Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.

New materials enable advances in engineering design. This book describes a procedure for material selection in mechanical design, allowing the most suitable materials for a given application to be identified from the full range of materials and section shapes available. A novel approach is adopted not found elsewhere. Materials are introduced through their properties; materials selection charts (a new development) capture the important features of all materials, allowing rapid retrieval of information and application of selection techniques. Merit indices, combined with charts, allow optimisation of the materials selection process. Sources of material property data are reviewed and approaches to their use are given. Material processing and its influence on the design are discussed. The book closes with chapters on aesthetics and industrial design. Case studies are developed as a method of illustrating the procedure and as a way of developing the ideas further.

Profiles the life and work of a nineteenth century pioneer of photography and offers a selection of her portraits of women

American Military History provides the United States Army-in particular, its young officers, NCOs, and cadets-with a comprehensive but brief account of its past. The Center of Military History first published this work in 1956 as a textbook for senior ROTC courses. Since then it has gone through a number of updates and revisions, but the primary intent has remained the same. Support for military history education has always been a principal mission of the Center, and this new edition of an invaluable history furthers that purpose. The history of an active organization tends to expand rapidly as the organization grows larger and more complex. The period since the Vietnam War, at which point the most recent edition ended, has been a significant one for the Army, a busy period of expanding roles and missions and of fundamental organizational changes. In particular, the explosion of missions and deployments since 11 September 2001 has necessitated the creation of additional, open-ended chapters in the story of the U.S. Army in action. This first volume covers the Army's history from its birth in 1775 to the eve of World War I. By 1917, the United States was already a world power. The Army had sent large expeditionary forces beyond the American hemisphere, and at the beginning of the new century Secretary of War Elihu Root had proposed changes and reforms that within a generation would shape the Army of the future. But world war-global war-was still to come. The second volume of this new edition will take up that story and extend it into the twenty-first century and the early years of the war on terrorism and includes an analysis of the wars in Afghanistan and Iraq up to January 2009.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.