1 00:00:13,140 --> 00:00:19,300 Thank you. Thank you very much. Thank you. Yes. 2 00:00:19,850 --> 00:00:29,780 So we start our and we have put a timeline here because we wanted to talk about how 3 00:00:30,530 --> 00:00:36,870 we arrived at what you can see today in the Treasury and Treasury in the gallery. 4 00:00:36,890 --> 00:00:49,850 So around 2010, I remember I was at a conference in France in tour and I was talking with a friend about the needed Barbaro. 5 00:00:50,180 --> 00:00:53,629 That needed Barbaro is this character you can see here? 6 00:00:53,630 --> 00:01:06,770 I don't know if this works. No, I was very interested in him because he was a scholar living in Venice in the 16th century. 7 00:01:07,100 --> 00:01:15,739 He was a polymath and patron of the arts. His villa near Treviso, which is my birthplace. 8 00:01:15,740 --> 00:01:20,299 So I felt also a connection in geographical terms with the nearly. 9 00:01:20,300 --> 00:01:31,430 Barbaro was designed by Andrea Palladio and decorated by Paolo Veronese as so he was an active patron of the arts and I was 10 00:01:31,430 --> 00:01:41,209 interested in this character because he published several books and we are lucky enough on several different subjects. 11 00:01:41,210 --> 00:01:50,630 So he he was interested in several subjects, including philosophy, geometry, perspective, architecture. 12 00:01:50,630 --> 00:01:58,340 His commentary on Vitruvius was illustrated by anthropology and published in Venice in 1556, the first edition. 13 00:01:59,480 --> 00:02:05,750 I was interested because at the Biblioteca my China in Venice, they have a collection, 14 00:02:05,750 --> 00:02:11,240 big collection of his manuscripts and of course a lot of his printed books. 15 00:02:11,270 --> 00:02:19,069 So in 20 1213, I had some grants from the Royal Society of Edinburgh, 16 00:02:19,070 --> 00:02:30,770 the British Academy and the Delmas Foundation to start my work at the March on the Library, considering Barbara's manuscript. 17 00:02:30,770 --> 00:02:35,210 So this started like my research started from there. 18 00:02:37,070 --> 00:02:42,469 So Laura and I arrived to St Andrew's in the same year, so we both came to send Andrew's in 2010, 19 00:02:42,470 --> 00:02:47,720 myself, as first as my books Cataloguer, and then as Rare Books Curator, Rare Books Librarian. 20 00:02:48,500 --> 00:02:53,090 And I remember in that the winter of that year meeting in the windowless 21 00:02:53,090 --> 00:02:55,970 basement of the university library where the special collections used to live. 22 00:02:56,840 --> 00:03:05,350 And we started our conversation as curator and academic do, and we found quite quickly that we worked on the same same level. 23 00:03:05,630 --> 00:03:12,440 We could work together. And as you began looking for material, I remember as this project was beginning, 24 00:03:13,070 --> 00:03:17,990 you were looking for material in the collections locally that you could work on as well as further afield. 25 00:03:18,000 --> 00:03:23,840 Yes, I was interested to see if in my own institution we had something which could be related to the near the border. 26 00:03:24,020 --> 00:03:27,740 And in fact, it was surprisingly there was in St Andrew's. There was indeed, yes. 27 00:03:28,790 --> 00:03:38,179 So among various books we have in St Andrew's, there is a one of the commentary of Vitruvius by Barbaro, 28 00:03:38,180 --> 00:03:48,499 illustrated by Bellagio, the second edition, Venice, 1567, which heads in the binding an entire 16th century mass hidden in it. 29 00:03:48,500 --> 00:03:57,770 So we did a lot of work on this, and Dario helped me to have the binding open and to find out what was inside. 30 00:03:57,770 --> 00:04:10,550 And we did a lot of work together at the beginning, so this gave me the enthusiasm to set up a collaborate, a collaborative project on the neoliberal. 31 00:04:10,790 --> 00:04:17,980 And I was lucky enough to be awarded a Leverhulme Trust International Network with Project Partners, 32 00:04:18,000 --> 00:04:25,010 the University of St Andrew's de Marchant Library in Venice, of course, and this the Centre for Renaissance Studies in tours. 33 00:04:25,910 --> 00:04:32,000 And again, I was very lucky to find in the directors of these two institutions. 34 00:04:32,000 --> 00:04:43,010 So Phillip Hendricks for the Century Tour and Maritza Masina, the director of the Biblioteca Mirjana, two enthusiastic partners. 35 00:04:43,010 --> 00:04:55,880 So they both were extremely interested in what we were doing and they both gave us a lot of support in this work around this polymath. 36 00:04:56,600 --> 00:05:04,700 We set up this network which ended up having more than 40 scholars involved, including academics, 37 00:05:04,700 --> 00:05:12,859 librarians and all sorts of different categories of people working around the themes that they needed. 38 00:05:12,860 --> 00:05:28,430 Barbara was was. I'm her thing in his during his time, we created a website where we put a lot of content related, 39 00:05:28,670 --> 00:05:35,360 including, for instance, the census of Danielle Barber's additions. 40 00:05:36,440 --> 00:05:42,980 There are some various materials that we thought could be of interest for scholars. 41 00:05:45,570 --> 00:05:47,399 So I joined the network as well. 42 00:05:47,400 --> 00:05:53,640 And this was really the first time that Laura and I began working officially together was the formation of this network. 43 00:05:54,120 --> 00:05:59,460 And as well, the two exhibitions that came out of came out of the Ibrahim Project. 44 00:05:59,790 --> 00:06:04,800 We did a small exhibition at St Andrews. Again, there was a couple of books, but also St Andrew's has very little exhibition space, 45 00:06:05,700 --> 00:06:12,600 but we managed to pull together a small exhibition of four very important books, the images that are there on on your right hand side. 46 00:06:13,980 --> 00:06:18,600 And that was put together for the network coming to St Andrew's as well. 47 00:06:18,630 --> 00:06:22,530 Yes. So we had all these people coming there. 