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Notes on Contributors

Constance Moffatt

received her Ph.D. under the direction of Carlo Pedretti at the University of California Los Angeles. She wrote her dissertation on the political meaning of the urban plan and decoration of Vigevano’s new town square and the Sforza castle. As Professor of Art History at Los Angeles Pierce College she taught both art history and architectural history. Interests include Leonardo da Vinci, the history of Milan, the Sforza, and architectural history, on which she has published; Renaissance court poetry for the Sforza; and the history of Florence. She recently retired to pursue research and to finish a novel based on her grandmother, a Choctaw Indian.

Sara Taglialagamba

is a Post-doc scholar at the Ecole Pratique des Hautes Etudes (Paris, Sorbonne). Her fields of study are static and dynamic mechanics, automation, robotics, engineering, hydraulic and pneumatic devices, fountains and clockworks. Visiting professor at the UNAM Department of Robotics in Mexico City in 2014 and 2015, she will be visiting professor at UCLA (Los Angeles, USA) in 2020. She holds a fellowship at Museo Galileo in Florence and she works at the Pedretti Foundation.

Janis Bell

holds a Ph.D. in Art History from Brown University, writing on Zaccolini’s Prospettiva del Colore. She co-authored The Fabrication of Leonardo’s Treatise on Painting, 1651, with Critical Edition and English Translation with Claire Farago and Carlo Vecce, which issued in 2018. A presenter at many conferences, she has also authored several outstanding articles on Zaccolini; studies on Bellori; on the perspective of shadows and on Leonardo’s perspective; Domenichino and Zaccolini on the disposition of colors; on acuity, color and chiaroscuro; eleven entries in the Dictionary of Art; and on Leonardo and Alhazan. She currently lives in Italy, working as an independent scholar.

Andrea Bernardoni

is a researcher at the Institute and Museum of the History of Science in Florence (Museo Galileo). He received his Ph.D. from the University of Florence and the Museo Galileo with a dissertation on the pyrotechnics of Vannoccio Biringuccio. His interests and publications range from all aspects of Leonardo da Vinci’s bronze horse to the notebooks, to the artist’s studies of artillery, casting, and technology; from metals and minerology to the four elements. His many public lectures, curatorial experience, and video and documentary works on Leonardo make him one of the most active Leonardo scholars today.

Marco Carpiceci

is an architect, who teaches in the Department of Surveying, Analysis and Design of the Environment and Architecture at the University of Rome (La Sapienza), has worked primarily on the projects of Leonardo since the 1970s, as well as studied such monuments as the tomb of Hadrian V in S. Francesco in Viterbo, the Angevin Tower of the Castello del Monte in Montella, the church of S. ­Maria Maggiore in Tuscania, the Reggio of Caserta, S. Anna dei Lombardi, the Aragonese castle in Gaeta, and well as buildings in Cappadocia. He also is very involved in the development of software geared toward representing three-dimensional buildings in a two-dimensional projection for use in conservation and restoration.

Paolo Cavagnero

is a Post-doc fellow at the Polytecnico of Turin in the Department of the Environment, Land and Insfrastructure Engineering. His Ph.D. is in architectural engineering. His recent research in on hydrostatics, hydraulics and fluid mechanics in the works of Leonardo da Vinci, a pioneer in this field, as well as hydraulics in historical gardens and the use of water wheels for electricity production.

Fabio Colonnese

holds a Ph.D. in architectural history who teaches at the University of Rome (La Sapienza) in the area History, and Restoration of Architecture Drawing and Restoration of and specializes in architectural engineering, visual arts and communication and media. Among other publications, he has authored works on such diverse topics as: architectural drawings, Leonardo da Vinci’s central-plan temples, Manuscript B, symmetry in sixteenth century buildings, rock-cut buildings in Turkey, the Campidoglio in Rome, the tomb of Porsenna, John Ruskin, Alvaro Siza, and Edgar Allan Poe and architecture.

Kay Etheridge

is a professor of biology at Gettysburg College. She received her doctorate in Zoology from the University of Florida. Her interests range from comparative physiology to creativity in art and science, on culture and knowledge, and women in science. Recently she has published on Maria Sibylla Merian, a pioneering naturalist. Her interest in Leonardo grew from an interest in representations of knowledge, with this volume’s topic originating in the 2012 NEH Institute on Leonardo da Vinci: Between Art & Science.

Diane Yvonne Francis Ghirardo

is a professor of architecture at the University of Southern California. Her graduate work was at Stanford University. She has taught and lectured widely here and abroad. She is also the author of several books and essays on architectural history and theory, which feature a broad rage of interests from the Italian ­Renaissance to women’s spaces and twentieth century architecture. She has translated Aldo Rossi’s The Architecture of the City. Honors include the ACSA Distinguished Professor Award in 1998–99 and a Guggenheim Fellowship.

