A History of Science-2 [17]
show, however, that the ancients ever thought of using them to correct defects of vision. Neither, apparently, is it feasible to determine whether the idea of such an application originated with Bacon. Another mechanical discovery about which there has been a great deal of discussion is Bacon's supposed invention of gunpowder. It appears that in a certain passage of his work he describes the process of making a substance that is, in effect, ordinary gunpowder; but it is more than doubtful whether he understood the properties of the substance he describes. It is fairly well established, however, that in Bacon's time gunpowder was known to the Arabs, so that it should not be surprising to find references made to it in Bacon's work, since there is reason to believe that he constantly consulted Arabian writings. The great merit of Bacon's work, however, depends on the principles taught as regards experiment and the observation of nature, rather than on any single invention. He had the all-important idea of breaking with tradition. He championed unfettered inquiry in every field of thought. He had the instinct of a scientific worker--a rare instinct indeed in that age. Nor need we doubt that to the best of his opportunities he was himself an original investigator.
LEONARDO DA VINCI The relative infertility of Bacon's thought is shown by the fact that he founded no school and left no trace of discipleship. The entire century after his death shows no single European name that need claim the attention of the historian of science. In the latter part of the fifteenth century, however, there is evidence of a renaissance of science no less than of art. The German Muller became famous under the latinized named of Regio Montanus (1437-1472), although his actual scientific attainments would appear to have been important only in comparison with the utter ignorance of his contemporaries. The most distinguished worker of the new era was the famous Italian Leonardo da Vinci--a man who has been called by Hamerton the most universal genius that ever lived. Leonardo's position in the history of art is known to every one. With that, of course, we have no present concern; but it is worth our while to inquire at some length as to the famous painter's accomplishments as a scientist. From a passage in the works of Leonardo, first brought to light by Venturi,[1] it would seem that the great painter anticipated Copernicus in determining the movement of the earth. He made mathematical calculations to prove this, and appears to have reached the definite conclusion that the earth does move--or what amounts to the same thing, that the sun does not move. Muntz is authority for the statement that in one of his writings he declares, "Il sole non si mouve"--the sun does not move.[2] Among his inventions is a dynamometer for determining the traction power of machines and animals, and his experiments with steam have led some of his enthusiastic partisans to claim for him priority to Watt in the invention of the steam-engine. In these experiments, however, Leonardo seems to have advanced little beyond Hero of Alexandria and his steam toy. Hero's steam-engine did nothing but rotate itself by virtue of escaping jets of steam forced from the bent tubes, while Leonardo's "steam-engine" "drove a ball weighing one talent over a distance of six stadia." In a manuscript now in the library of the Institut de France, Da Vinci describes this engine minutely. The action of this machine was due to the sudden conversion of small quantities of water into steam ("smoke," as he called it) by coming suddenly in contact with a heated surface in a proper receptacle, the rapidly formed steam acting as a propulsive force after the manner of an explosive. It is really a steam-gun, rather than a steam-engine, and it is not unlikely that the study of the action of gunpowder may have suggested it to Leonardo. It is believed that Leonardo is the true discoverer of the camera-obscura, although the Neapolitan philosopher, Giambattista Porta, who was not born until some twenty years after
LEONARDO DA VINCI The relative infertility of Bacon's thought is shown by the fact that he founded no school and left no trace of discipleship. The entire century after his death shows no single European name that need claim the attention of the historian of science. In the latter part of the fifteenth century, however, there is evidence of a renaissance of science no less than of art. The German Muller became famous under the latinized named of Regio Montanus (1437-1472), although his actual scientific attainments would appear to have been important only in comparison with the utter ignorance of his contemporaries. The most distinguished worker of the new era was the famous Italian Leonardo da Vinci--a man who has been called by Hamerton the most universal genius that ever lived. Leonardo's position in the history of art is known to every one. With that, of course, we have no present concern; but it is worth our while to inquire at some length as to the famous painter's accomplishments as a scientist. From a passage in the works of Leonardo, first brought to light by Venturi,[1] it would seem that the great painter anticipated Copernicus in determining the movement of the earth. He made mathematical calculations to prove this, and appears to have reached the definite conclusion that the earth does move--or what amounts to the same thing, that the sun does not move. Muntz is authority for the statement that in one of his writings he declares, "Il sole non si mouve"--the sun does not move.[2] Among his inventions is a dynamometer for determining the traction power of machines and animals, and his experiments with steam have led some of his enthusiastic partisans to claim for him priority to Watt in the invention of the steam-engine. In these experiments, however, Leonardo seems to have advanced little beyond Hero of Alexandria and his steam toy. Hero's steam-engine did nothing but rotate itself by virtue of escaping jets of steam forced from the bent tubes, while Leonardo's "steam-engine" "drove a ball weighing one talent over a distance of six stadia." In a manuscript now in the library of the Institut de France, Da Vinci describes this engine minutely. The action of this machine was due to the sudden conversion of small quantities of water into steam ("smoke," as he called it) by coming suddenly in contact with a heated surface in a proper receptacle, the rapidly formed steam acting as a propulsive force after the manner of an explosive. It is really a steam-gun, rather than a steam-engine, and it is not unlikely that the study of the action of gunpowder may have suggested it to Leonardo. It is believed that Leonardo is the true discoverer of the camera-obscura, although the Neapolitan philosopher, Giambattista Porta, who was not born until some twenty years after