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LEONARDO Da Vinci Originated in Milan, and May Both Have Belonged Vinci 15.IV.1452 – Amboise 2.V.1519 to the Arconati Family
Neil Jeffares, Dictionary of pastellists before 1800 Online edition LEONARDO da Vinci originated in Milan, and may both have belonged Vinci 15.IV.1452 – Amboise 2.V.1519 to the Arconati family. One group, of which six One of the many tantalising puzzles about cartoons are in Strasbourg, passed through the Leonardo is the early, if not earliest, use of pastel collections of the marchese Casnedi and with which he is widely, if erroneously, credited. procuratore Zaccaria Sagredo, from whom He notes in the Ligny memorandum (Codex Robert Udny bought them in Venice in 1778. It Atlanticus, fol. 669r), around 1495 (or perhaps is now known that the drawings in the other c.1500), his intention to get the way to draw with group were in the Ambrosiana before being dry colour from Jehan de Paris (Jean Perréal, q.v.) acquired by Sir Thomas Baring c.1800; they [“piglia da gian di paris il modo de colorire a remained together in the collections successively seccho”]. This he may have done during of Sir Thomas Lawrence (there were 10 sheets in Perréal’s trip to the Milanese court with Louis the group at this stage, as is evident from an XII in 1499. A possibly earlier document anonymous 1830 print showing the artist’s (c.1493–97), the Codex Madrid I, fol. 191r, private sitting room); Samuel Woodburn, the mentions “pastelli” explicitly (apparently the first dealer who bought Lawrence’s much of use of the word in this sense), and described a collection (but only 7 of these heads); Willem II mould for making pastel sticks. -
Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker. -
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. -
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. -
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. -
Léonard De Vinci (1452-1519)
1/44 Data Léonard de Vinci (1452-1519) Pays : Italie Langue : Italien Sexe : Masculin Naissance : Anchiano (près de Vinci) (Italie), 15-04-1452 Mort : Amboise (Indre-et-Loire), 02-05-1519 Note : Peintre, sculpteur, architecte. - Théoricien de l'art. - Chercheur scientifique Domaines : Sciences Art Autres formes du nom : Leonardo da Vinci (1452-1519) (italien) Léonard de Vinci (1452-1519) Leonardo da Vinci (1452-1519) Da Vinci (1452-1519) Da Vinchi (1452-1519) (japonais) 30 30 30 30 30 30 C0 FB F4 A3 F3 C1 (1452-1519) (japonais) ISNI : ISNI 0000 0001 2124 423X (Informations sur l'ISNI) A dirigé : École de Léonard de Vinci Léonard de Vinci (1452-1519) : œuvres (281 ressources dans data.bnf.fr) Œuvres textuelles (152) Trattato della pittura (1651) Voir plus de documents de ce genre data.bnf.fr 2/44 Data Œuvres iconographiques (63) La Joconde nue Portrait de Christ : peinture parfois attribué à Léonard (1514) de Vinci (1452-1519) (1511) The Burlington House cartoon L'homme vitruvien (1500) (1492) La Vierge aux rochers : National gallery, Londres La Vierge aux rochers : Musée du Louvre (1491) (1483) Il Redentore La Belle princesse : dessin "Tête de vieillard maigre, les lèvres serrées" Codice Corazza de Anne Claude Philippe de Caylus avec Léonard de Vinci (1452-1519) comme Dessinateur du modèle "Tête d'homme aux longs cheveux bouclés, coiffé d'une Codex atlanticus calotte" de Anne Claude Philippe de Caylus avec Léonard de Vinci (1452-1519) comme Dessinateur du modèle "Buste d'un vieux moine" "Combat de divers animaux" de Anne -
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. -
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. -
Leonardo Da Vinci's Contributions to Tribology
Leonardo da Vinci’s studies of friction Ian M. Hutchings University of Cambridge, Department of Engineering, Institute for Manufacturing, 17 Charles Babbage Road, Cambridge CB3 0FS, UK email: [email protected] Abstract Based on a detailed study of Leonardo da Vinci’s notebooks, this review examines the development of his understanding of the laws of friction and their application. His work on friction originated in studies of the rotational resistance of axles and the mechanics of screw threads. He pursued the topic for more than 20 years, incorporating his empirical knowledge of friction into models for several mechanical systems. Diagrams which have been assumed to represent his experimental apparatus are misleading, but his work was undoubtedly based on experimental measurements and probably largely involved lubricated contacts. Although his work had no influence on the development of the subject over the succeeding