HANCOCK, E. Geoffrey, PEARCE, Nick and CAMPBELL, Mungo (editors). William Hunter's world: the art and science of eighteenth-century collecting

2017 ◽  
Vol 44 (1) ◽  
pp. 192-193
Author(s):  
Felicity Roberts
Author(s):  
Anna Luppi

The essay investigates the production of scientific images and threedimensional models in the effervescent dialogue between art and science of eighteenth-century Tuscany. Created to meet new didactic needs, these technical images, such as the anatomical tables conceived by anatomist Paolo Mascagni for the students of the Academy of Fine Arts, abandoned the Vesalian topos of the cadaver as a life-like statue and gave rise to a novel lithic iconography, which emphasised the textured materiality of human remains and their potential transformations across the natural and artificial realms. The miscegenation of manufactures and natural productions was given pride of place in anatomical and botanical atlases, as well as in the scientific collections that sprung up in Tuscany at the time.


2004 ◽  
Vol 47 ◽  
pp. 127-138
Author(s):  
Tanis Hinchcliffe

Recent research into the history of science has alerted us to the rich cultural contribution a growing awareness of science made to eighteenth-century society in general and to the literate classes in particular. The boundaries of art and science, it has become apparent, were less stringently defined than today, and a growing literature is revealing the crossover from the visual arts to science, especially to medicine, optics, and the applied science of mechanics. It might be asked how far architecture, so close to the physical world in its materials and in its ambition, connected with science during the eighteenth century.


1945 ◽  
Vol 14 (41-42) ◽  
pp. 82-86
Author(s):  
Lucy Elkan

If we cast merely a cursory glance at Lycurgus’ laws we are really agreeably surprised. Of all similar institutions of Antiquity they are undoubtedly the most perfect, excepting the laws of Moses which they resemble in many parts, above all in the principles underlying them. They are really complete within themselves; everything is dovetailed, each part supported by the whole and the whole by each single part. Lycurgus could not have chosen a better way to reach the goal he had before his eyes: that of a State which, isolated from all others, should be self-sufficient and maintain itself through internal circulation and its own vital strength. No lawgiver has ever given a State such unity, such national interest, such public spirit as Lycurgus gave to his State. Now, how did Lycurgus accomplish this?Because he knew how to direct his fellow-citizens’ activities towards the State and closed all other outlets that might have drawn them away from it.All that captivates the human mind and arouses human passions, all save political interests, had been removed by his legislation. Wealth and luxury, science and the arts had no access to the Spartans’ minds. As all were equally poor the comparison of fortune which makes most men covetous was abolished. The longing for possessions ceased with the opportunity of displaying or using them. Profound ignorance of art and science dulled all minds in Sparta in an equal manner. By this means he safeguarded the State from any interference that an enlightened brain might have caused in the Constitution.


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