This engaging book places Leonardo da Vinci’s scientific achievements within the wider context of the rapid development that occurred during the Renaissance. It demonstrates how his contributions were not in fact born of isolated genius, but rather part of a rich period of collective advancement in science and technology, which began at least 50 years prior to his birth. Readers will discover a very special moment in history, when creativity and imagination were changing the future—shaping our present. They will be amazed to discover how many technological inventions had already been conceived or even designed by the engineers and inventors who preceded Leonardo, such as Francesco di Giorgio and Taccola, the so-called Siena engineers. This engaging volume features a wealth of illustrations from a variety of original sources, such as manuscripts and codices, enabling the reader to see and judge for him or herself the influence that other Renaissance engineers and inventors had on Leonardo.

This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.

During the early modern period there was a natural correspondence between how artists might benefit from the knowledge of mathematics and how mathematicians might explore, through advances in the study of visual culture, new areas of enquiry that would uncover the mysteries of the visible world. This volume makes its contribution by offering new interdisciplinary approaches that not only investigate perspective but also examine how mathematics enriched aesthetic theory and the human mind. The contributors explore the portrayal of mathematical activity and mathematicians as well as their ideas and instruments, how artists displayed their mathematical skills and the choices visual artists made between geometry and arithmetic, as well as Euclid’s impact on drawing, artistic practice and theory. These chapters cover a broad geographical area that includes Italy, Switzerland, Germany, the Netherlands, France and England. The artists, philosophers and mathematicians whose work is discussed include Leon Battista Alberti, Nicholas Cusanus, Marsilio Ficino, Francesco di Giorgio, Leonardo da Vinci and Andrea del Verrocchio, as well as Michelangelo, Galileo, Piero della Francesca, Girard Desargues, William Hogarth, Albrecht Dürer, Luca Pacioli and Raphael.

The Italian Renaissance has come to occupy an almost mythical place in the popular imagination. The outsized reputations of the best-known figures from the period—Michelangelo, Niccolo Machiavelli, Lorenzo the Magnificent, Pope Julius II, Isabella d'Este, and so many others—engender a kind of wonder. How could so many geniuses or exceptional characters be produced by one small territory near the extreme south of Europe at a moment when much of the rest of the continent still labored under the restrictions of the Middle Ages? How did so many of the driving principles behind Western civilization emerge during this period—and how were they defined and developed? And why is it that geniuses such as Leonardo, Raphael, Petrarch, Brunelleschi, Bramante, and Palladio all sustain their towering authority to this day? To answer these questions, Kenneth Bartlett delves into the lives and works of the artists, patrons, and intellectuals—the privileged, educated, influential elites—who created a rarefied world of power, money, and sophisticated talent in which individual curiosity and skill were prized above all else. The result is a dynamic, highly readable, copiously illustrated history of the Renaissance in Italy—and of the artists that gave birth to some of the most enduring ideas and artifacts of Western civilization.

The present volume, Publications of The Metropolitan Museum of Art, 1964-2005, is a successor to a volume published by the Museum in 1965 entitled Publications of The Metropolitan Museum of Art, 1870-1964. These two bibliographic volumes endeavor to list all the known books, pamphlets, and serial publications bearing the Museum's imprint, and issued by the institution during the first 135 years of its existence (through June 2005). The first volume was compiled by Albert TenEyck Gardner, at the time an Associate Curator of American Paintings and Sculpture, and the present volume has been compiled from the Annual Reports issued by the Museum during the relevant years. Together the two volumes testify to the tremendous contributions made to knowledge by the curators and conservators of the Metropolitan and by the many other experts who have contributed to the Museum's exhibition catalogues. Various issues of the Bulletin emphasize the great sweep of the Museum's acquisitions during these years, and the exhibition catalogues--a number of them Alfred H. Barr Jr., Award or the George Wittenborn Award--testify to the continuity of the institution's dedicated program to enrich people's lives through knowledge of art. (This title was originally published in 2006.)