Müller's Lab


Book Description

Many structures in the human body are named after Johannes Muller, one of the most respected anatomists and physiologists of the 19th century. Muller taught many of the leading scientists of his age, many of whom would go on to make trail-blazing discoveries of their own. Among them were Theodor Schwann, who demonstrated that all animals are made of cells; Hermann Helmholtz, who measured the velocity of nerve impulses; and Rudolf Virchow, who convinced doctors to think of disease at the cellular level. This book tells Muller's story by interweaving it with those of seven of his most famous students. Muller suffered from depression and insomnia at the same time as he was doing his most important scientific work, and may have committed suicide at age 56. Like Muller, his most prominent students faced personal and social challenges as they practiced cutting-edge science. Virchow was fired for his political activism, Jakob Henle was jailed for membership in a dueling society, and Robert Remak was barred from Prussian universities for refusing to renounce his Orthodox Judaism. By recounting these stories, Muller's Lab explores the ways in which personal life can affect scientists' professional choices, and consequently affect the great discoveries they make.







Painting Materials


Book Description

The combined training and experience of the authors of this classic in the varied activities of painting conservation, cultural research, chemistry, physics, and paint technology ideally suited them to the task they attempted. Their book, written when they were both affiliated with the Department of Conservation at Harvard's Fogg Art Museum, is not a handbook of instruction. It is, instead, an encyclopedic collection of specialized data on every aspect of painting and painting research. The book is divided into five sections: Mediums, Adhesives, and Film Substances (amber, beeswax, casein, cellulose, nitrate, dragon's blood, egg tempera, paraffin, lacquer, gum Arabic, Strasbourg turpentine, water glass, etc.); Pigments and Inert Materials (over 100 entries from alizarin to zinnober green); Solvents, Diluents, and Detergents (acetone, ammonia, carbon tetrachloride, soap, water, etc.); Supports (academy board, dozens of different woods, esparto grass, gesso, glass, leather, plaster, silk, vellum, etc.); and Tools and Equipment. Coverage within each section is exhaustive. Thirteen pages are devoted to items related to linseed oil; eleven to the history and physical and chemical properties of pigments; two to artificial ultramarine blue; eleven to wood; and so on with hundreds of entries. Much of the information — physical behavior, earliest known use, chemical composition, history of synthesis, refractive index, etc. — is difficult to find elsewhere. The rest was drawn from such a wide range of fields and from such a long span of time that the book was immediately hailed as the best organized, most accessible work of its kind. That reputation hasn't changed. The author's new preface lists some recent discoveries regarding pigments and other materials and the pigment composition chart has been revised, but the text remains essentially unchanged. It is still invaluable not only for museum curators and conservators for whom it was designed, but for painters themselves and for teachers and students as well.










Paint Testing Manual


Book Description







Practical Pharmacy


Book Description




The Luminous Brush


Book Description

"Illustrated with 150 beautiful paintings by the author as well as some by old masters and other contemporary artists working in the medium, The Luminous Brush is the most comprehensive how-to guide on this luminous painting medium that is experiencing a newfound popularity among today's artists."--BOOK JACKET.




Paint Testing Manual


Book Description