A compilation of 3M voices, memories, facts and experiences from the company's first 100 years.

This two-volume set brings together a collection of writings and speeches by James Wilson, one of only six signers of both the Declaration of Independence and the United States Constitution. His works had a significant impact on the deliberations that produced the cornerstone documents of American democracy.

This scholarly and accessible study presents “a provocative new reading” of the late sixteenth- and seventeenth-century advances in scientific inquiry (Kirkus Reviews). In The Scientific Revolution, historian Steven Shapin challenges the very idea that any such a “revolution” ever took place. Rejecting the narrative that a new and unifying paradigm suddenly took hold, he demonstrates how the conduct of science emerged from a wide array of early modern philosophical agendas, political commitments, and religious beliefs. In this analysis, early modern science is shown not as a set of disembodied ideas, but as historically situated ways of knowing and doing. Shapin shows that every principle identified as the modernizing essence of science—whether it’s experimentalism, mathematical methodology, or a mechanical conception of nature—was in fact contested by sixteenth- and seventeenth-century practitioners with equal claims to modernity. Shapin argues that this contested legacy is nevertheless rightly understood as the origin of modern science, its problems as well as its acknowledged achievements. This updated edition includes a new bibliographic essay featuring the latest scholarship. “An excellent book.” —Anthony Gottlieb, New York Times Book Review

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.