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1 вид
aspect, elevation, format, mode, type, projection, sort, species, structure, style, variety, view* * *вид м.1. ( на чертеже) viewрасполага́ть ви́ды — arrange the views2. мат. formв ви́де — as, in the form ofпринима́ть вид — assume [take (on)] the form3. (колебаний, волн, импульсов) mode4. ( внешний) appearanceгла́вный вид — front viewдополни́тельный вид — auxiliary viewканони́ческий вид — canonical formконе́чный вид — final formме́стный вид — detail (on drawings)основно́й вид — principal view (on drawings)вид пове́рхности изло́ма — appearance of fractureвид сбо́ку — side viewвид све́рху — top viewвид сза́ди — rear [back] viewвид сле́ва — left-side viewвид сни́зу — bottom viewвид спе́реди — front viewвид спра́ва — right-side view* * *1) aspect; 2) view -
2 основной вид
1) Engineering: primitive form2) Makarov: principal view (on drawings), principal view on drawings -
3 Leonardo da Vinci
[br]b. 15 April 1452 Vinci, near Florence, Italy,d. 2 May 1519 St Cloux, near Amboise, France.[br]Italian scientist, engineer, inventor and artist.[br]Leonardo was the illegitimate son of a Florentine lawyer. His first sixteen years were spent with the lawyer's family in the rural surroundings of Vinci, which aroused in him a lifelong love of nature and an insatiable curiosity in it. He received little formal education but extended his knowledge through private reading. That gave him only a smattering of Latin, a deficiency that was to be a hindrance throughout his active life. At sixteen he was apprenticed in the studio of Andrea del Verrochio in Florence, where he received a training not only in art but in a wide variety of crafts and technical arts.In 1482 Leonardo went to Milan, where he sought and obtained employment with Ludovico Sforza, later Duke of Milan, partly to sculpt a massive equestrian statue of Ludovico but the work never progressed beyond the full-scale model stage. He did, however, complete the painting which became known as the Virgin of the Rocks and in 1497 his greatest artistic achievement, The Last Supper, commissioned jointly by Ludovico and the friars of Santa Maria della Grazie and painted on the wall of the monastery's refectory. Leonardo was responsible for the court pageants and also devised a system of irrigation to supply water to the plains of Lombardy. In 1499 the French army entered Milan and deposed Leonardo's employer. Leonardo departed and, after a brief visit to Mantua, returned to Florence, where for a time he was employed as architect and engineer to Cesare Borgia, Duke of Romagna. Around 1504 he completed another celebrated work, the Mona Lisa.In 1506 Leonardo began his second sojourn in Milan, this time in the service of King Louis XII of France, who appointed him "painter and engineer". In 1513 Leonardo left for Rome in the company of his pupil Francesco Melzi, but his time there was unproductive and he found himself out of touch with the younger artists active there, Michelangelo above all. In 1516 he accepted with relief an invitation from King François I of France to reside at the small château of St Cloux in the royal domain of Amboise. With the pension granted by François, Leonardo lived out his remaining years in tranquility at St Cloux.Leonardo's career can hardly be regarded as a success or worthy of such a towering genius. For centuries he was known only for the handful of artistic works that he managed to complete and have survived more or less intact. His main activity remained hidden until the nineteenth and twentieth centuries, during which the contents of his notebooks were gradually revealed. It became evident that Leonardo was one of the greatest scientific investigators and inventors in the history of civilization. Throughout his working life he extended a searching curiosity over an extraordinarily wide range of subjects. The notes show careful investigation of questions of mechanical and civil engineering, such as power transmission by means of pulleys and also a form of chain belting. The notebooks record many devices, such as machines for grinding and polishing lenses, a lathe operated by treadle-crank, a rolling mill with conical rollers and a spinning machine with pinion and yard divider. Leonardo made an exhaustive study of the flight of birds, with a view to designing a flying machine, which obsessed him for many years.Leonardo recorded his observations and conclusions, together with many ingenious inventions, on thousands of pages of manuscript notes, sketches and drawings. There are occasional indications that he had in mind the publication of portions of the notes in a coherent form, but he never diverted his energy into putting them in order; instead, he went on making notes. As a result, Leonardo's impact on the development of science and technology was virtually nil. Even if his notebooks had been copied and circulated, there were daunting impediments to their understanding. Leonardo was left-handed and wrote in mirror-writing: that is, in reverse from right to left. He also used his own abbreviations and no punctuation.At his death Leonardo bequeathed his entire output of notes to his friend and companion Francesco Melzi, who kept them safe until his own death in 1570. Melzi left the collection in turn to his son Orazio, whose lack of interest in the arts and sciences resulted in a sad period of dispersal which endangered their survival, but in 1636 the bulk of them, in thirteen volumes, were assembled and donated to the Ambrosian Library in Milan. These include a large volume of notes and drawings compiled from the various portions of the notebooks and is now known as the Codex Atlanticus. There they stayed, forgotten and ignored, until 1796, when Napoleon's marauding army overran Italy and art and literary works, including the thirteen volumes of Leonardo's notebooks, were pillaged and taken to Paris. After the war in 1815, the French government agreed to return them but only the Codex Atlanticus found its way back to Milan; the rest remained in Paris. The appendix to one notebook, dealing with the flight of birds, was later regarded as of sufficient importance to stand on its own. Four small collections reached Britain at various times during the seventeenth and eighteenth centuries; of these, the volume in the Royal Collection at Windsor Castle is notable for its magnificent series of anatomical drawings. Other collections include the Codex Leicester and Codex Arundel in the British Museum in London, and the Madrid Codices in Spain.Towards the end of the nineteenth century, Leonardo's true stature as scientist, engineer and inventor began to emerge, particularly with the publication of transcriptions and translations of his notebooks. The volumes in Paris appeared in 1881–97 and the Codex Atlanticus was published in Milan between 1894 and 1904.[br]Principal Honours and Distinctions"Premier peintre, architecte et mécanicien du Roi" to King François I of France, 1516.Further ReadingE.MacCurdy, 1939, The Notebooks of Leonardo da Vinci, 2 vols, London; 2nd edn, 1956, London (the most extensive selection of the notes, with an English translation).G.Vasari (trans. G.Bull), 1965, Lives of the Artists, London: Penguin, pp. 255–271.C.Gibbs-Smith, 1978, The Inventions of Leonardo da Vinci, Oxford: Phaidon. L.H.Heydenreich, Dibner and L. Reti, 1981, Leonardo the Inventor, London: Hutchinson.I.B.Hart, 1961, The World of Leonardo da Vinci, London: Macdonald.LRD / IMcN -
