert on Leonardo and professor of the history of art at Oxford University (recently emeritus), and Pascal Cotte, a founder and director of research at Paris-based Lumière Technology, a firm pioneering the application of high-resolution multispectral imag- ing of art, presents evidence and arguments that the portrait is indeed by Leonardo, 25 and proposes both a date of execution (mid-1490s) as well as the identity of its subject, Bianca Sforza (1482–1496), Duke Ludovico Sforza’s illegitimate daughter. The authors are unequivocal in their conclusion: “With respect to the accumulation of interlocking reasons, we have gathered enough evidence here to confirm that ‘La Bella Principessa’ is indeed by Leonardo” (p. -
La Herencia Recibida 2 Sumario Jueves, 8 De Diciembre De 2011
Nº 763- 8 de diciembre de 2011 - Edición Nacional SEMANARIO CATÓLICO DE INFORMACIÓN Hispanoamérica: 200 años de independencia La herencia recibida 2 Sumario jueves, 8 de diciembre de 2011 LA FOTO 6 3-5 CRITERIOS 7 Etapa II - Número 763 CARTAS 8 Edición Nacional Bicentenario VER, OÍR Y CONTARLO 9 de las Repúblicas AQUÍ Y AHORA iberoamericanas: EDITA: Palacio episcopal de Astorga: Fundación San Agustín. Es hora de hacer Arzobispado de Madrid una lectura justa Arte por dentro y por fuera. 12 de la Historia Cardenal Rouco: DELEGADO EPISCOPAL: Alfonso Simón Muñoz El futuro nos preocupa 13 TESTIMONIO 14 REDACCIÓN: EL DÍA DEL SEÑOR 15 Calle de la Pasa, 3-28005 Madrid. RAÍCES 16-17 Téls: 913651813/913667864 10-11 Fax: 913651188 Leonardo, en la National Gallery: DIreCCIÓN DE INTerNET: Historia de lo visible y lo invible http://www.alfayomega.es 30.000 personas ESPAÑA E-MAIL: sin hogar en España: [email protected] Hace 2012 años, Plan pastoral castrense: tampoco abrieron Un camino para ser fuertes en la fe. 18 DIreCTOR: las puertas al Niño Miguel Ángel Velasco Puente Reformas educativas: REDACTOR JEFE: Ricardo Benjumea de la Vega Es hora de hacer justicia DIreCTOR DE ARTE: a la clase de Religión 19 Francisco Flores Domínguez REDACTOreS: MUNDO Juan Luis Vázquez De la primavera árabe..., Díaz-Mayordomo (Jefe de sección), María Martínez López, a la marea islámica. 20 José Antonio Méndez Pérez, Benedicto XVI: La familia Cristina Sánchez Aguilar, Jesús Colina Díez (Roma) es el camino de la Iglesia 21 SECreTARÍA DE REDACCIÓN: LA VIDA 22-23 Cati Roa Gómez DOCUmeNTACIÓN: 24-25 DESDE LA FE María Pazos Carretero Sínodo de la Iglesia en Asturias: Irene Galindo López INTerNET: Germain Grisez, Un momento de gracia y respuesta. -
The Lost Manuscripts of Leonardo Da Vinci
THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost by RICHARD SHAW POOLER Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Promoter: Prof Bernadette Van Haute -------------------------------------- OCTOBER 2014 DECLARATION I declare that THE LOST MANUSCRIPTS OF LEONARDO DA VINCI is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. ……………………………. Richard Shaw Pooler Date ………………………….. Title: THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost Summary: This thesis investigates the history of Leonardo da Vinci’s manuscripts, explains the recovery of some of those that were lost, and calculates what proportion of his work remains lost. It does this by researching the following four main topics: the compilation of his manuscripts; the dispersal and loss of his manuscripts; the recovery and reconstruction of some manuscripts; and an estimate of what remains lost. Most of Leonardo’s manuscripts were written in the last thirty years of his life. The first part of this thesis traces which manuscripts were written and when. After his death, his manuscripts dispersed and it is not known how many were lost. The next section details the dispersal. Recovery of some manuscripts took place followed by further dispersal and loss. Part of the recovery was due to key collectors such as Pompeo Leoni. -
9782954825847.Pdf
