"The common, simplistic view of the Middle Ages as religion-centered and materially backward is challenged by Jean Gimpel in this milestone study, originally published in 1976. The Medieval Machine tells how, between the years 900 and 1300, Europeans created their first industrial revolution, which set Western civilization on the road to global dominance. Gimpel describes the main features of this early machine age: the pervasive use of waterpower (the oil of the medieval era); the agricultural innovations that energized the population through better nourishment; the spread of mining along with mechanized iron mills; and the appearance of modern industrial problems such as labor unrest and pollution. This is a story of technology triumphant: architect-engineers were adulated; there were tallest-building contests like those of the twentieth century. The climax comes with the invention of the key modern device - the mechanical clock. The subsequent technological decline, Gimpel explains, was due to a plague, famine, and a reversion to mysticism. In the epilogue, Gimpel asserts that the West in his time faced another technological decline; he did not forsee the digital boom of the 1980s and 90s and the development of post-industrial economies. Nevertheless, his predictions may provide valuable material for historians of the recent past"--Page 4 of cover.

Medieval robots took such forms as talking statues, mechanical animals, or silent metal guardians; some served to entertain or instruct while others performed surveillance or discipline. Medieval Robots explores the forgotten history of real and imagined machines that captivated Europe from the ninth through the fourteenth centuries.

The Renaissance was not just a rebirth of the mind. It was also a new dawn for the machine. When we celebrate the achievements of the Renaissance, we instinctively refer, above all, to its artistic and literary masterpieces. During the fifteenth and sixteenth centuries, however, the Italian peninsula was the stage of a no-less-impressive revival of technical knowledge and practice. In this rich and lavishly illustrated volume, Paolo Galluzzi guides readers through a singularly inventive period, capturing the fusion of artistry and engineering that spurred some of the Renaissance’s greatest technological breakthroughs. Galluzzi traces the emergence of a new and important historical figure: the artist-engineer. In the medieval world, innovators remained anonymous. By the height of the fifteenth century, artist-engineers like Leonardo da Vinci were sought after by powerful patrons, generously remunerated, and exhibited in royal and noble courts. In an age that witnessed continuous wars, the robust expansion of trade and industry, and intense urbanization, these practitioners—with their multiple skills refined in the laboratory that was the Renaissance workshop—became catalysts for change. Renaissance masters were not only astoundingly creative but also championed a new concept of learning, characterized by observation, technical know-how, growing mathematical competence, and prowess at the draftsman’s table. The Italian Renaissance of Machines enriches our appreciation for Taccola, Giovanni Fontana, and other masters of the quattrocento and reveals how da Vinci’s ambitious achievements paved the way for Galileo’s revolutionary mathematical science of mechanics.

Roman and barbarian precedents The growth of self-centered agriculture The take-off of the commerical revolution The uneven diffusion of commercialization Between crafts and industry The response of the agricultural society.

In Medieval Identity Machines, Jeffrey J. Cohen examines the messiness, permeability, and perversity of medieval bodies, arguing that human identity always exceeds the limits of the flesh. Combining critical theory with a rigorous reading of medieval texts, Cohen asks if the category OC humanOCO isnOCOt too small to contain the multiplicity of identities."

Machines have always gone hand-in-hand with the cultural development of m- kind throughout time. A book on the history of machines is nothing more than a specific way of bringing light to human events as a whole in order to highlight some significant milestones in the progress of knowledge by a complementary persp- tive into a general historical overview. This book is the result of common efforts and interests by several scholars, teachers, and students on subjects that are connected with the theory of machines and mechanisms. In fact, in this book there is a certain teaching aim in addition to a general historical view that is more addressed to the achievements by “homo faber” than to those by “homo sapiens”, since the proposed history survey has been developed with an engineering approach. The brevity of the text added to the fact that the authors are probably not com- tent to tackle historical studies with the necessary rigor, means the content of the book is inevitably incomplete, but it nevertheless attempts to fulfil three basic aims: First, it is hoped that this book may provide a stimulus to promote interest in the study of technical history within a mechanical engineering context. Few are the co- tries where anything significant is done in this area, which means there is a general lack of knowledge of this common cultural heritage.

"Katharine Breen challenges our understanding of how medieval authors received philosophical paradigms from antiquity in their construction and use of personification in their writings. She shows that our modern categories for this literary device (extreme realism versus extreme rhetoric, or novelistic versus allegorical characters) would've been unrecognizable to their medieval practitioners. Through new readings of key authors and works--including Prudentius's "Psychomachia," Langland's "Piers Plowman," Boethius's "Consolation of Philosophy," and Deguileville's "Pilgrimage of Human Life"--she finds that medieval writers accessed a richer, more fluid literary domain than modern critics have allowed. Breen identifies three different types of personification--Platonic, Aristotelian, and Prudentian--inherited from antiquity that both gave medieval writers a surprisingly varied spectrum with which to paint their characters, while bypassing the modern confusion of conflicting relationships between personifications and persons on the path connecting divine power and human frailty. Recalling Gregory the Great's phrase "machinae mentis" (machines of the mind), Breen demonstrates that medieval writers applied personification with utility and subtlety, much the same way that, within the category of hand-tools, an open-end wrench differs in function from a hex-key wrench or a socket wrench. It will be read by medievalists working at the crossroads of religion, philosophy, and literature, as well as scholars interested in character-making and gendered relationships among characters, readers, and texts beyond the Middle Ages"--