Historical Blunders.

Milano, Garzanti 1984, cm.14x21, pp.219, 8 tavv.in bn.ft., brossura, sovraccop.fig. Piccole fioriture alla sovraccop. Coll.Nuova Narrativa. Prima edizione.

Photograph: Sian Irvine. Boston, Periplus Editions 1999, cm.24x24, pp.160, ill.coul. hardcover, dustjacket. Rich, earthy, and fragrant - the quintessential forest food - mushrooms have been eaten around the world since ancient times. Rare mushrooms were eaten by kings and aristocrats of Europe and the emperors of Japan and China, while the more common varieties found a place in peasant food, the meaty taste adding gusto to basic fare. From such origins, mushrooms have emerged as the common thread throughout much of contemporary dining, from japanese to Tuscan to Modern British and American, Mushrooms captures this global approach, with a collection of sixty recipes from leading restaurant chefs. Photographer Sian Irvine has beautifully captured the spirit of each dish - whether the aesthetic art of the Orient, the classic flavors of Europe, or the modern fusion of both.

Foligno, CB Edizioni 2017, cm.16x22,5, pp.13o con 30 tavole a colori ft. brossura copertina figurata a colori. The anatomical drawings of Leonardo da Vinci are generally admired for their analytical character and graphical precision, or are studied from the perspective of the scientific discoveries which the artist made in a strictly anatomical context, or in those of pathological investigation. They may also be viewed in the light of contemporary knowledge and ideas without considering the full value and the novelty of their intended visualization. In this volume, centred on the contexts and methods of visualization, Paola Salvi looks at the theory and practice of the visual arts as the foundation of Leonardos anatomical drawings. which become a scientific contribution since their intention was to make visible the human body in all its parts, by means of the selection and reconstructive imagery of the drawings. Direct observation and the communicative value of visual language replace the tedious and scarcely useful verbal descriptions of anatomical texts of the time, leading the artist to the programmatic synthesis expressed around 1510: ""Therefore it is necessary to make a drawing of it as well as to describe it"". This volume therefore becomes not only a reinterpretation and a more conscious placement of the anatomical work of Leonardo in the context of the knowledge of the time, but is also the basis of a new historical framework for artistic anatomy and, above all, for the anatomical iconography which finds models of reconstruction which have come into their own right, in the works of Leonardo. Carlo Pedretti, who writes the foreword, defines the book as, ""an enterprise that requires courage and the ability to conduct a rigourous interpretive synthesis, qualities that once again I can not help but recognise in Paola Salvi