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Leon Battista Alberti 's Ten Books on Architecture, inspired by Vitruvius, became a Bible of Renaissance architecture.

阿尔贝蒂在维特鲁威启发下写的《关于建筑的十本书》成为文艺复兴时期建筑的「圣经」。

He saw this system as a continuation of the long tradition of Vitruvius , Leonardo da Vinci 's " Vitruvian Man ", the work of Leon Battista Alberti , and others who used the proportions of the human body to improve the appearance and function of architecture .

他认为这一系统作为一个持续的悠久传统维特鲁威，达芬奇的"维特鲁威人"的工作莱昂巴蒂斯阿尔伯提，和其他人谁使用的比例，以改善人体的外观和功能结构。

He saw this system as a continuation of the long tradition of Vitruvius, Leonardo da Vinci's "Vitruvian Man", the work of Leon Battista Alberti, and others who used the proportions of the human body to improve the appearance and function of architecture.

他视这一体系为自维特鲁威开始的历史传统的延续：莱昂纳多达芬奇的"维特鲁威人"、阿尔伯蒂的作品，以及应用这一人体比例改善建筑的外表和功能的其他建筑师。

Leon Battista Alberti's Ten Books on Architecture, inspire d by Vitruvius, became a bible of Renaissance architecture.

阿尔贝蒂在维特鲁威启发下写的《关于建筑的十本书》成为文艺复兴时期建筑的「圣经」。

Leon Battista Alberti's Ten Books on Architecture, inspired by Vitruvius, became a bible of Renaissance architect ure.

阿尔贝蒂在维特鲁威启发下写的《关于建筑的十本书》成为文艺复兴时期建筑的「圣经」。

This paper aims to research the idea historia which is the central conception in the artistic theory of Leon Battista Alberti. To demonstrate the original meaning of historia in different period of time, which ranged from antique Greek to Renaissance, is the first chapter of this paper.

本文以文艺复兴时期伟大的人文主义者里昂·巴蒂斯塔·阿尔贝蒂艺术理论中的historia观念为主要关注点，将该词本体含义、在阿尔贝蒂理论中的应用并结合对已有研究成果的分析比较进行较为客观地考释研究。

Giotto di Bondone (1267–1337) is credited with first treating a painting as a window into space, but it was not until the demonstrations of architect Filippo Brunelleschi (1377–1446) and the subsequent writings of Leon Battista Alberti (1404–1472) that perspective was formalized as an artistic technique.

(1267至1337)被认为是第一个将绘画看作表达空间的窗口的人，但是，直到有了菲利波布鲁内列斯基(1377至1446)的示范和利昂纳巴蒂斯塔阿尔贝蒂）(1404至1472)随后的作品，透视法才作为一种艺术技巧正式确定其地位。

As it invariably happens, history and memory can prove helpful: Leonardo's Vitruvian man is "the measure of all things", while the Renaissance man expands the static point of view of the project anticipating the crucial theme of individual well-being (as Leon Battista Alberti put it in his De re aedificatoria ,"In the choice of the environment it is best to mind that it is welcome by its inhabitants from every point of view").

要设计一项围绕人的实际需求的建筑项目同样意味着创新、价值与激情的构思与应用。创新乃为满足动态参考条件；价值乃为适应社会潜在的经济和结构的变化；激情乃为对于所有参与者以及他们的实际需求的关注。能够证明有效性的永远都是历史与记忆：莱昂纳多·达芬奇的维特鲁威人是"万物的尺度"，同时文艺复兴时期的人发展了项目的静态观点，期望一个非常现代的焦点对象：即个人的康乐。（"在选择环境之时，最好能确保它的方方面面都受到居住者的欢迎"，阿尔贝蒂的《建筑学十书》）。

It is here that the Renaissance concept of an "ideal city" that re-creates celestial harmony on earth originated. As Leon Battista Alberti wrote in the De Re Aedificatoria (1450), a city is a site tobe designed, a space for living in harmony, a place for social encounters, political organization and economic planning.

文艺复兴时期，正是在意大利诞生了"理想城市"的概念——在大地上构建天堂般的和谐。1450年，莱昴·巴蒂斯塔·阿尔伯蒂在其《建筑论》一书中这样描述城市：它是一个需要规划的场地，一片宁静生活的空间，一个从事社交、政治、经济活动的场所。

Dr Gisele Chvetzoff, of the Centre Leon Berard in Lyon, France, and Dr Ian Tannock, of the Princess Margaret Hospital in Toronto, Canada, set out to discover whether the placebo effect could actually impact on the development of cancerous tumours.

法国里昂Leno Berard中心的Gisele Chvetzoff医生和加拿大多伦多的Magaret公主医院的Ian Tannock医生开始研究安慰剂是否确实能对癌症肿瘤的发展产生影响。

By the time of its fall, most of the prisoners were writers who had written against the corruptions of the government.

到它被攻陷的时候，里面多数的犯人是写了反对政府贪污文章的作家。

The most obvious variation to ovum morphological character was that the color was changed from light green to sepiaceous in embryonic development, and all the ovums were almost hatched after 96h.

在胚胎发育过程中卵的形态特征最明显的变化是颜色从淡绿到深褐色，卵在发育96h后卵基本全部孵化。