48 00:06:22,530 --> 00:06:27,420 We had very interesting discussions and we had our little exhibition. 49 00:06:27,600 --> 00:06:37,270 And you can see at the top, right, this book I was mentioning with an entire 16th century French moss hidden in the binding. 50 00:06:38,460 --> 00:06:49,380 The bigger event we organised on that occasion was an exhibition of the merchant library in Venice at the heart of St Mark's Square. 51 00:06:49,380 --> 00:06:56,820 And you can see the bottom right, the kind of exhibition space we had at our disposal. 52 00:06:57,120 --> 00:07:05,129 And I worked with Suzi Marconi here with me in the centre, who is curator of manuscripts and rare books of the Bibliotheque Nationale. 53 00:07:05,130 --> 00:07:11,130 Marciano a fantastic colleague, and so the director was a fan of our project. 54 00:07:11,130 --> 00:07:16,320 But Suzi really was the person who helped us put everything together. 55 00:07:17,010 --> 00:07:25,260 The books at the National Library in Venice are the most important books we have now on this important figure on the native Barbaro. 56 00:07:26,100 --> 00:07:29,880 And the exhibition was extremely successful. 57 00:07:30,060 --> 00:07:37,410 It was a surprise for us because it was merely and you can see it there, it was merely an exhibition of books and manuscripts. 58 00:07:37,410 --> 00:07:42,090 We didn't have all this fancy gadgets we have here for our new exhibition. 59 00:07:42,090 --> 00:07:52,590 It was a bear exhibition of book and manuscripts, but we were able to create a narrative around it and we had a lot of interested people. 60 00:07:53,310 --> 00:08:04,830 The show was planned to be to stay on for two months, but we had so many visitors that the library decided to extend it. 61 00:08:04,830 --> 00:08:11,490 So in the span of less than three months, we had 37, more than 37,000 visitors. 62 00:08:11,850 --> 00:08:17,400 And for us it was an enormous success because we would have never imagined something like this. 63 00:08:17,610 --> 00:08:26,640 All the guided tours were fully booked. We had to split people into groups and we had to extend the run of the exhibition, as I said. 64 00:08:26,940 --> 00:08:27,489 And Derek, 65 00:08:27,490 --> 00:08:38,460 who came to Venice several times to talk with us about what we were doing in Venice and to set up fruitful links between St Andrew's and Venice. 66 00:08:40,050 --> 00:08:47,300 So why? We spent the last 5 minutes talking about Danieli Barbara when we were here to talk about Leonardo and the exhibition, the. 67 00:08:47,340 --> 00:08:52,110 Barbara Yes, but indeed, I mean. Barbara And really it's kind of it's twofold. 68 00:08:52,110 --> 00:08:57,569 One, this process of developing a network and kind of building relationships is something 69 00:08:57,570 --> 00:09:01,260 that is transferable and certainly transferred to what we've done here in Oxford. 70 00:09:01,950 --> 00:09:06,239 But to Barbara took us to the British Library, which was quite a fateful trip. 71 00:09:06,240 --> 00:09:10,830 So when the Venice exhibition closed and we realised it was going to be such a, such a success, 72 00:09:11,460 --> 00:09:15,900 we both had the idea of doing something similar in the UK to see if we could pull off something similar in the UK. 73 00:09:16,650 --> 00:09:22,320 As part of the research project, Laura had been to the British Library and it seemed quite an important book. 74 00:09:22,320 --> 00:09:30,990 Yes, because of what Alex was mentioning at the beginning, that it was working on a library of of a page. 75 00:09:30,990 --> 00:09:36,990 One scholar in fact was the dedicated of the newly Barbara St is on perspective 76 00:09:37,320 --> 00:09:44,670 and luckily I found the video a copy of Barbara's additional perspective, 77 00:09:44,670 --> 00:09:48,000 heavily annotated by an Italian renaissance hand. 78 00:09:48,420 --> 00:09:59,940 And I was lucky enough in that period to be a fellow visitor to the Centre for Italian Renaissance Studies of Harvard University in Florence, 79 00:10:00,630 --> 00:10:07,080 where with me there were other fellows who were experts in recognising 16th century hands. 80 00:10:07,080 --> 00:10:17,790 So dialoguing with my friends and colleagues, I was able to identify the hand of this person who was annotating the video book. 81 00:10:17,790 --> 00:10:22,590 And in fact it was not that she knew who is the dedicatory of then either. 82 00:10:22,620 --> 00:10:31,530 Barbara's due to some perspective. So the Bible was our first point of contact because there was this finding. 83 00:10:31,680 --> 00:10:39,270 So we took initially took to the British Library this idea of doing a Barbara exhibition to the British Library, and that meeting went okay. 84 00:10:40,200 --> 00:10:44,970 But Barbara being Italian, all of the works being Italianate or in. 85 00:10:45,020 --> 00:10:51,040 Martin. It was a bit a bit too dense for for an English audience, English speaking audience. 86 00:10:51,610 --> 00:10:55,120 And also, it was too narrow. Coming away from that, though, 87 00:10:55,120 --> 00:11:00,909 and some suggestions were made that actually helped influence the decisions that we've made for thinking through influence, 88 00:11:00,910 --> 00:11:08,139 thinking through the suggestions. You know, think about anniversaries as any big exhibition does finding an anniversary to hang an exhibition 89 00:11:08,140 --> 00:11:13,750 on and open up the spectrum of what you're thinking about with this kind of narrow individual. 90 00:11:14,920 --> 00:11:23,770 And so we left the British Library. We left the British Library and having to stay in the train for 7 hours to go home, 91 00:11:24,220 --> 00:11:33,430 we really started thinking and we had our notebooks and we had did a lot of doodling and sketches and things. 92 00:11:33,430 --> 00:11:42,430 And so the curators of the bio gave us this idea of try and broaden a bit the theme of what we were thinking. 