"He was history's most creative genius. What secrets can he teach us? The author of the acclaimed bestsellers Steve Jobs, Einstein, and Benjamin Franklin brings Leonardo da Vinci to life in this exciting new biography. Based on thousands of pages from Leonardo's astonishing notebooks and new discoveries about his life and work, Walter Isaacson weaves a narrative that connects his art to his science. He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. But in his own mind, he was just as much a man of science and technology. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history's most creative genius"--

It was to Lucania, a desolate land in southern Italy, that Carlo Levi--a doctor, painter, philosopher, and man of letters--was confined as a political prisoner because of his opposition to Italy's Fascist government at the start of the Ethiopian war in 1935. While there, Levi reflected on the harsh landscape and its inhabitants, peasants who lived the same lives their ancestors had, constantly fearing black magic and the near presence of death. In so doing, Levi offered a starkly beautiful and moving account of a place and a people living outside the boundaries of progress and time.

Written in rivetings fashion by the coauthors of The Secret War Against the Jews, Unholy Trinity tells one of the darkest tales of World War II. After the war had ended, fearing a surge of Soviet growth, the Papacy entered into an espionage alliance with British and American intelligence agents. Subsuming justice to the nascent Cold War ideology, these three powers ferreted Nazi criminals out of Europe so that they could be used in the supposedly greater fight against Communism. The Vatica's Nazi smuggling network was penetrated by Prince Anton Turkul, the great Soviet double agent who turned the operations into a sting for his masters in the Kremlin. Unholy Trinity exposes Turkul's "Red Nazi" operation for the first time and shows how Kim Philby, the infamous British-Soviet double agent, and his network were nearly sacrificed to preserve Turkul's Vatican operation. Exploring the Vatican's role in aiding Nazi criminals to escape punishment for their crimes, this book, originally published in 1991, first revealed the Vatican--Swiss bank connection to Nazi gold and documented the hidden links to Western investors in Nazi Germany. Since 1991, major revelations about the role of Swiss banks have confirmed Unholy Trinity's expose of the flight of the Nazi's stolen treasures; the new introduction and new final chapters, written by Aarons and Loftus for this edition, bring the book completely up to date and show how the media have missed the vital Vatican connection in the Swiss-bank story. Among other things, the authors demonstrage that U.S. and British code-breakers were fully aware of the Holocaust as early as 1941 but lied to the Western press; that the code-breakers bugged the Swiss banks and then buried secrets of Nazi gold transfers to protect U.S. intelligence chief Allen Dulles; and that the Australian, Brisih, and Canadian governments are still waging a campaign to keep their citizens ignorant about the Nazi war criminals living among them. Covers all these topics and more, Unholy Trinity is the definitive history of a series of profoundly disturbing cover-ups involing the Holy See, Allen Dulles, the Swiss banks, and the remnants of the Third Reich.

Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly colored, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from seventeenth-century Italy called the Academy of Linceans (or Lynxes). Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection, and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member Galileo Galilei—whom they supported at the most critical moments of his career—to the flora and fauna of Mexico, bees, fossils, and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favorite method—visual description-as a mode of scientific classification. Profusely illustrated and engagingly written, Eye of the Lynx uncovers a crucial episode in the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits, and more.

Trachtenberg's book exmines the urban transformation of Florence in the fourteenth century. Focusing on the creation of the Piazza della Signoria and the Piazza del Duomo, he documents in engaging detail how and why urban planners, in league with the civic government, enlarged these urban spaces. Articulating the design principles that served as the foundation for these urban renewal projects, Trachtenberg's book fundamentally revises our understanding of urban planning in the early modern period, countering the received claim that rational planning begins only in the Renaissance. His book also brings a new depth of understanding to the entire visual culture of Trecento Florence, demonstrating how many of the developments in painting, sculpture and architecture of this period form the basis of the achievements of the Quattrocento, particularly the discovery of perspective. Combining both empirical and post-structuralist methods, Trachtenberg's book is among the first, if not the first, to question critically many of the assumptions that have formed the basis of scholarship of Renaissance art since the sixteenth century.

"The author summarizes in this book his studies on Renaissance architecture. By combining a searching interpretation of contemporary sources with a detailed analysis of the monuments, he disposes once and for all of the old, purely aesthetic of Renaissance architecture with other manifestiations of the human mind, such as music, philosophy and science, opens up entirely new vistas. The religious symbolism of the Renaissance church and Renaissance conceptions of proportion are discussed, framing sections on Alberti and Palladio, the two principal representative if humanist architecture" - Publisher.

An intimate portrait of life in a small rural town in Tuscany recounting David Leavitt and Mark Mitchell's restoration of a dilapidated 1950's farmhouse in southern Tuscany and the process by which they became initiated into a part of Italian life that foreigners rarely see. The pleasures of the olive harvest and picking wild asparagus are juxtaposed with the vagaries of political corruption and self-perpetuating bureaucracy. Landscape and weather provide the stuff of reverie, as do the benefits of boredom and the longing for peanut butter. A celebration and exploration of a little-known part of Italy, In Maremma is also a fond if sometimes critical corrective to other more rapturous portrayals of Tuscany.