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A noted historian of science examines the Coperican revolution, the anatomical work of Vesalius, the work of Paracelsus, Harvey's discovery of the circulatory system, the effects of Galileo's telescopic discoveries, more.
The creativity of the human mind was brilliantly displayed during the Florentine Renaissance when artists, mathematicians, astronomers, apothecaries, architects, and others embraced the interconnectedness of their disciplines. Artists used mathematical perspective in painting and scientific techniques to create new materials; hospitals used art to invigorate the soul; apothecaries prepared and dispensed, often from the same plants, both medicinals for patients and pigments for painters; utilitarian glassware and maps became objects to be admired for their beauty; art enhanced depictions of scientific observations; and innovations in construction made buildings canvases for artistic grandeur. An exploration of these and other intersections of art and science deepens our appreciation of the magnificent contributions of the extraordinary Florentines.
Out of the diverse traditions of medical humanism, classical philology, and natural philosophy, Renaissance naturalists created a new science devoted to discovering and describing plants and animals. Drawing on published natural histories, manuscript correspondence, garden plans, travelogues, watercolors, and drawings, The Science of Describing reconstructs the evolution of this discipline of description through four generations of naturalists. In the late fifteenth and early sixteenth centuries, naturalists focused on understanding ancient and medieval descriptions of the natural world, but by the mid-sixteenth century naturalists turned toward distinguishing and cataloguing new plant and animal species. To do so, they developed new techniques of observing and recording, created botanical gardens and herbaria, and exchanged correspondence and specimens within an international community. By the early seventeenth century, naturalists began the daunting task of sorting through the wealth of information they had accumulated, putting a new emphasis on taxonomy and classification. Illustrated with woodcuts, engravings, and photographs, The Science of Describing is the first broad interpretation of Renaissance natural history in more than a generation and will appeal widely to an interdisciplinary audience.
Discusses scientific advances during the Renaissance, ranging from the printing press to the discovery of gravity.
The rise and fall of the Islamic scientific tradition, and the relationship of Islamic science to European science during the Renaissance. The Islamic scientific tradition has been described many times in accounts of Islamic civilization and general histories of science, with most authors tracing its beginnings to the appropriation of ideas from other ancient civilizations—the Greeks in particular. In this thought-provoking and original book, George Saliba argues that, contrary to the generally accepted view, the foundations of Islamic scientific thought were laid well before Greek sources were formally translated into Arabic in the ninth century. Drawing on an account by the tenth-century intellectual historian Ibn al-Naidm that is ignored by most modern scholars, Saliba suggests that early translations from mainly Persian and Greek sources outlining elementary scientific ideas for the use of government departments were the impetus for the development of the Islamic scientific tradition. He argues further that there was an organic relationship between the Islamic scientific thought that developed in the later centuries and the science that came into being in Europe during the Renaissance. Saliba outlines the conventional accounts of Islamic science, then discusses their shortcomings and proposes an alternate narrative. Using astronomy as a template for tracing the progress of science in Islamic civilization, Saliba demonstrates the originality of Islamic scientific thought. He details the innovations (including new mathematical tools) made by the Islamic astronomers from the thirteenth to sixteenth centuries, and offers evidence that Copernicus could have known of and drawn on their work. Rather than viewing the rise and fall of Islamic science from the often-narrated perspectives of politics and religion, Saliba focuses on the scientific production itself and the complex social, economic, and intellectual conditions that made it possible.
An introduction to science and medicine during the earlier phrases of the scientific revolution.
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.
Science, Reading, and Renaissance Literature brings together key works in early modern science and imaginative literature (from the anatomy of William Harvey and the experimentalism of William Gilbert to the fictions of Philip Sidney, Edmund Spenser and Margaret Cavendish). The book documents how what have become our two cultures of belief define themselves through a shared aesthetics that understands knowledge as an act of making. Within this framework, literary texts gain substance and intelligibility by being considered as instances of early modern knowledge production. At the same time, early modern science maintains strong affiliations with poetry because it understands art as a basis for producing knowledge. In identifying these interconnections between literature and science, this book contributes to scholarship in literary history, history of reading and the book, science studies and the history of academic disciplines.
"The only short and acceptable summary and analysis of the five Renaissance occult sciences." - Times Literary Supplement This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1979. "The only short and acceptable summary and analysis of the five Renaissance occult sciences." - Times Literary Supplement This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to se
Leonardo da Vinci's scientific explorations were virtually unknown during his lifetime, despite their extraordinarily wide range. He studied the flight patterns of birds to create some of the first human flying machines; designed military weapons and defenses; studied optics, hydraulics, and the workings of the human circulatory system; and created designs for rebuilding Milan, employing principles still used by city planners today. Perhaps most importantly, Leonardo pioneered an empirical, systematic approach to the observation of nature-what is known today as the scientific method.Drawing on over 6,000 pages of Leonardo's surviving notebooks, acclaimed scientist and bestselling author Fritjof Capra reveals Leonardo's artistic approach to scientific knowledge and his organic and ecological worldview. In this fascinating portrait of a thinker centuries ahead of his time, Leonardo singularly emerges as the unacknowledged “father of modern science.” From the Trade Paperback edition.