93 00:11:42,730 --> 00:11:47,950 So Barbara was finding architecture fun in perspective geometry. 94 00:11:47,950 --> 00:11:51,310 So we were considering this bigger fields. 95 00:11:52,600 --> 00:12:01,600 And so really on that occasion, on that train ride, we started thinking in 3D and really the, 96 00:12:01,600 --> 00:12:08,050 the seeds for everything you can see today in our project started, 97 00:12:10,210 --> 00:12:22,090 we thought about focusing more on illustrations so we wouldn't be linked to a specific language or so illustrations should have been our focus. 98 00:12:22,300 --> 00:12:32,500 And we were we decided to focus on geometry because the treatise on perspective was so relevant and the manuscripts 99 00:12:32,500 --> 00:12:39,430 are the china are so relevant and not really studied as much as Barbara's contribution or architecture. 100 00:12:39,440 --> 00:12:48,339 So geometry was our field. And then we bought some books in the shop regarding geometry. 101 00:12:48,340 --> 00:12:51,700 And we had in this train ride a lot of books we were looking at. 102 00:12:51,730 --> 00:12:55,930 Yeah, in fact we voted a couple of those books for the bookshop here because they were so influential. 103 00:12:56,020 --> 00:13:03,520 Yes. And so the bill, as they said, already suggested us to look into anniversaries, 104 00:13:03,520 --> 00:13:11,230 because this could have helped us to shape our narrative and also to potentially give access to funding. 105 00:13:11,560 --> 00:13:16,970 And so 2019 and as everybody knows now, we're not. 106 00:13:17,740 --> 00:13:29,080 So. Wow. So for us, it was a complete I mean, from that minute we understood that we were going to do something related to this. 107 00:13:29,080 --> 00:13:33,100 Yeah, 2016 was also an important year for me as well. 108 00:13:33,100 --> 00:13:38,379 I changed, changed careers, so I came down from St Andrew's to Oxford. 109 00:13:38,380 --> 00:13:44,650 Take up the post at Modlin in September of 2016, which was a good move, 110 00:13:44,650 --> 00:13:48,820 a fortunate move for thinking through St Andrew's has one gallery to create an exhibition. 111 00:13:48,820 --> 00:13:54,790 And as I came to Oxford and started making my way through the landscape of 112 00:13:54,790 --> 00:13:58,510 the various exhibitions and museums that were here and meeting the curators, 113 00:13:59,320 --> 00:14:02,620 we realised that the soil here in Oxford was, was fertile. 114 00:14:02,620 --> 00:14:06,880 It was, it was ready and willing to, to, to do something. 115 00:14:07,270 --> 00:14:15,069 So the, the other fortuitous meeting was taking meeting with Matti Slavin, who's head of exhibitions here at the Bodley. 116 00:14:15,070 --> 00:14:21,370 And we had sewn together a kind of loose package of what we would like to have done with thinking 3D as far as an exhibition. 117 00:14:21,370 --> 00:14:26,139 And we were introduced to Maddie within a month or two of me being here and Maddie, 118 00:14:26,140 --> 00:14:32,110 her energy and her enthusiasm saw the potential in our project and helped guided 119 00:14:32,110 --> 00:14:35,110 us through the process of putting together an exhibition here at the Bodleian, 120 00:14:35,110 --> 00:14:40,389 but probably more importantly, also opened up a network to other glam institutions sorry gardens, 121 00:14:40,390 --> 00:14:48,549 libraries, archives, museums, institutions where many of the other thinking 3D satellites, projects, 122 00:14:48,550 --> 00:14:52,660 exhibitions and conferences and things are taking place throughout the year now because 123 00:14:52,660 --> 00:14:57,790 we didn't say that our project started to become even bigger than just one exhibition. 124 00:14:58,270 --> 00:15:08,830 We started having this idea of creating a network of events or initiatives which ended up being successful. 125 00:15:10,120 --> 00:15:19,599 So Madeline Slaven informed us about context that the plan already had with Bill Gates 126 00:15:19,600 --> 00:15:24,940 curator Fred Schroeder about the possibility of bringing Codex Leicester to the billion. 127 00:15:25,180 --> 00:15:32,170 And she of course put us in contact with Professor Martin Kemp. 128 00:15:32,650 --> 00:15:43,600 I'm very pleased to have him here today and we explore together the possibilities of doing an exhibition on the Codex Leicester and apply. 129 00:15:43,600 --> 00:15:53,530 And we. Our best to apply our concept, which was born thinking about geometry. 130 00:15:53,530 --> 00:16:13,270 But we tried to again expand this on a broader level to understand to include this fantastic manuscript into our thinking, 131 00:16:13,960 --> 00:16:18,160 although it was impossible in the end to bring the manuscript here. 132 00:16:18,700 --> 00:16:23,110 We still have an important presence in the exhibition with the Coda scope. 133 00:16:23,830 --> 00:16:28,059 For the first time in the UK, the Coda scope will go the bell. 134 00:16:28,060 --> 00:16:33,700 When? Where? In fact, the exhibition on the Codex Leicester will go in June. 135 00:16:34,480 --> 00:16:36,129 But we are, we are very happy, 136 00:16:36,130 --> 00:16:47,890 we're very pleased to have this great resource here at the Bodleian to explore one of the most important manuscripts that Leonardo left us. 137 00:16:48,730 --> 00:16:58,900 The resource is revolutionary in the ways in which can have can give access to the public to read, not just manuscript. 138 00:16:59,080 --> 00:17:04,330 It's also quite unique. I mean, in book exhibitions you normally just see a page of a book, but with the cut of scope, 139 00:17:04,330 --> 00:17:10,720 you can turn through the entire manuscript, you can see transcriptions and translations, explanations of the illustrations. 140 00:17:11,080 --> 00:17:20,680 And so it's, it's quite a fantastic resource. So. So once they could access to feed it out of the picture, we turned back to our original idea. 141 00:17:20,690 --> 00:17:25,010 We're thinking 3D and very quickly we found our spirit guides. 