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A large and successful exhibition to mark the 500th anniversary of the birth of Leonardo da Vinci was held at the Royal Academy, Burlington House, London, in 1952. It was an important event for the public appreciation of Leonardo's genius. The proposal for the exhibition had come from the Science Museum, whose staff arranged a 'scientific section' of the exhibition, providing and displaying photographs and models. The story of these early models is particularly interesting in the light of the subsequent expansion in the use of mechanical models and animations to interpret and present Leonardo's work. Questions that surrounded their introduction are accentuated by the ubiquity of models today. Some of the 1952 models will be displayed at the Science Museum in 2016, alongside an exhibition of a large group of 'historical models' first displayed in Milan in 1953. The occasion should provoke some thoughtful consideration of the current influence of this tool for research and display. [ABSTRACT FROM AUTHOR]

In considering the appropriate use of the terms "science" and "scientific instrument," tracing the history of "mathematical instruments" in the early modern period is offered as an illuminating alternative to the historian's natural instinct to follow the guiding lights of originality and innovation, even if the trail transgresses contemporary boundaries. The mathematical instrument was a well-defined category, shared across the academic, artisanal, and commercial aspects of instrumentation, and its narrative from the sixteenth to the eighteenth century was largely independent from other classes of device, in a period when a "scientific" instrument was unheard of. [ABSTRACT FROM AUTHOR]

This response from the museum workplace to the previous three "Focus" essays has two main thrusts. First, it seeks to place the recent interest in museums from historians of science within the broader study of museums in general and points to the value of this broad context for locating scientific practice. Second, it reminds historians of science that museums are not only objects of study but also living resources for public communication, and it reflects on how the "Focus" essays relate to the role the history of science can play in museums with science collections. [ABSTRACT FROM AUTHOR]