Leonardo da Vinci (1452–1519): THE EARTH AND THE SEA

Keyword(s):  
Da Vinci ◽  
2021 ◽  
pp. 6-33
Author(s):  
Elisabeth Ervin-Blankenheim

This chapter and the next one cover the way in which geology came to be a science in its own right, spanning the early centuries of geology. Lives of crucial individual scientists from the sixteenth century to the beginning of the twentieth century are discussed by relating the stories and discoveries of each, commencing with Leonardo da Vinci and continuing with the European geologists, including Nicholaus Steno, Abraham Werner, James Hutton, Charles Lyell, and early fossilists such as Etheldred Benet. Steno, Werner, Hutton and Lyell, and other early geologists revealed and wrote about the basic principles of geology, painstakingly untangling and piecing together the threads of the Earth’s vast history. They made sense of jumbled sequences of rocks, which had undergone dramatic changes since they were formed, and discerned the significance of fossils, found in environments seemingly incongruous to where the creatures once lived, as ancient forms of life. They set the stage for further research on the nature of the Earth and life on it, providing subsequent generations of geologists and those who study the Earth the basis on which to refine and flesh out the biography of the Earth.


Nuncius ◽  
2018 ◽  
Vol 33 (3) ◽  
pp. 397-414
Author(s):  
Luca Ciancio ◽  
Domenico Laurenza

Abstract Starting from the analysis of Martin Rudwick’s pionieristic The emergence of a visual language for geological science (1976), this Introduction tries to assess how Rudwick’s suggestions were received by a comprehensive review of what has been published on the topic of visual culture in the earth sciences. The analysis includes studies dealing with maps, sections, landscapes, representations of specimens. We show how historians’ curiosity about cartography has grown constantly (e.g. Kenneth Taylor and David Oldroyd). The studies on geological sections include, among others, Rudwick (2005 and 2008), Gordon Craig and Kerry Magruder and recent contributions dealing with Leonardo da Vinci and Athanasius Kircker. The consideration of essays focused on geological views and landscapes include an overview of the outcomes and limits of studies devoted to the representations of the Vesuvius. Studies dealing with the pictures of rocks, minerals and fossils are considered in their relationships with the results of general works on pictures of natural specimens. The review ends with studies by art historians in the field of geological iconography and pointing out less studied aspects and possible future developments, from the modes of visualising data that have arisen with the introduction of digital technologies to the need of a better studies of geological iconography before the 18th century, a period which the studies collected in this issue of Nuncius are concentrated on.


2020 ◽  
Vol 9 (1) ◽  
pp. 29
Author(s):  
Grigol Keshelava

Leonardo observed the celestial phenomena to study the phenomenon of light and shadow, which was to be used in painting. The object of the research is the painting “Ginevra de’ Benci’’. This work was created in 1474-1478 by Leonardo da Vinci. In the left half of the painting the oval shape detail bordered with faint contour is observed. Trough the Paint X program, we moved this detail to the right part of the painting in the place of a round shadow near the face of Ginevra. According to our interpretation, the bright and oval face of Ginevra de’ Benci is a metaphorical image of the moon. The dark background around it is a cosmos with numerous stars. Below the displaced detail is a quarter of the sphere that resembles the Earth’s surface and is associated with our planet. The displaced detail represents the oval and is associated with the moon. The layout of the dark spots on the sphere is compared to the relief of the moon, which is described on a modern photo. Finally we can think that the painting describes the earth, the moon, the cosmos, and the stars.


Author(s):  
J. A. Nowell ◽  
J. Pangborn ◽  
W. S. Tyler

Leonardo da Vinci in the 16th century, used injection replica techniques to study internal surfaces of the cerebral ventricles. Developments in replicating media have made it possible for modern morphologists to examine injection replicas of lung and kidney with the scanning electron microscope (SEM). Deeply concave surfaces and interrelationships to tubular structures are difficult to examine with the SEM. Injection replicas convert concavities to convexities and tubes to rods, overcoming these difficulties.Batson's plastic was injected into the renal artery of a horse kidney. Latex was injected into the pulmonary artery and cementex in the trachea of a cat. Following polymerization the tissues were removed by digestion in concentrated HCl. Slices of dog kidney were aldehyde fixed by immersion. Rat lung was aldehyde fixed by perfusion via the trachea at 30 cm H2O. Pieces of tissue 10 x 10 x 2 mm were critical point dried using CO2. Selected areas of replicas and tissues were coated with silver and gold and examined with the SEM.


1910 ◽  
Vol 69 (1782supp) ◽  
pp. 138-140
Author(s):  
Edward P. Buffet
Keyword(s):  
Da Vinci ◽  

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