142 00:17:25,220 --> 00:17:32,660 This is from Luca Pacioli. Luca Pacioli and Leonardo worked together in Milan for some time. 143 00:17:33,620 --> 00:17:37,850 Only helped Leonardo in geometry. 144 00:17:38,450 --> 00:17:48,830 And Leonardo contributed his own geometrical drawings to Luca Pacioli, 1509 publication d'Avignon proportion, which is in the exhibition. 145 00:17:49,760 --> 00:17:51,530 And we found this painting. 146 00:17:51,530 --> 00:17:56,990 I mean, we both seen this painting and knew of this painting, but we found this painting encapsulated so much of what we were trying to do. 147 00:17:57,030 --> 00:18:02,839 Thinking through the you have pacioli with his students finally dressed but he's teaching. 148 00:18:02,840 --> 00:18:10,879 He's looking at a table. You've got books and objects. He's got his his tablet there that he's drawing with chalk, showing how theorems work. 149 00:18:10,880 --> 00:18:18,260 And he's got this kind of weird aethereal glass glass polyhedra that's filled half filled with water. 150 00:18:18,920 --> 00:18:23,569 So this idea of kind of thinking and communicating and contemplating brought it all together. 151 00:18:23,570 --> 00:18:33,860 And so we decided quite early on that putting all in his portrait would be integral to our exhibition, and in fact, we blow them up larger than life. 152 00:18:36,140 --> 00:18:43,910 Another thing that we learned from the Barbara project and we implemented in this new project very soon, 153 00:18:43,910 --> 00:18:52,129 was this idea of branding a research project, which is not something that you automatically would t think of doing. 154 00:18:52,130 --> 00:18:58,790 But for Barbara, we had this nice spiky board that you could see in the home page of our website, 155 00:18:58,790 --> 00:19:10,279 and it worked exceptionally well because it was a way of having a project recognisable and people remembered it and it was a very, 156 00:19:10,280 --> 00:19:19,970 very useful strategy to have. And so for thinking 3D, of course, one of the first things we did was branding. 157 00:19:20,690 --> 00:19:30,320 We appointed a graphic designer, some convinced, you see, yes, but a very happy and enthusiastic collaborator. 158 00:19:30,560 --> 00:19:45,469 And we went through several different stages of this branding initiative and still on the basis of some of the sketches we did in this train ride, 159 00:19:45,470 --> 00:19:55,730 this idea of having a cube with letters designed on top of it in the end came up very nicely. 160 00:19:55,730 --> 00:20:02,900 So we decided that this was going to be our graphic presence. 161 00:20:05,630 --> 00:20:14,120 We also knew on the experience of the Native project that we had to have an online presence very soon. 162 00:20:14,570 --> 00:20:26,060 And so we had our website, which is hosted and funded by the University of St Andrews, and it came really early in our research project. 163 00:20:26,390 --> 00:20:32,390 The website was designed by Carlo Cassata, who is an art historian, 164 00:20:32,390 --> 00:20:41,930 and we found this extremely helpful not to have just a graphic designer and a computer specialist and a specialist, 165 00:20:41,930 --> 00:20:50,360 but also an art historian working with us. And it was a resource that we started to populate with content. 166 00:20:51,800 --> 00:20:59,420 We have posts by friends and colleagues who contribute with their research students, 167 00:20:59,420 --> 00:21:03,380 a lot of students from the University of St Andrew's and elsewhere. 168 00:21:04,280 --> 00:21:13,309 Now we can count on more than 40 contributors, and you see here the long list of the actual current contributors. 169 00:21:13,310 --> 00:21:17,330 But clearly this will become bigger and bigger as we go on. 170 00:21:18,440 --> 00:21:25,610 And we knew that the website was going to work like a hub for content, 171 00:21:25,610 --> 00:21:32,929 information and links to various activities since the early days of our project. 172 00:21:32,930 --> 00:21:40,460 And as we were mentioning, we understood that Oxford could have been interested in our concept more widely. 173 00:21:40,490 --> 00:21:49,190 So the website is like the point in which all these events and activities are now listed. 174 00:21:49,580 --> 00:21:56,780 We also knew that the other web presence everybody has to grapple with now is social media, and so got onto the social media bandwagon quite early. 175 00:21:56,850 --> 00:21:59,990 We opened up a Facebook page and Twitter and then later Instagram. 176 00:22:00,620 --> 00:22:03,690 And each of these has provided successful in their own right. 177 00:22:03,710 --> 00:22:06,920 I mean, each each stream is managed by different people with different content. 178 00:22:07,190 --> 00:22:11,900 So they're not just kind of regurgitating material from from one place to another. 179 00:22:12,830 --> 00:22:17,750 And it's been a good way to get in touch with a number of people across the globe. 180 00:22:17,750 --> 00:22:23,600 But also, it's kind of inspired other exhibitions that are going to be popping up in other content that's coming into the moment. 181 00:22:23,810 --> 00:22:26,810 In total, we have 15,000 followers. 182 00:22:27,950 --> 00:22:35,660 And so the what, again, gives us a lot of enthusiasm is we published a lot of images of books, 183 00:22:36,590 --> 00:22:39,770 and sometimes we show books from different perspectives. 184 00:22:39,770 --> 00:22:44,299 So it's not the common digitised object. 185 00:22:44,300 --> 00:22:54,800 Image Flaps Seen from above. We look at books like three dimensional objects and we saw that the public is really interested in this. 186 00:22:54,810 --> 00:23:01,370 So the social media is another tool for us to understand how the potential 187 00:23:01,370 --> 00:23:08,960 of what we are doing as researchers could be communicated to a wider public. 188 00:23:09,080 --> 00:23:13,219 So from the project to the exhibition, we began planning in earnest. 