Domenico Laurenza | Trinity College Dublin (original) (raw)
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Der Urologe B, 2000
Zum Thema Leonardo da Vinci (1452-1519) hat in seiner 2. Lebenshälfte eine Vielzahl von anatomisc... more Zum Thema Leonardo da Vinci (1452-1519) hat in seiner 2. Lebenshälfte eine Vielzahl von anatomischen Studien durchgeführt und seine Skizzenblätter zeugen nicht nur von seinem künstlerischem Können, sondern auch von seiner Stellung als Wissenschaftler. Heute befindet sich nahezu die komplette Sammlung der erhaltenen anatomischen Skizzenbücher Leonardos im Besitz des Englischen Königshauses und wird in der Royal Library in Windsor Castle
MEFISTO. Journal of Medicine, Philosophy, and History, 2020
Exploring Written Artefacts, 2021
Nuncius, 2018
The paper examines how images, technological-artistic knowledge and theories interacted with each... more The paper examines how images, technological-artistic knowledge and theories interacted with each other in early modern geology. Casting techniques provided Leonardo da Vinci (1452–1519) with an analogical model for the study of fossils, which he expounded using only texts and theories, not images. For painter Agostino Scilla, on the other hand, images of fossils and animals (La Vana speculazione disingannata dal senso, Napoli, 1670) were the key-feature of his approach, intentionally limited to the external aspects of the specimen, the very domain of the painter. Theories and microscopic examination of the internal aspects orientated Robert Hooke’s visual comparisons in Micrographia (London, 1665), aimed at demonstrating the organic origin of fossils, while, in the same period, visual comparisons were used to support opposite interpretations of fossils as well, like in the case of Francesco Stelluti.
Renaissance Quarterly, 2005
lectual transition, particularly in regards to social class. She writes, “For Browne, writing mad... more lectual transition, particularly in regards to social class. She writes, “For Browne, writing made promiscuous (indiscriminately mixed) through publication is akin to sexual disorder” (25). She goes on to contend that he considers both intellectual and sexual transgression as the result of class transgressions by common people into elite knowledge and space. Had she moved on to connect this preoccupation with social position to the emergence of a particular kind of civil discourse, the book would have contributed something new to the field. Instead, it falls into the same trap that has caught other works on the construction of early modern civility, especially Shapin’s The Social History of Truth, which generalizes the behavior of a few privileged men into a thesis about change in all of seventeenth-century naturalphilosophical practice. This problem can be attributed to Preston’s reluctance to address the limitations of Shapin’s claims, particularly her excellent point about the prevailing anxiety over disorder expressed by privileged gentlemen. Nor does she define the characteristics of the very limited audience about which Shapin was writing, which makes her inclusion of Browne — who was neither a member of the Royal Society nor, as far as she presents, an active experimentalist in the eyes of the Royal Society — distinctly problematic. Finally, she takes for granted that Francis Bacon was the author of a specific type of empirical investigation that met general acceptance among other practitioners. While this might be true for Shapin’s small group of gentlemen, a closer examination of the multitude of approaches to mid-seventeenth-century natural philosophy makes this position difficult to maintain. This limited conception of the seventeenth-century natural-philosophical community also limits her attempts to locate and contextualize Browne’s work. Browne’s interesting and flexibly structured writings, which Preston brings to life in her thoughtful readings, rest more peacefully among the plethora of works written between 1560 and the early eighteenth century than they do in the obsessively categorized world of Francis Bacon. ALLISON B. KAVEY John Jay College, The City University of New York
Comitatus: A Journal of Medieval and Renaissance Studies, 2013
Known as the "century of anatomy," the 16th century in Italy saw an explosion of studie... more Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists-including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy-turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. Art and Anatomy in Renaissance Italy examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings-both in drawings and in three dimensions-constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.
Quaderni d'italianistica, 2006
This article analyses the nature and content of the so-called Vitruvian man by Leonardo, a study ... more This article analyses the nature and content of the so-called Vitruvian man by Leonardo, a study dealing with the proportions of the human body. The essay opens with an analysis of topics such as the image as the first element to be set out onto the page and its influence on the graphic arrangement of the text; the ambiguity between a private study and a study to be published; the dimension of the single page. It then proceeds towards an analysis of Leonardo's drawing as an attempt to visualize in a perfect way a text by Vitruvius and the conception of the visual language as a philological instrument.