Claudio Giorgione

received his doctorate in Modern Letters (history of art) from the University of Milan with a thesis on Bernardino Luini. He is curator of the Department of Leonardo, Art and Science in the National Museum of Science and Technology Leonardo da Vinci in Milan. He has published on Leonardo’s models; automatons and robots, as well as on the tiburio of the Duomo of Milan. He has also curated several Leonardo shows that traveled internationally.

Domenico Laurenza

is a science historian with an interest in the history of art and visual culture. Of particular interest are the history of anatomy and technology, Leonardo da Vinci, and the history of geology. He trained in medicine at the University of Naples and received a Ph.D. in historical sciences at the Scuola Superiore di ­Studi Storici, San Marino. He has worked on the Codex Leicester and is also a consultant at the Museo Galileo in Florence. A lecturer and visiting professor at many universities, he is also widely published, most recently on Leonardo.

Catherine H. Lusheck

received her Ph.D. in the history of art from the University of California Berkeley. She stayed in the Bay Area and is associate professor at the University of San Francisco, where she teaches early modern European art and curatorial practice. She is Program Director of Art History/Arts Management. A specialist on Peter Paul Rubens, she recently authored Rubens and the Eloquence of ­Drawing (2017) and earlier wrote on Leonardo and Rubens and the rhetoric of liveliness for an NEH Institute “Leonardo da Vinci: Between Art & Science.” Among her awards, she was a CASVA Fellow, a Metropolitan Museum of Art Fellow, an intern in the J. Paul Getty Museum, and received the Distinguished Teaching Award at USF.

Silvio Mara

obtained his Ph.D. from Catholic University in Milan in history and literature with a dissertation on the historians of Leonardo da Vinci in Milan during the eighteenth and nineteenth centuries. He is Docente at Catholic University, specializing in Baroque art and architecture, and holds a post-doc from the Istituto Nazionale di Studi sul Rinascimento. He has authored many articles on a range of topics including the historians of Leonardo, unedited archival notebooks, as well as on artists and collectors. His work, Contributo allo svilippo della scrittura contemporanea al valico tra le arti letteraria e figurativa, received the Giovanni Testori award in 2015.

Jill Pederson

is Associate Professor of Art History at Arcadia University in Philadelphia, Pennsylvania. She teaches early modern art history, and studies court culture, history of science, gender, and material culture. Her forthcoming book, Leonardo, Bramante, and the ‘Academia’: Art and Friendship in Fifteenth-Century ­Milan (Harvey Miller/Brepols) continues a theme from her dissertation. She received her Ph.D. from Johns Hopkins University. Her research has been supported by the Center for Medieval and Renaissance Studies at UCLA, the American Philosophical Society, the Renaissance Society of America, the Kress Foundation, and the Fulbright Foundation. She has lectured and published on the followers of Leonardo, the Leonardeschi, and contributed to a number of volumes on Renaissance art.

Richard Schofield

is Professor of Architectural History at the Istituto Universitario do Architettura di Venezia (UIAV), lecturing mainly on ‘400 and ‘500 architecture. After studies in Greek and Latin literature at Oxford, he obtained his Ph.D. at the Courtauld Institute. His interests include Greek sculpture, fifteenth and sixteenth Italian architecture and eighteenth century English architecture. While professor of Art History at Nottingham University, he also served as Director of the University Art Gallery. Widely published on Leonardo and Bramante in Milan, the duomo of Milan, Giovanni Antonio Amadeo, Lombard architecture, he has also translated Vitruvius’ On Architecture (2009).

Cristiano Tessari

obtained his degree in architecture at the UIAV in Venice, with a thesis on Spanish architecture of the sixteenth century, a subject on which he has published internationally. He later received his doctorate at the UIAV in Architecture and Urbanism. He is now Professor in the history of architecture, historical cities and town planning at the University of Udine. His focus has been on all’antica architecture in Spain and Italy. Recently, he has worked on the reconstruction of the built environment in Italy after its destruction in WWII.

Marco Versiero

is at the Ente Raccolta Vinciana after various honors and a post-doc in France. His interests—and post-doctoral habilitation research—is in the history of political institutions and doctrines and political philosophy. He has published on these topics and particularly as they pertain to Leonardo. He authored a recent monograph on Leonardo, various articles about the political allegories, prophecies, deluge drawings of Leonardo, as well as the famous library owned by the artist.

Raffaella Zama

is an art historian specializing in the painters of Cotignola, Gli Zaganelli and Girolamo Marchese. She currently teaches at Liceo Scientifico “Ricci Curbastro” in Lugo, Ravenna. Her interests include Leonardo, the Sforza family, and painters of the Romagna.