189 00:23:13,220 --> 00:23:19,370 The final stages of the exhibition towards the end of 2017, louder came down for quite a quite a busy week, 190 00:23:19,370 --> 00:23:24,319 a very busy week where we called up several hundred books in the reading room to see what we hear from the review. 191 00:23:24,320 --> 00:23:27,080 And thank you very much. You've been very kind. 192 00:23:28,580 --> 00:23:34,280 And a lot of what you'll see here, I mean, we we knew a lot of the books that we had wanted to include in the exhibition, 193 00:23:34,280 --> 00:23:41,600 having worked with the collections at St Andrew's and further afield for for a long period of time, we knew we were looking for certain books. 194 00:23:41,840 --> 00:23:48,110 But as with anything coming to a new collection, you see new copies of books or books that have been, you know, 195 00:23:48,110 --> 00:23:52,249 have marginalia or have been embellished in certain ways that tell certain stories about the collection. 196 00:23:52,250 --> 00:23:54,530 Here, for example, you'll see a few things here. 197 00:23:54,530 --> 00:24:00,590 This is a first that you can see Ludo holding up 3D glasses, looking at a 21st century 3D book, which didn't make the cut. 198 00:24:01,970 --> 00:24:07,580 But for example, I mean, one of my favourite books that's in the exhibition is the Naismith Moone Book, his Moone publication from the 1860s, 199 00:24:07,910 --> 00:24:15,470 where he photographed plaster cast models of the moon and sold them off as actual pictures of the lunar surface or have aliases. 200 00:24:16,130 --> 00:24:19,430 Vovo, which is part of his Salena Griffin, a 1640s. 201 00:24:19,460 --> 00:24:23,540 That is the opening we have in the exhibition. But Charlie there. 202 00:24:24,090 --> 00:24:27,350 Yeah, of course. And then more. 203 00:24:27,710 --> 00:24:31,220 We met as curators. Here we are with Martin Kaufmann. 204 00:24:31,220 --> 00:24:38,629 We decided to have a case dedicated to manuscripts because we wanted to see what was there before Leonardo came on the scene. 205 00:24:38,630 --> 00:24:42,980 So we selected a few manuscripts. 206 00:24:43,280 --> 00:24:49,339 Then also we wanted to have something contemporary and so we met Russel Mariette there in the 207 00:24:49,340 --> 00:24:55,760 centre with who was a printer in residence of the Centre for the study of the book at the time, 208 00:24:55,760 --> 00:25:03,950 and we selected his book. In fact, you can see it just that year that the body had acquired interest in intersections and then. 209 00:25:04,030 --> 00:25:12,489 He has come to the symbolic. The source is quite fortuitous and reports over the top, although that one is not the opening we show in the exhibition. 210 00:25:12,490 --> 00:25:17,350 But it was another book that we decided was very important for our narrative. 211 00:25:17,350 --> 00:25:23,500 So we saw hundreds of books. 212 00:25:24,460 --> 00:25:28,480 The the other thing that we did when we weren't looking at books is we were meeting people. 213 00:25:28,690 --> 00:25:32,379 Many people were people. They were old friends or friends that I'd made while I was here. 214 00:25:32,380 --> 00:25:38,709 But a lot of the people that we met, we met for the first time as we were going around and taking this kind of very open concept, 215 00:25:38,710 --> 00:25:44,290 you know, what is the history of how do we learn how to communicate the world around us in three dimensions or more dimensions? 216 00:25:44,560 --> 00:25:48,820 How did we learn how to communicate complex objects on the page and put words with those? 217 00:25:49,150 --> 00:25:51,340 And that seemed to resonate with a lot of people that we took meetings with. 218 00:25:51,340 --> 00:25:57,700 I mean, for example, you see Laura here with Christine and Yahoo is here in Christchurch, which is this book here. 219 00:25:57,700 --> 00:26:02,649 This is the Moxon perspective viewer is in the exhibition in Christchurch now currently. 220 00:26:02,650 --> 00:26:09,100 So that time going in meeting people in both the glam institutions and the colleges 221 00:26:09,610 --> 00:26:14,770 really helped develop what is now the programme in 2019 of thinking three D Yes, 222 00:26:16,090 --> 00:26:23,590 so. We were overwhelmed by the veracity of what our minds were able to create. 223 00:26:23,620 --> 00:26:29,649 And so we decided that we had to have very, very strict boundaries. 224 00:26:29,650 --> 00:26:40,330 So we had to create clear criteria to cut off books because we were wandering around so many disciplines, 225 00:26:40,330 --> 00:26:45,520 so many different strands, and we were really overwhelmed about that. 226 00:26:45,520 --> 00:26:49,570 So yes, yes and yes, exactly. 227 00:26:49,960 --> 00:27:01,270 Following Leonardo for us, it was I mean, it was very complex because although this idea of how to communicate so our idea is pretty simple, 228 00:27:01,270 --> 00:27:05,139 how to communicate a three dimensional object on a flat surface. 229 00:27:05,140 --> 00:27:14,830 So simple concept, but no limitations of time from Leonardo to the presence, no limitation of disciplines. 230 00:27:14,830 --> 00:27:24,640 Although at the end we were the beginning we were thinking about geometry, but we decided to open it up and to avoid strict disciplinary boundaries. 231 00:27:24,700 --> 00:27:31,600 So we were literally overwhelmed. So we understood that. 232 00:27:32,840 --> 00:27:41,210 We had to select some strands, some lines, and we limited our lines to four. 233 00:27:42,020 --> 00:27:49,790 One was geometry, of course, astronomy, architecture, and initially the natural world. 234 00:27:50,000 --> 00:27:59,540 We understood that this natural world was again too big and we restricted it further to anatomy, 235 00:27:59,540 --> 00:28:04,820 which is in fact, the fourth strand that we have now in the exhibition. 236 00:28:06,560 --> 00:28:13,400 Another thing that we had to give us, I mean, it took us a while to understand this, 237 00:28:13,400 --> 00:28:20,080 but what we wanted were not simply illustrations of three dimensional objects. 