centuries, Leonardo da Vinci holds a unique position as a pioneer in tribology. Keywords: sliding friction; rolling friction; history of tribology; Leonardo da Vinci Hutchings: Leonardo on friction 1 18/04/2016 1. Introduction Although the word ‘tribology’ was first coined almost 450 years after the death of Leonardo da Vinci (1452 – 1519), it is clear that Leonardo was fully familiar with the basic tribological concepts of friction, lubrication and wear. He has been widely credited with the first quantitative investigations of friction, and with the definition of the two fundamental ‘laws’ of friction some two hundred years before they were enunciated (in 1699) by Guillaume Amontons, with whose name they are now usually associated. These simple statements, which have wide applicability, are: the force of friction acting between two sliding surfaces is proportional to the load pressing the surfaces together (i.e. -
Chronology of Main Discoveries
Chronology of main discoveries ... it is of course necessary to make some supposition respecting the nature of that medium, or ether, the vibrations of which constitute light, ... Now, if we adopt the theory of transverse vibrations, ... we are obligued to suppose the existence of a tangential force in the ether, ... In consequence of the existence of this force, the ether must behave, so far as regards the luminous vibrations, like an elastic solid. ... I have assumed, as applicable to the luminiferous ether in vacuum, the known equations of motion of an elastic medium, such as an elastic solid. These equations contain two arbitrary constants, depending upon the nature of the medium. The argument which Green has employed to shew [show] that the luminiferous ether must be regarded as sensibly incompressible, in treating of the motions which constitute light (Camb. Phil. Trans., Vol. VII, p. 2) appears to me of great force. The supposition of incompressibility reduces the two arbitrary constants to one; ... George Gabriel Stokes (Stokes, 1856) As early as the 17th century it was known that light waves and acoustic waves are of a similar nature. Hooke believed light to be a vibratory displacement of a medium (the aether), through which it propagates at finite speed. Later, in the 19th century, Maxwell and Lord Kelvin made extensive use of physical and mathematical analogies to study wave phenomena in acoustics and electromagnetism. In many cases, this formal analogy becomes a complete mathematical equivalence such that the problems in both fields can be solved by using the same analytical (or numerical) methodology. -
Appendix I: Notable Personages
Appendix I: Notable Personages Villard de Honnecourt (thirteenth century?) –– Livre de portraiture (ca. 1230) Petrus Peregrinus of Maricourt (thirteenth century?) –– Epistola Petri Peregrini de Maricourt ad Sygerum de Foucaucourt, militem, de magnete (Letter of Peter Peregrinus of Maricourt to Sygerus of Foucaucourt, Soldier, on the Magnet) (1269) Guido da Vigevano, (Pavia, ca. 1280–Paris, after 1349) –– Texaurus regis Francie (1335) –– Liber notabilium illustrissimi principis Philippi septimi, Francorum regis, a libris Galieni per me Guidonem de Papia, medicum suprascripti regis atque consortis eius inclite Iohanne regine, extractus, anno Domini 1345 (1345) Giovanni Dondi dell’Orologio (Chioggia, ca. 1330–Abbiategrasso, 1388) –– Completion of the astronomical clock Astrarium (1364) –– Tractatus astrarii (fourteenth century) Konrad Kyeser (1366–after 1405) –– Bellifortis (ca. 1405) Filippo Brunelleschi (Florence, 1377–1446) –– Cupola (Dome) of Duomo of Florence (1420–1436) Anonymous of the Hussite Wars –– Manuscript of the Anonymous of the Hussite Wars (after 1472) Mariano Daniello di Jacopo (Taccola) (Siena, 1381–ca. 1458) –– De Ingeneis (ca. 1419–1450) –– De Machinis (1449) © Springer International Publishing AG, part of Springer Nature 2019 343 P. Innocenzi, The Innovators Behind Leonardo, https://doi.org/10.1007/978-3-319-90449-8 344 Appendix I: Notable Personages –– Copy of De Machinis from Paolo Santini (colored manuscript version, second half of the fifteenth century) Ms. Lat 7239, Bibliothèque Nationale, Paris. Giovanni Fontana (Venice, 1395?–after 1454) –– Bellicorum instrumentorum liber (ca. 1430) –– Nova compositio horologi 1418) –– De horologio aqueo (ca. 1417) Leon Battista Alberti (Genoa, 1404–Rome, 1472) –– Ludi mathematici (1448) –– De re aedificatoria (1450) Roberto Valturio (Rimini, 1405–1475) –– De re militari (1472) printed version in Latin –– De re militari (1483) printed version in Italian Piero della Francesca (Borgo Sansepolcro, ca.