The first authoritative and illustrated survey of the life and work of one Chicago's most acclaimed architects and preservationists, John Vinci is a comprehensive and richly illustrated guide that readers interested in architecture, urban design, and historic preservation will prize.

Examines the life and accomplishment of Leonardo da Vinci.

Stretching south from 47th Street to the Midway Plaisance and east from Washington Park to the lake’s shore, the historic neighborhood of Hyde Park—Kenwood covers nearly two square miles of Chicago’s south side. At one time a wealthy township outside of the city, this neighborhood has been home to Chicago’s elite for more than one hundred and fifty years, counting among its residents presidents and politicians, scholars, athletes, and fiery religious leaders. Known today for the grand mansions, stately row houses, and elegant apartments that these notables called home, Hyde Park—Kenwood is still one of Chicago’s most prominent locales. Physically shaped by the Columbian Exposition of 1893 and by the efforts of some of the greatest architects of the nineteenth and twentieth centuries—including Daniel Burnham, Frank Lloyd Wright, Mies Van Der Rohe—this area hosts some of the city’s most spectacular architecture amid lush green space. Tree-lined streets give way to the impressive neogothic buildings that mark the campus of the University of Chicago, and some of the Jazz Age’s swankiest high-rises offer spectacular views of the water and distant downtown skyline. In Chicago’s Historic Hyde Park, Susan O’Connor Davis offers readers a biography of this distinguished neighborhood, from house to home, and from architect to resident. Along the way, she weaves a fascinating tapestry, describing Hyde Park—Kenwood’s most celebrated structures from the time of Lincoln through the racial upheaval and destructive urban renewal of the 1940s, 50s, and 60s into the preservationist movement of the last thirty-five years. Coupled with hundreds of historical photographs, drawings, and current views, Davis recounts the life stories of these gorgeous buildings—and of the astounding talents that built them. This is architectural history at its best.

In 1938 James Speyer departed Harvard's School of Design in order to become Mies van der Rohe's first American graduate student at the Armour Institute of Technology in Chicago. During the 40s and 50s he taught architecture under Mies while at the same time, as an architect in his own right, he completed houses in Chicago and Pittsburgh that represented the cutting edge of new glass-and-steel design. In 1957 Speyer traveled to Greece on a Fulbright fellowship, where he taught at the Polytechneon in Athens; upon returning to America, he became Curator of Twentieth Century Painting and Sculpture at the Art Institute of Chicago. He held this position for the next twenty-five years, and his tenure witnessed over 125 exhibitions and a remarkable expansion to the Institute's permanent collection. This volume includes a biographical essay by Franz Schulze and six accounts from Speyer's friends and colleagues who remember different aspects of his life and work. Floor plans and photographs direct special attention to Speyer's extraordinary, ultra-modernist designs—not only for houses but also for innovative exhibitions at the Art Institute during the 60s and 70s.

Leonardo da Vinci's 'A Treatise on Painting' is a collection of his writings on the science of painting, emphasizing his keen observation of expression and character. One of its most famous principles is the branching rule, which states that all branches of a tree put together at every stage of its height are equal in thickness to the trunk below them. With an aim to argue that painting was a science, da Vinci's work is a valuable resource for artists and art enthusiasts alike.

If you have ever wanted to know what makes your dog tick, why he acts the way he does, how to change the way he behaves or how to communicate and train him to a standard that you might have not dreamed possible then The Dog Vinci Code will get you back on track. The essential manual for any dog owner, John Rogerson outlines, step by step, training techniques so simple that even your dog can understand what you are trying to teach him. This book is about how to communicate with your dog on an emotional level, which will in turn give him the ability to understand everyone in your family. By understanding 'the code', you will gain more control over your dog and thereby be able to offer him more freedom and less frustration than ever before, making for a more contented family companion. This is the perfect guide for anyone who wants the best possible relationship with their dog, packed with easy-to-follow training tips, informative case studies and told with wit, humour and care.

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.