A Yale-educated Renaissance man, S. Dillon Ripley was a Òcourtly, determined, hugely ambitious, energetic, funny, and colorful ornithologist, conservationist, and cultural standard-bearerÓ who led the Smithsonian Institution for twenty years, during its greatest period of growth. During his watch, from 1964 to 1984, the SI added eight new museums and seven new research centers and began publication of the Smithsonian magazine. It was RipleyÕs vision that transformed Òthe nationÕs atticÓ from a dusty archive to a vibrant educational and cultural institution, just as he had transformed YaleÕs Peabody museum before it. Prior to his career at the SI, and running parallel with it for the rest of his life, was RipleyÕs work as an ornithologist, begun in New Guinea in the 1930s, continued through his PhD from Harvard in 1943, and culminating in his landmark thirty-year project documenting the bird life of India. His lifelong passion for ornithology led him to positions of leadership in worldwide nature conservation. In the midst of these endeavors he was recruited in 1944 to the Office of Strategic Services, a Yalie club at the outset that became the forerunner of the modern CIA. Posted to Ceylon, he recruited and ran agents who reported from and infiltrated Japanese-held Southeast Asia. Roger D. Stone worked with Ripley on the board of the World Wildlife Fund. He has access to the Ripley familyÕs archives and photos, as well as to the voluminous archives at the Smithsonian and the National Archives, and to over forty hours of transcribed interviews, conducted with Ripley at the Smithsonian.

The true story of the last Renaissance man

A wide-ranging exploration of how music has influenced science through the ages, from fifteenth-century cosmology to twentieth-century string theory. In the natural science of ancient Greece, music formed the meeting place between numbers and perception; for the next two millennia, Pesic tells us in Music and the Making of Modern Science, “liberal education” connected music with arithmetic, geometry, and astronomy within a fourfold study, the quadrivium. Peter Pesic argues provocatively that music has had a formative effect on the development of modern science—that music has been not just a charming accompaniment to thought but a conceptual force in its own right. Pesic explores a series of episodes in which music influenced science, moments in which prior developments in music arguably affected subsequent aspects of natural science. He describes encounters between harmony and fifteenth-century cosmological controversies, between musical initiatives and irrational numbers, between vibrating bodies and the emergent electromagnetism. He offers lively accounts of how Newton applied the musical scale to define the colors in the spectrum; how Euler and others applied musical ideas to develop the wave theory of light; and how a harmonium prepared Max Planck to find a quantum theory that reengaged the mathematics of vibration. Taken together, these cases document the peculiar power of music—its autonomous force as a stream of experience, capable of stimulating insights different from those mediated by the verbal and the visual. An innovative e-book edition available for iOS devices will allow sound examples to be played by a touch and shows the score in a moving line.

American art museums flourished in the late twentieth century, and the impresario leading much of this growth was J. Carter Brown, director of the National Gallery of Art in Washington, DC, from 1969 to 1992. Along with S. Dillon Ripley, who served as Smithsonian secretary for much of this time, Brown reinvented the museum experience in ways that had important consequences for the cultural life of Washington and its visitors as well as for American museums in general. In Capital Culture, distinguished historian Neil Harris provides a wide-ranging look at Brown’s achievement and the growth of museum culture during this crucial period. Harris combines his in-depth knowledge of American history and culture with extensive archival research, and he has interviewed dozens of key players to reveal how Brown’s showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes Brown’s major role in the birth of blockbuster exhibitions, such as the King Tut show of the late 1970s and the National Gallery’s immensely successful Treasure Houses of Britain, which helped inspire similarly popular exhibitions around the country. He recounts Brown’s role in creating the award-winning East Building by architect I. M. Pei and the subsequent renovation of the West building. Harris also explores the politics of exhibition planning, describing Brown's courtship of corporate leaders, politicians, and international dignitaries. In this monumental book Harris brings to life this dynamic era and exposes the creation of Brown's impressive but costly legacy, one that changed the face of American museums forever.

Includes decisions of the Supreme Court and various intermediate and lower courts of record; May/Aug. 1888-Sept../Dec. 1895, Superior Court of New York City; Mar./Apr. 1926-Dec. 1937/Jan. 1938, Court of Appeals.

Volume contains: 194 NY 508 (Matter of Lewis) 194 NY 508 (Matter of Haggerty) 194 NY 549 (Matter of Benoit) 194 NY 548 (Matter of Wells) 194 NY 546 (Matter of Hastings) 194 NY 547 (Matter of Voelbel)