238 00:28:20,120 --> 00:28:24,320 I mean, we we have millions and millions of books that have this. 239 00:28:24,560 --> 00:28:33,500 What we wanted were treatises in which the illustration was functional to the communication of a concept. 240 00:28:33,740 --> 00:28:39,080 What the discipline wanted to explore or to communicate. 241 00:28:39,950 --> 00:28:47,920 The relationship between images and text was something that for us was fundamental since the beginning. 242 00:28:47,930 --> 00:28:57,150 So all the books that you see in the exhibition have been tested and have been passed this very strict. 243 00:28:58,940 --> 00:29:01,940 We have sifted very strictly. 244 00:29:02,390 --> 00:29:13,790 All the books we were seeing, if the books didn't match these criteria, they were out very, very brutally. 245 00:29:13,790 --> 00:29:25,430 But that was very an important moment in our project because this helped us enormously just to start shaping our narrative. 246 00:29:26,120 --> 00:29:36,530 We also decided to organise the books in chronological order, so it was another decision we made at a relatively early stage. 247 00:29:36,560 --> 00:29:44,660 So four disciplines, treatises and in chronological order. 248 00:29:45,200 --> 00:29:49,160 The other thing that we knew because we wanted to do something on the in order was we needed Leonardo material. 249 00:29:49,240 --> 00:29:55,550 And most people in Oxford will know that there is some Leonardo Mateu in Oxford, but not a great deal. 250 00:29:55,820 --> 00:30:03,260 There's a bit of the Christchurch Butcher Gallery and the Ashmolean, but we knew what we wanted was something of Leonardo's notebooks, 251 00:30:03,260 --> 00:30:09,410 where he's most famous for working, working on the page, working out his ideas in illustration as well as in text. 252 00:30:10,340 --> 00:30:19,520 So now it flew down from St Andrew's to London and met Matt and myself as we trained out to Windsor and spent a fantastic morning with Martin Clayton, 253 00:30:19,520 --> 00:30:28,849 who's curator of prints and drawings at the Royal Collection, to sift through what he thought were the dregs of the Leonardo manuscripts. 254 00:30:28,850 --> 00:30:34,010 By this time, the royal collection was organising their fight Leonardo five hundreds, 255 00:30:34,490 --> 00:30:38,690 which is currently ongoing, which has sent a number of notebook sheets all around the country. 256 00:30:39,770 --> 00:30:44,749 And he thought that we wouldn't find anything in the four hour exhibition, but in fact, 257 00:30:44,750 --> 00:30:49,760 we came across five, five seats in the the borrowing it from from the royal collection. 258 00:30:49,760 --> 00:30:56,560 And quite fortuitously, this sheet here, the sheet that explains the aortic valve was actually out now. 259 00:30:56,580 --> 00:31:01,700 Yes, that explains it. How his experiments in figuring out the aortic valve. 260 00:31:02,420 --> 00:31:08,690 We selected the sheet and two weeks later we took a meeting with Robin Chowdhury, who had played around with the ideas in Leonardo's. 261 00:31:08,840 --> 00:31:15,320 So it's kind of quite a coincidence. We'd select the sheet and then went and found the medic by complete coincidence anyways. 262 00:31:16,100 --> 00:31:20,900 That's that afternoon is is when we chose the sheets that are, that are now in the exhibition. 263 00:31:20,990 --> 00:31:24,440 So another thing we did looking at the sheets. 264 00:31:24,440 --> 00:31:30,320 BALDONADO Which were coming here, we abstracted some micro themes. 265 00:31:30,380 --> 00:31:41,180 So, for instance, you will see in the exhibition we have Leonardo's sheet on stairs and you have there a top, right? 266 00:31:41,180 --> 00:31:55,339 So in the books that made our selection, we decided to give priority to openings which were dialoguing with Leonardo's drawings. 267 00:31:55,340 --> 00:32:00,020 So the both. So for instance, a Raposo has an opening on stairs. 268 00:32:00,290 --> 00:32:03,259 We have several books that we decided to open. 269 00:32:03,260 --> 00:32:10,459 Paladino's treatise has an opening on stairs, which is not the most common opening you would have for Pollard's drawing. 270 00:32:10,460 --> 00:32:16,940 So we decided to, in the four strands we were exploring, 271 00:32:17,300 --> 00:32:27,170 to have Leonardo guiding us in the openings and put him into dialogue with the other books we have around the neck. 272 00:32:27,170 --> 00:32:32,090 So louder and louder. Flew back from London to San Andreas and got. 273 00:32:32,200 --> 00:32:42,790 Izzy. Yes. And while we were waiting to when we were developing these ideas for the exhibition here at the board, 274 00:32:42,790 --> 00:32:52,190 we decided to test our concept with some micro exhibitions we could do at St Andrew's University. 275 00:32:52,210 --> 00:33:02,770 So here you see my student, two brides, Anna Venturini, who did a lot for our project, who came up with the idea of doing an exhibition on crystals. 276 00:33:03,100 --> 00:33:09,190 And so we did a small exhibition on crystals at the in the foyer Year of the School of Art History. 277 00:33:09,430 --> 00:33:17,560 And again, this concept was, you know, constantly dating, and we tested it in different ways. 278 00:33:18,190 --> 00:33:30,639 We also had an exhibition connected to the photographic festival in St Andrew's, directed by Rachel Nordstrom, where we explored the eyeball. 279 00:33:30,640 --> 00:33:34,330 And the eyeball is one of the themes we have here in the exhibition. 280 00:33:34,330 --> 00:33:42,280 And we showed Arthur Thompson's studio graphics view of the eye that we have in St Andrew's and we have here as well. 281 00:33:42,280 --> 00:33:46,329 And they, mate, they are in the exhibition. 282 00:33:46,330 --> 00:33:54,729 So we started putting down some little small pop ups through thinking through the exhibitions 283 00:33:54,730 --> 00:34:01,870 in St Andrew's to test the potential of our concept apply applied to different disciplines. 