4 Wren, Sir Christopher
SUBJECT AREA: Architecture and building[br]b. 20 October 1632 East Knoyle, Wiltshire, Englandd. 25 February 1723 London, England[br]English architect whose background in scientific research and achievement enhanced his handling of many near-intractable architectural problems.[br]Born into a High Church and Royalist family, the young Wren early showed outstanding intellectual ability and at Oxford in 1654 was described as "that miracle of a youth". Educated at Westminster School, he went up to Oxford, where he graduated at the age of 19 and obtained his master's degree two years later. From this time onwards his interests were in science, primarily astronomy but also physics, engineering and meteorology. While still at college he developed theories about and experimentally solved some fifty varied problems. At the age of 25 Wren was appointed to the Chair of Astronomy at Gresham College in London, but he soon returned to Oxford as Savilian Professor of Astronomy there. At the same time he became one of the founder members of the Society of Experimental Philosophy at Oxford, which was awarded its Royal Charter soon after the Restoration of 1660; Wren, together with such men as Isaac Newton, Robert Hooke, John Evelyn and Robert Boyle, then found himself a member of the Royal Society.Wren's architectural career began with the classical chapel that he built, at the request of his uncle, the Bishop of Ely, for Pembroke College, Cambridge (1663). From this time onwards, until he died at the age of 91, he was fully occupied with a wide and taxing variety of architectural problems which he faced in the execution of all the great building schemes of the day. His scientific background and inventive mind stood him in good stead in solving such difficulties with an often unusual approach and concept. Nowhere was this more apparent than in his rebuilding of fifty-one churches in the City of London after the Great Fire, in the construction of the new St Paul's Cathedral and in the grand layout of the Royal Hospital at Greenwich.The first instance of Wren's approach to constructional problems was in his building of the Sheldonian Theatre in Oxford (1664–9). He based his design upon that of the Roman Theatre of Marcellus (13–11 BC), which he had studied from drawings in Serlio's book of architecture. Wren's reputation as an architect was greatly enhanced by his solution to the roofing problem here. The original theatre in Rome, like all Roman-theatres, was a circular building open to the sky; this would be unsuitable in the climate of Oxford and Wren wished to cover the English counterpart without using supporting columns, which would have obscured the view of the stage. He solved this difficulty mathematically, with the aid of his colleague Dr Wallis, the Professor of Geometry, by means of a timber-trussed roof supporting a painted ceiling which represented the open sky.The City of London's churches were rebuilt over a period of nearly fifty years; the first to be completed and reopened was St Mary-at-Hill in 1676, and the last St Michael Cornhill in 1722, when Wren was 89. They had to be rebuilt upon the original medieval sites and they illustrate, perhaps more clearly than any other examples of Wren's work, the fertility of his imagination and his ability to solve the most intractable problems of site, limitation of space and variation in style and material. None of the churches is like any other. Of the varied sites, few are level or possess right-angled corners or parallel sides of equal length, and nearly all were hedged in by other, often larger, buildings. Nowhere is his versatility and inventiveness shown more clearly than in his designs for the steeples. There was no English precedent for a classical steeple, though he did draw upon the Dutch examples of the 1630s, because the London examples had been medieval, therefore Roman Catholic and Gothic, churches. Many of Wren's steeples are, therefore, Gothic steeples in classical dress, but many were of the greatest originality and delicate beauty: for example, St Mary-le-Bow in Cheapside; the "wedding cake" St Bride in Fleet Street; and the temple diminuendo concept of Christ Church in Newgate Street.In St Paul's Cathedral Wren showed his ingenuity in adapting the incongruous Royal Warrant Design of 1675. Among his gradual and successful amendments were the intriguing upper lighting of his two-storey choir and the supporting of the lantern by a brick cone inserted between the inner and outer dome shells. The layout of the Royal Hospital at Greenwich illustrates Wren's qualities as an overall large-scale planner and designer. His terms of reference insisted upon the incorporation of the earlier existing Queen's House, erected by Inigo Jones, and of John Webb's King Charles II block. The Queen's House, in particular, created a difficult problem as its smaller size rendered it out of scale with the newer structures. Wren's solution was to make it the focal centre of a great vista between the main flanking larger buildings; this was a masterstroke.[br]Principal Honours and DistinctionsKnighted 1673. President, Royal Society 1681–3. Member of Parliament 1685–7 and 1701–2. Surveyor, Greenwich Hospital 1696. Surveyor, Westminster Abbey 1699.Surveyor-General 1669–1712.Further ReadingR.Dutton, 1951, The Age of Wren, Batsford.M.Briggs, 1953, Wren the Incomparable, Allen \& Unwin. M.Whinney, 1971, Wren, Thames \& Hudson.K.Downes, 1971, Christopher Wren, Allen Lane.G.Beard, 1982, The Work of Sir Christopher Wren, Bartholomew.DY
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