Pascal c otte c Pascal otte he Mona Lisa is one of mankind’s great mysteries. With over 9.7 million admirers per year, it is the mostT mythical painting of all time. Thanks to an extraordinary sci- M l entific imagery technique (L.A.M.), this book takes us on a journey UMIÈR into the heart of the paint-layer of the world’s most famous pic- ture and reveals secrets that have remained hidden for 500 years. o e o Mona Lisa is not actually Lisa Gherardini, wife of Francesco del N Giocondo, but a portrait that masks others. Leonardo da Vinci did N t not paint one, but four portraits, super-imposed on one another. H e More than 150 discoveries help us rediscover the painting’s gen- a esis, with Cotte reconstituting the true portrait of Lisa Gherardini – whose face, hairstyle and costume were radically different from those we now see in the Louvre. The book shatters the myth and l alters our vision of the work. It is a giant leap forward in art knowl- edge and art history. Pascal Cotte, who digitized the Mona Lisa at he book reveals that the Mona Lisa is not I the Louvre with his multispectral camera in October 2004, now Lisa Gherardini, wife of Francesco del Giocondo, Leonardo da Vinci sa presents the fruit of ten years’ research. andT that her identity has been mistaken for 500 years. Using a new scientific imaging technique (L.A.M.), Cotte unveils over 150 dis- coveries found beneath all the repaintings. -
The Scaling Ladders of Leonardo Da Vinci: Art and Engineering
The Scaling Ladders of Leonardo da Vinci: Art and Engineering John Garton1 In an increasingly war-torn Europe, Renaissance artists of the highest rank occasionally devoted themselves to military design. Francesco di Giorgio de- vised various assault weapons, Andrea Verrocchio and Hans Burgkmair each designed armo ur, Michelangelo created ramparts, and Albrecht Dürer wrote a treatise on fortifications — to name a few. Even artists averse to violence could hardly ignore the constant threat of war and its impact on the cityscape. Leonardo’s notebooks, particularly the drawings assembled by Pompeo Leoni in the 1560s to create the Codex Atlanticus, chronicle Leonardo’s involve- ment with weaponry design while serving Duke Ludovico Sforza of Milan. These drawings may never have been intended to form an organized military treatise; indeed, they range in style from quick, conceptual sketches to care- fully shaded, perspectival showpieces probably meant to impress the duke or his advisors. The little-known sheet of drawings at the center of this essay dates to around 1487–90, a period of intense absorption for Leonardo in the arts of warfare. While the drawing’s provenance has received some scholarly attention regarding possible origins in the Codex Atlanticus, its innovative technology remains poorly understood (fig. 7.1).2 The sheet, now in the Pier- pont Morgan Library, reveals much about Leonardo’s thinking as a military 1 My introduction to Leonardo studies began in 1998 in a seminar at the Metropoli- tan Museum of Art with Carmen Bambach, Associate Curator of Drawings and Prints. I choose to revisit Leonardo here, in honour of Colin Eisler, with the hopes that further scrutiny of the works of that polymath from Vinci might reflect warmly on Colin’s eclectic interests and ceaseless work ethic. -
Text for the Leonardo Da Vinci Society
LA BELLA PRINCIPESSA and THE WARSAW SFORZIAD Circumstances of Rebinding and Excision of the Portrait Katarzyna Woźniak 10.05.2015 In the study titled La Bella Principessa and the Warsaw Sforziad, published in January 2011, Professor Kemp provided evidence that the portrait of Bianca Sforza was a part of an illuminated book printed on vellum - La Sforziada by Giovannni Simonetta, stored in the National Library in Warsaw1. The excision took place, most probably, during the process of rebinding. This was done meticulously, as his paper showed, although the knife slipped at near the bottom of the left edge2. At that moment, the portrait and the book were separated from each other and ceased to share the same fortune. 1. Images indicating that portrait of La Bella Principessa was part of a bound volume Author: Pascal Cotte My research initiated as a result of this discovery shows that the most probable date of rebinding of the Warsaw copy of La Sforziada was the turn of the 18th and 19th century3. The following text is an introduction to the first general analysis of the problems concerning 1 Martin Kemp and Pascal Cotte, La Bella Principessa and the Warsaw Sforziad (2010), The Leonardo da Vinci Society: http://www.bbk.ac.uk/hosted/leonardo/#MM 2 M. Kemp and P. Cotte, op. cit., p. 5 3 Extensive study of the history of the Zamoyski book collection as well as scrupulous analysis of alterations to the original volume – decoration of new leather cover, watermarks on inserted sheets, bookplates, existing and obliterated inscriptions - will be presented in the book published by the British publishing house Ashgate.