All physicists are familiar with Hooke's law of springs, but few will know of his theory of combustion, that his Micrographia was the first book on microscopy, that his astronomical observations were some of the best seen at the time, that he contributed to the knowledge of respiration, insect flight and the properties of gases, that his work on gravitation preceded that of Newton's, that he invented the universal joint, and that he was an architect of distinction and a surveyor for the City of London after the Great Fire. England's Leonardo is a biography of Hooke covering all aspects of his work, from his early life on the Isle of Wight through his time at Oxford University, where he became part of a group who would form the original Fellowship of the Royal Society. The author adopts a novel approach at this stage, dividing the book by chapter according to the fields of research-Physiology, Engineering, Microscopy, Astronomy, Geology, and Optics-in which Hooke applied himself. The book concludes with a chapter considering the legacy of Hooke and his impact on science.

This handsome book offers a unified and fascinating portrait of Leonardo as draftsman, integrating his roles as artist, scientist, inventor, theorist, and teacher. 250 illustrations.

The Salvator Mundi is the first Leonardo painting to be discovered for over a century. Following its re-emergence, it played a leading role in the landmark Leonardo exhibition at the National Gallery in London in 2011, after which it was purchased by a Russian oligarch. In 2017 it was auctioned by Christie's in New York, fetching the world record price of $450m, and now forms part of the collection of Louvre Abu Dhabi. The Salvator Mundi may be seen as the devotional counterpart to the Mona Lisa, having an extraordinary, communicative presence. The artist has reformed the very traditional subject matter in a number of ways. The elusiveness of Christ's expression suggests his spiritual origins beyond the world of the senses. The traditional sphere of the earth has been transformed into a rock-crystal orb and signifies a crystalline sphere of the heavens. In addition to its spiritual dimension, the image exploits Leonardo's optical knowledge and his growing sense of the illusiveness of seeing. Only the blessing hand is in reasonably sharp focus, with his features softly veiled. The scintillating curls of his hair are characterised in line with his theory that the physics of the curling of hair is analogous to vortex motion in water. This book looks at evidence of Leonardo's Salvator Mundi in the collections of Charles I and Charles II. It explores the appraisal of works by Leonardo at the Stuart courts, and proposes that how works attributed to Leonardo were first encountered and understood in seventeenth-century Britain would shape the wider evolution of Leonardo as a cultural icon. This volume gives a dramatic first-hand account of the modern-day discovery of the painting, from its purchase in a minor New Orleans auction house, to the cleaning of the picture that would disclose it as Leonardo's startling original, and the research processes that would uncover illustrious and obscure former owners. The book presents the definitive study of the new masterpiece.

In 'The Spiritual Works of Leo Tolstoy', readers are invited to explore the profound insights of one of the greatest Russian writers and thinkers of all time. This collection includes 'A Confession', 'The Kingdom of God is Within You', 'What I Believe', 'Christianity and Patriotism', 'Reason and Religion', and 'The Gospel in Brief', among others. Tolstoy's literary style is characterized by a sincere and contemplative approach to spiritual and philosophical questions, making this compilation a rich and thought-provoking read. The timeless themes of morality, faith, and the search for meaning in life are central to Tolstoy's writings, providing readers with a window into the author's innermost thoughts and beliefs. Leo Tolstoy, a prominent figure in Russian literature, was deeply influenced by his own spiritual journey and philosophical inquiries. His works often reflect his personal struggles with faith and his evolving views on religion, morality, and society. Tolstoy's commitment to social justice and his critique of institutionalized religion are evident throughout this collection, showcasing his reputation as a moral and intellectual leader of his time. I recommend 'The Spiritual Works of Leo Tolstoy' to readers interested in exploring the intersection of literature, philosophy, and spirituality. This compilation offers a unique opportunity to engage with Tolstoy's profound reflections on life's fundamental questions, making it a valuable addition to any scholar's library.

Translated and edited from the German account by Gabriel Tetzel, with supplementary passages from the Latin versions (printed in 1577, 1843 and 1951) of the lost account in Czech by Václav Sasek, both having been Rozmital's companions. This is a new print-on-demand hardback edition of the volume first published in 1957.

