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• W4366809531 abstract "1020 Book Reviews TECHNOLOGY AND CULTURE had not originally foreseen or intended. Importantly, Bugos exam­ ines these practices and procedures within the context of the larger social, political, and economic forces shaping the various constituen­ cies into the engineering teams that, in turn, shaped the parts of the F-4. Historians of business, technology, and the military will find Engi­ neering the F-4 richly rewarding, as will sociologists and members of the military profession. More than thirty years after it first flew, the airframe we know as the F-4 still constituted an important part of America’s airpower system, but in ways its originators never intended during its youth. The F-4’s role in the starting lineup of the Gulf War had evolved from its roles in interception, air superiority, and ground attack to firing HARM missiles and photographing tanks on the desert. McDonnell’s F-15 and General Dynamic’s F-16 have fol­ lowed similar evolutionary paths. With the air force looking forward to fielding the Lockheed-Martin F-22, we can, as Bugos suggests, count on it to assume future roles its originators never intended as the engineering managers who are progressively responsible for the system and the post-cold war military-industrial complex shape its future. RoyF. Houchin II Major Houchin is professor of military history at the School of Advanced Airpower Studies, Maxwell AJFB, Montgomery, Alabama. He is working on a manuscript for the Smithsonian Institution Press, tentatively titled The Legacy ofDyna-Soar: The History ofAir Force Hypersonic R&D, 1944-1963. Leonardo da Vinci’s Sforza Monument Horse: The Art and the Engineering. Edited by Diane Cole Ahi. Bethlehem, Penn.: Lehigh University Press, 1995. Pp. 152; illustrations, tables, notes, index. $55.00 (cloth). Any catalog of magnificent but never-constructed monuments would surely include Leonardo da Vinci’s colossal equestrian statue of Francesco Sforza. Commissioned in the 1480s by Ludovico Sforza of Milan to honor his father, it was planned as “the largest eques­ trian monument ever known” (p. 21). By 1493 Leonardo had fabri­ cated a clay model ready for casting. To complete the project, a large pit had to be constructed as well as a complex system of multiple furnaces for melting the bronze. Leonardo progressed to the point of constructing a mold in sections from the clay model, and he had amassed the requisite bronze. Fate intervened, however, in the form of the French invasion of Italy. As a precautionary measure, Ludov­ ico sent the bronze intended for the horse to Ferrara to be made into cannon. French troops destroyed the clay model in “target prac­ tice” in 1499, and the molds were subsequently lost. What remain are Leonardo’s notes, including important sheets from Madrid Codex technology and culture Book Reviews 1021 II, beautiful drawings of horses, and intriguing illustrations of equip­ ment. The papers in this collection were originally presented at a sympo­ sium on the Sforza monument held in April 1991 at Lafayette Col­ lege and Lehigh University in Pennsylvania. The gathering was in­ spired and in part supported by the late Charles C. Dent, airline pilot, art collector, and, in the last fifteen years of his life, avid propo­ nent ofa project to construct Leonardo’s equestrian monument and place it in the courtyard of the Sforza Castle in Milan. The volume includes essays by art historians, casting experts, and cultural histori­ ans, among others. It provides an excellent introduction to Leon­ ardo’s planned monument as well as to equestrian statuary, Renais­ sance bronze casting, the cultural place of the horse in 15th-century Italy, and modern replication efforts. Carlo Pedretti discusses in detail the known documentation of the Sforza monument, including the relevant drawings. He elucidates the local context by describing the actual locations in Milan where Leonardo worked on the horse, and he lays out the evidence for the dates of various phases of the project. Pedretti’s essay brings home the fact that there are numerous unknowns about the Sforza horse, including what it was finally going to look like. From a different per­ spective, Martin Kemp investigates the relevant drawings and studies of horses by Leonardo. He suggests that Leonardo’s..." @default.
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• W4366809531 title "Leonardo da Vinci’s Sforza Monument Horse: The Art and the Engineering ed. by Diane Cole Ahl" @default.
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