Containing the latest, groundbreaking discoveries in the field, this text outlines the basics of Einstein’s theory of gravity with a focus on its most important astrophysical consequences, including stellar structures, black holes and the physics of gravitational waves. Blending advanced topics - usually not found in introductory textbooks - with examples, pedagogical boxes, mathematical tools and practical applications of the theory, this textbook maximises learning opportunities and is ideal for master and graduate students in Physics and Astronomy. Key features: • Provides a self-contained and consistent treatment of the subject that does not require advanced previous knowledge of the field. • Explores the subject with a new focus on gravitational waves and astrophysical relativity, unlike current introductory textbooks. • Fully up-to-date, containing the latest developments and discoveries in the field.
The Notebooks of Leonardo Da Vinci Vol-2' is an enlightening collection of writings by the renowned polymath Leonardo da Vinci. The second volume of Leonardo da Vinci's notebooks contains a wide range of writings on a variety of topics, including sculpture, architecture, zoology, physiology, medicine, astronomy, geography, naval warfare, swimming, flying machines, mining, music, and more. Leonardo's writings are often accompanied by detailed drawings and diagrams, which provide a fascinating glimpse into his mind and his work. The volume begins with a section on sculpture, in which Leonardo discusses the principles of design and proportion. He also provides detailed instructions on how to create sculptures, including how to model clay, cast bronze, and carve marble. The next section of the volume is devoted to architecture. Leonardo discusses the design of buildings, including churches, palaces, and fortifications. He also provides insights into the principles of engineering and construction.
The Notebooks of Leonardo Davinci. Widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived. Leonardo Davinci was an Italian polymath whose areas of interest included invention, painting, sculpting, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, writing, history, poetry, and cartography. He has been variously called the father of paleontology, ichnology, and architecture. Sometimes credited with the inventions of the parachute, helicopter and tank, his genius epitomized the Renaissance humanist ideal. Complete works of his notes, does not include photos, drawings, or illustrations of his work.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
This new Great collection of his art and notes from Cheapest Books. Put together all notes and drawings of Da Vinci as found, not need reordered. A singular fatality has ruled the destiny of nearly all the MOST FAMOUS OF LEONARDO DA VINCI'S WORKS. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. Leonardos literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth. Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. Added to this, more than half of the five thousand manuscript pages which now remain to us, are written on loose leaves, and at present arranged in a manner which has no justification beyond the fancy of the collector who first brought them together to make volumes of more or less extent. Nay, even in the volumes, the pages of which were numbered by Leonardo himself, their order, so far as the connection of the texts was concerned, was obviously a matter of indifference to him. The only point he seems to have kept in view, when first writing down his notes, was that each observation should be complete to the end on the page on which it was begun.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description.
Study me reader, if you find delight in me...Come, O men, to see the miracles that such studies will disclose in nature.' Most of what we know about Leonardo da Vinci, we know because of his notebooks. Some 6,000 sheets of notes and drawings survive, which represent perhaps one-fifth of what he actually produced. In them he recorded everything that interested him in the world around him, and his study of how things work. With an artist's eye and a scientist's curiosity he studied the movement of water and the formation of rocks, the nature of flight and optics, anatomy, architecture, sculpture, and painting. He jotted down fables and letters and developed his belief in the sublime unity of nature and man. Through his notebooks we can get an insight into Leonardo's thoughts, and his approach to work and life. This selection offers a cross-section of his writings, organized around coherent themes. Fully updated, this new edition includes some 70 line drawings and a Preface by Martin Kemp, one of the world's leading authorities on Leonardo. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This is a selection of Leonardo da Vinci's writings on painting. Martin Kemp and Margaret Walker have edited material not only from his so-called Treatise on Painting but also from his surviving manuscripts and from other primary sources.
Economic analysis is also the key to measuring the efficacy of current anti-corruption instruments, and in the light of this the book finds many existing legal counter-measures lacking. On the other hand, its assessment of new international instruments
A dazzling array of invention, insight and observation from perhaps the greatest genius of Western civilisation. Towering across time as the painter of the Mona Lisa, forever famous as a sculptor and an inventor, Leonardo da Vinci was one of the greatest minds of both the Italian Renaissance and Western civilisation. His celebrated notebooks display the astonishing range of his genius. Dan Brown's The Da Vinci Code and recent in-depth biographies have stimulated renewed interest in Leonardo and his complex and enquiring intelligence. This brand-new selection of sketches, diagrams and writings from the notebooks is a beautiful and varied record of Leonardo's theories and observations, embracing not only art but also architecture, town planning, engineering, naval warfare, music, medicine, mathematics, science and philosophy. Complete with a short biographical essay describing Leonardo's life and achievements, this is the perfect introduction to a mysterious and endlessly fascinating genius.
Towering across time as the painter of the Mona Lisa, forever famous as a sculptor and inventor, Leonardo da Vinci was one of the greatest minds of both the Italian Renaissance and Western civilization. Dan Browns The Da Vinci Code and recent in-depth biographies have stimulated renewed interest in da Vinci and his complex and inquiring intelligence. This brand-new selection of sketches, diagrams, and writings from his notebooks is a beautiful and varied record of da Vincis theories and observations, embracing not only art but also architecture, town planning, engineering, naval warfare, music, medicine, mathematics, science, and philosophy. The notebooksa treasure trove of unparalleled ingenuity, curiosity, and creative energyhave inspired readers for centuries. This new selection is the perfect introduction to the mysteries of da Vinci.
Containing the latest, groundbreaking discoveries in the field, this text outlines the basics of Einstein’s theory of gravity with a focus on its most important astrophysical consequences, including stellar structures, black holes and the physics of gravitational waves. Blending advanced topics - usually not found in introductory textbooks - with examples, pedagogical boxes, mathematical tools and practical applications of the theory, this textbook maximises learning opportunities and is ideal for master and graduate students in Physics and Astronomy. Key features: • Provides a self-contained and consistent treatment of the subject that does not require advanced previous knowledge of the field. • Explores the subject with a new focus on gravitational waves and astrophysical relativity, unlike current introductory textbooks. • Fully up-to-date, containing the latest developments and discoveries in the field.
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