Der Urologe B, 2000
Zum Thema Leonardo da Vinci (1452-1519) hat in seiner 2. Lebenshälfte eine Vielzahl von anatomisc... more Zum Thema Leonardo da Vinci (1452-1519) hat in seiner 2. Lebenshälfte eine Vielzahl von anatomischen Studien durchgeführt und seine Skizzenblätter zeugen nicht nur von seinem künstlerischem Können, sondern auch von seiner Stellung als Wissenschaftler. Heute befindet sich nahezu die komplette Sammlung der erhaltenen anatomischen Skizzenbücher Leonardos im Besitz des Englischen Königshauses und wird in der Royal Library in Windsor Castle
MEFISTO. Journal of Medicine, Philosophy, and History, 2020
Exploring Written Artefacts, 2021
Nuncius, 2018
The paper examines how images, technological-artistic knowledge and theories interacted with each... more The paper examines how images, technological-artistic knowledge and theories interacted with each other in early modern geology. Casting techniques provided Leonardo da Vinci (1452–1519) with an analogical model for the study of fossils, which he expounded using only texts and theories, not images. For painter Agostino Scilla, on the other hand, images of fossils and animals (La Vana speculazione disingannata dal senso, Napoli, 1670) were the key-feature of his approach, intentionally limited to the external aspects of the specimen, the very domain of the painter. Theories and microscopic examination of the internal aspects orientated Robert Hooke’s visual comparisons in Micrographia (London, 1665), aimed at demonstrating the organic origin of fossils, while, in the same period, visual comparisons were used to support opposite interpretations of fossils as well, like in the case of Francesco Stelluti.
Renaissance Quarterly, 2005
lectual transition, particularly in regards to social class. She writes, “For Browne, writing mad... more lectual transition, particularly in regards to social class. She writes, “For Browne, writing made promiscuous (indiscriminately mixed) through publication is akin to sexual disorder” (25). She goes on to contend that he considers both intellectual and sexual transgression as the result of class transgressions by common people into elite knowledge and space. Had she moved on to connect this preoccupation with social position to the emergence of a particular kind of civil discourse, the book would have contributed something new to the field. Instead, it falls into the same trap that has caught other works on the construction of early modern civility, especially Shapin’s The Social History of Truth, which generalizes the behavior of a few privileged men into a thesis about change in all of seventeenth-century naturalphilosophical practice. This problem can be attributed to Preston’s reluctance to address the limitations of Shapin’s claims, particularly her excellent point about the prevailing anxiety over disorder expressed by privileged gentlemen. Nor does she define the characteristics of the very limited audience about which Shapin was writing, which makes her inclusion of Browne — who was neither a member of the Royal Society nor, as far as she presents, an active experimentalist in the eyes of the Royal Society — distinctly problematic. Finally, she takes for granted that Francis Bacon was the author of a specific type of empirical investigation that met general acceptance among other practitioners. While this might be true for Shapin’s small group of gentlemen, a closer examination of the multitude of approaches to mid-seventeenth-century natural philosophy makes this position difficult to maintain. This limited conception of the seventeenth-century natural-philosophical community also limits her attempts to locate and contextualize Browne’s work. Browne’s interesting and flexibly structured writings, which Preston brings to life in her thoughtful readings, rest more peacefully among the plethora of works written between 1560 and the early eighteenth century than they do in the obsessively categorized world of Francis Bacon. ALLISON B. KAVEY John Jay College, The City University of New York
Comitatus: A Journal of Medieval and Renaissance Studies, 2013
Known as the "century of anatomy," the 16th century in Italy saw an explosion of studie... more Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists-including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy-turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. Art and Anatomy in Renaissance Italy examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings-both in drawings and in three dimensions-constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.
Quaderni d'italianistica, 2006
This article analyses the nature and content of the so-called Vitruvian man by Leonardo, a study ... more This article analyses the nature and content of the so-called Vitruvian man by Leonardo, a study dealing with the proportions of the human body. The essay opens with an analysis of topics such as the image as the first element to be set out onto the page and its influence on the graphic arrangement of the text; the ambiguity between a private study and a study to be published; the dimension of the single page. It then proceeds towards an analysis of Leonardo's drawing as an attempt to visualize in a perfect way a text by Vitruvius and the conception of the visual language as a philological instrument.