284 00:34:02,960 --> 00:34:06,770 So with with most modelling exhibitions, planning starts years in advance. 285 00:34:06,770 --> 00:34:10,160 And then really as the as you get closer and closer to the time, everything narrows down. 286 00:34:10,750 --> 00:34:15,260 About a year ago is when we started to kind of finally bring the pieces together, 287 00:34:15,260 --> 00:34:23,930 so allowed it came down to Oxford again in April or May to start testing the the exhibition as we had it in the studio. 288 00:34:23,930 --> 00:34:28,880 So you can see us out of here working with Mattie Slaven and Sally and Gilchrist of the Exhibitions team. 289 00:34:29,270 --> 00:34:35,150 As we started to bring all the pieces that we'd seen up in the reading room together to actually see how they work in the case. 290 00:34:35,270 --> 00:34:40,400 Each of these books has a story to tell, but when you bring them into a case, they all have a narrative to tell that is communal. 291 00:34:40,760 --> 00:34:47,270 And this was a crucial step in planning an exhibition is bringing things and seeing how they're going to work in a case with each other. 292 00:34:48,380 --> 00:34:58,820 So then, as Alexandra already mentioned, I was awarded the prestigious Bird Lucy Marconi Fellowships in the history of science and communication. 293 00:34:59,120 --> 00:35:05,899 And this was extremely helpful for me as a researcher, but also for the project. 294 00:35:05,900 --> 00:35:12,530 So my work as a Marconi fellow developed on two strands. 295 00:35:12,530 --> 00:35:20,440 So one strand was what Alexandra mentioned, working on the library of Martin watching. 296 00:35:20,450 --> 00:35:26,540 It was the dedicatory of Danielle Barbara's treatise on perspective. 297 00:35:26,540 --> 00:35:31,820 And luckily here at the Bodleian, we have some books that. 298 00:35:33,070 --> 00:35:37,030 I think formed part of his library. 299 00:35:38,320 --> 00:35:45,100 I've done a lot of research on this and together with Susie McCaughan, the curator of the National Library, 300 00:35:45,100 --> 00:35:59,740 we are editing a book on Barbara St is on perspective where a mathematician has a strong plays a strong role there. 301 00:36:00,760 --> 00:36:11,889 So a number of Greek manuscripts which were in the library of this page, one mathematician, he set the context for Galileo Galilei coming to Padua. 302 00:36:11,890 --> 00:36:16,180 Just to give you an idea of the kind of cultural context we are talking about. 303 00:36:16,570 --> 00:36:22,059 So here at the board, there are some Greek manuscripts which were in much of his library. 304 00:36:22,060 --> 00:36:26,049 So it's even possible that Daniel Barber touched them some times. 305 00:36:26,050 --> 00:36:40,360 And just so we have this barber presence who will never leave us completely, and then we have all the work we have been doing for our exhibition. 306 00:36:40,900 --> 00:36:47,680 There are some very interesting copies here of annotated books, one especially, and you see there an image. 307 00:36:47,680 --> 00:36:51,309 And the book is in the exhibition Heavily Annotated, 308 00:36:51,310 --> 00:37:00,670 and I'm doing some work on this kind of books to see if I can be as lucky as I've been with the Book of the Bow, 309 00:37:01,000 --> 00:37:11,530 to be able to find out some, to find out about who these and where and annotating these books. 310 00:37:14,920 --> 00:37:23,080 Also, we will have a book connected with the Thinking 3D project, which is now in the production final production phases. 311 00:37:23,320 --> 00:37:35,120 We have 16 essays by colleagues and friends on some of the 16 of the books that you see in the exhibition. 312 00:37:35,140 --> 00:37:41,410 Then we have a substantial essay by Matthew Landreth, who is here today on Leonardo's drawings, 313 00:37:41,650 --> 00:37:45,750 and we are very pleased to have him collaborating with us. 314 00:37:45,760 --> 00:37:56,049 And then there is an essay by Dario and myself in which we attempt to tell the story of communicating three dimensional objects through history, 315 00:37:56,050 --> 00:37:59,590 using 40 books as our guide. 316 00:38:02,290 --> 00:38:12,460 So while I was up in St Andrew's doing her thing, I was down here finalising the programme of what became 2019 Thinking 3D and Oxford's. 317 00:38:13,420 --> 00:38:16,149 You can see here that of course we've got the body in exhibition, 318 00:38:16,150 --> 00:38:20,590 but we have a number of partner exhibitions that are not confirmed, but also symposia. 319 00:38:20,590 --> 00:38:27,480 What's going to be held at the Department of Physics in June on space and time, as well as the conference? 320 00:38:27,490 --> 00:38:32,049 Yes, an important conference at Worcester College focussed on architecture. 321 00:38:32,050 --> 00:38:42,010 I've been the sort of fellow at Worcester College in 2007, 2027, 2007, 322 00:38:42,010 --> 00:38:50,290 2010 before just right before going to St Andrew's and the collection at Worcester College is particularly important for 323 00:38:50,290 --> 00:38:57,549 architecture and Worcester College and the Scott Tobler Fund will contribute to our project with this conference on architecture, 324 00:38:57,550 --> 00:39:00,600 which will be held at the end of September. Yes. 325 00:39:00,670 --> 00:39:04,210 Yeah. It's the last breath of fresh air before. 326 00:39:04,260 --> 00:39:08,630 Yes. So this was what was the 20th of December? 327 00:39:08,820 --> 00:39:22,680 Yes. So we went to Florence where we saw the cold skull kaleidoscope in action because the Codex Leicester is a new fix for this exhibition. 328 00:39:23,520 --> 00:39:27,419 And we were lucky enough there to meet Paolo Baluchi, 329 00:39:27,420 --> 00:39:38,549 who is the director of Mosaic in our Museum of the History of Science in Florence, who guided us around the exhibition. 330 00:39:38,550 --> 00:39:45,060 And so finally we had a chance of seeing Codex Leicester in person. 331 00:39:45,570 --> 00:39:51,150 Yes. And as you can see, we were very happy to be there on that occasion. 