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.

Leonardo da Vinci was a brilliant artist, scientist, engineer, mathematician, architect, inventor, and even musician—the archetypal Renaissance man. But he was also a profoundly modern man. Not only did Leonardo invent the empirical scientific method over a century before Galileo and Francis Bacon, but Capra's decade-long study of Leonardo's fabled notebooks reveals that he was a systems thinker centuries before the term was coined. At the very core of Leonardo's science, Capra argues, lies his persistent quest for understanding the nature of life. His science is a science of living forms, of qualities and patterns, radically different from the mechanistic science that emerged 200 years later. Because he saw the world as an integrated whole, Leonardo always applied concepts from one area to illuminate problems in another. His studies of the movement of water informed his ideas about how landscapes are shaped, how sap rises in plants, how air moves over a bird's wing, and how blood flows in the human body. His observations of nature enhanced his art, his drawings were integral to his scientific studies, and he brought art, science, and technology together in his beautiful and elegant mechanical and architectural designs. Capra describes seven defining characteristics of Leonardo da Vinci's genius and includes a list of over forty discoveries he made that weren't rediscovered until centuries later. Capra follows the organizational scheme Leonardo himself intended to use if he ever published his notebooks. So in a sense, this is Leonardo's science as he himself would have presented it. Obviously, we can't all be geniuses on the scale of Leonardo da Vinci. But his persistent endeavor to put life at the very center of his art, science, and design and his recognition that all natural phenomena are fundamentally interconnected and interdependent are important lessons we can learn from. By exploring the mind of the preeminent Renaissance genius, we can gain profound insights into how to address the complex challenges of the 21st century.

Leo Sidebottom, a clerk in a Birmingham Factory went to war in 1915. This book is a collection of his postcards to his new wife from the trenches of France during the Great War. The images and messages will give you an experience of life in the war which changed the world. It starts with a week from his diary when he gets engaged, enlists, gets married and leaves for war with the Royal Engineers. He talks of the Politics, the topics of the day and the "rumours". With over 200 postcards depicting scenes of the devastation this book will transport you back to a different world.

A Selection of the Scientific American, History, and BOMC2 Book Clubs “An in-depth look at the anatomy and history of feet reveals their often overlooked importance in human evolution, medicine and art.” —Science News “Stylish, informative, entertaining, and pleasantly personal . . . Whether Rinzler is exploring how our feet explain or illuminate such topics as evolution, disability, racism, diet, or desire, she maintains a fascinating perspective on the peculiarities of being human.” —Rain Taxi Review of Books “This neat little book draws a clear picture of our feet, providing understanding that extends far beyond the obvious. Readers often like to walk away from a book feeling they learned something—that the author left them with a new way to look at an old idea, and this book fulfills that need.” —City Book Review “Rinzler lifts the lowly human foot to new heights in this appealing book.” —Booklist (starred review) Leonardo’s Foot stretches back to the fossil record and forward to recent discoveries in evolutionary science to demonstrate that it was our feet rather than our brains that first distinguished us from other species within the animal kingdom. Taking inspiration from Leonardo da Vinci’s statement that “the human foot is a masterpiece of engineering and a work of art,” Carol Ann Rinzler leads us on a fascinating stroll through science, medicine, and culture to shed light on the role our feet have played in the evolution of civilization. Whether discussing the ideal human form in classical antiquity, the impressive depth of the arching soles on the figures in Sandro Botticelli’s Birth of Venus, an array of foot maladies and how they have affected luminaries from Lord Byron to Benjamin Franklin, or delving into the history of foot fetishism, Rinzler has created a wonderfully diverse catalog of details on our lowest extremities. This is popular science writing at its most entertaining—page after page of fascinating facts, based around the playful notion that appreciating this often overlooked part of our body is essential to understanding what it is to be human. Carol Ann Rinzler, a former nutrition columnist for the New York Daily News, has contributed to a number of publications, including the New York Times. She is the author of more than twenty books on health and medicine, including Nutrition for Dummies, an international bestseller translated into fourteen languages.