332 00:39:52,290 --> 00:39:57,660 Yes. So after after the last breath of fresh air was the final plunge into this year. 333 00:39:58,380 --> 00:40:03,000 And we knew I mean, we knew from an early stage that we wanted to have some tactile models for folks to understand 334 00:40:03,000 --> 00:40:06,220 a bit more of the complexity and dimensionality of the things that were being committed, 335 00:40:06,660 --> 00:40:13,410 tried to be communicated on the page. That idea was very early on, but the manufacturer of those models came in January, 336 00:40:13,410 --> 00:40:19,020 really working myself with a 3D printer, working with the Radcliffe Science Library 3D printing team, 337 00:40:19,680 --> 00:40:26,139 using the Oxford Internet Institute, who are producing a model of the mathematical model which has over the museum, 338 00:40:26,140 --> 00:40:31,320 the history of science and also a modular who is based out an ancient Stephen Day. 339 00:40:32,250 --> 00:40:38,010 We were able to print out a number of models that are tactile that you can see in the exhibition and pick up take around the exhibition with 340 00:40:38,010 --> 00:40:45,610 you and also a few very complex models which are in the cabinets that help explore and help explain some of the ideas that are on the page. 341 00:40:45,810 --> 00:40:54,030 The idea that you can have this in your hands walking around the gallery and compare this with what you see in the book, which is in front of you. 342 00:40:54,060 --> 00:41:03,360 So it was this idea of having and thinking about how a 3D object is conveyed on a b dimensional surface. 343 00:41:06,600 --> 00:41:17,310 Christchurch exhibition thanks to Christina is open now and it's another important it's 344 00:41:18,000 --> 00:41:23,440 and there you see the book I was looking at in that photograph that we showed earlier, 345 00:41:23,460 --> 00:41:27,090 the Moxham focus on geometry. 346 00:41:27,240 --> 00:41:44,520 So Christina curated this entirely by herself, but implementing our concept and we are very pleased to have her as a collaborator in our project. 347 00:41:45,690 --> 00:41:51,630 So about three weeks ago, I disappeared to the States where we can came back and all of a sudden the suffragette exhibition was out of the Treasury. 348 00:41:51,930 --> 00:41:56,430 And I had this surreal moment of coming off the aeroplane jet lagged and walking into the Treasury gallery 349 00:41:56,430 --> 00:42:00,090 and starting to see the books that we've been playing with for so long and staring at for so long, 350 00:42:00,390 --> 00:42:01,890 going into the exhibition cases. 351 00:42:01,890 --> 00:42:10,560 And at that same day the wooden model patrol is elevated because the dodecahedron, which is in case two, had arrived from George Hart, the modeller. 352 00:42:10,800 --> 00:42:18,420 You can see Mattie kind of awestruck or maybe angry at the size of the model. 353 00:42:19,470 --> 00:42:23,040 And so, you know, this kind of surreal moment of seeing these books, which she'd seen in the reading room, 354 00:42:23,040 --> 00:42:27,150 which I'd seen in the exhibition lab, mounted and looking lovely going into the cases. 355 00:42:27,420 --> 00:42:29,430 And that's led us up to really this week. 356 00:42:29,610 --> 00:42:40,570 So two days ago we went to the Ashmolean where again curators picked up our concept and created an exhibition called Dimensions. 357 00:42:40,860 --> 00:42:47,909 And again, we didn't do anything for this. It was maybe Daryll had a conversation with one of these covers erasers. 358 00:42:47,910 --> 00:42:53,460 Yes, but it's another interpretation of our idea, our concept. 359 00:42:53,790 --> 00:43:01,410 And we found this, although it's pretty small, but we found this very cleverly organised. 360 00:43:01,470 --> 00:43:11,070 So it's called dimensions and they start with one dimension, the line two dimensions, a surface, three dimensions space and fourth dimension. 361 00:43:11,340 --> 00:43:19,200 You add time and plus with 3D visualisation and virtual reality there on the screen. 362 00:43:19,200 --> 00:43:29,100 So very pleased to be here and see how partner exhibitions interpreted our concept in their own way. 363 00:43:29,850 --> 00:43:30,899 So that brings us to this week. 364 00:43:30,900 --> 00:43:35,910 So that I came down to the beginning of this week and we put the finishing touches on the exhibition that you see, which is opened today. 365 00:43:36,390 --> 00:43:42,330 The last pieces went in at about 5:00 yesterday afternoon, just before the opening of the exhibition as things happen. 366 00:43:43,500 --> 00:43:48,630 But we're very pleased with with how it's all come together and the reactions that we've had so far as well. 367 00:43:48,960 --> 00:43:55,470 The big thing about thinking 3D is that we're not operating with a large grant, a large pot of money, 368 00:43:55,470 --> 00:44:01,440 that all of the work, both here at the bottling and at our partner institutions have all come from the institutions and. 369 00:44:01,520 --> 00:44:06,139 So. So taking the concepts around to all of these different institutions and saying, you know, 370 00:44:06,140 --> 00:44:09,590 we're putting on this show in the body and this is our wider research projects. 371 00:44:09,890 --> 00:44:16,830 Do you want to join us on this crazy train? And a lot of people have with great enthusiasm and most importantly, with their own budgets as well. 372 00:44:16,850 --> 00:44:23,120 Exactly. Which is hugely appreciated. I mean, it's kind of thing that, you know, letting that concept go and letting people take ownership of it. 373 00:44:23,120 --> 00:44:26,689 And we know that curators of their own collections know their collections far better than 374 00:44:26,690 --> 00:44:30,950 what we're going to know and to let them take on thinking through in their own right. 375 00:44:31,250 --> 00:44:36,990 So we have several events and other exhibitions lined up for 2019. 376 00:44:37,190 --> 00:44:41,390 It's all in our website and thank you for listening to us.