Major Works
- Steensen, Niels / Sténon, Nicolas. Nicolai Stenonis Observationes anatomicae quibus varia oris, oculorum et narium vasa describuntur, novique salivae, lacrymarum et muci fontes deteguntur, et novum nobilissimi Bilsii de lymphae motu et usu commentum examinatur et rejicitur, Lugduni Batavorum: apud J. Chouet, (1662) via Bibliothèque interuniversitaire de médecine (Paris)
- Steensen, Niels /Steno, Nicolas. Nicolai Stenonis De Musculis et glandulis observationum specimen, cum epistolis duabus anatomicis, Hafniae: lit. M. Godicchenii, (1664). via Bibliothèque interuniversitaire de médecine (Paris)
- Nicolai Stenonis Elementorum Myologiae Specimen, seu Musculi Descriptio Geometrica, cui accedunt canis carchariae dissectum caput et dissectus piscis ex canum genere... Florentiae : ex typ. sub signo Stellae, (1667) via Bibliothèque interuniversitaire de médecine (Paris).
- Nicolai Stenonis solido intra solidum naturaliter contento dissertationis prodromus ... Florentiae : ex typographia sub signo Stellae (1669), The Prodromus of Nicolaus Steno's Dissertation concerning a solid body enclosed by process of nature within a solid; an English version with an introduction and explanatory notes by John Garrett Winter, New York: Macmillan Company, (1916) via Internet Archive
- Discours de Monsieur Sténon sur L'Anatomie du Cerveau ("M. Steno's lecture on the anatomy of the brain", Paris 1669)
Read more about this topic: Nicolas Steno
Famous quotes containing the words major and/or works:
“As a novelist, I cannot occupy myself with “characters,” or at any rate central ones, who lack panache, in one or another sense, who would be incapable of a major action or a major passion, or who have not a touch of the ambiguity, the ultimate unaccountability, the enlarging mistiness of persons “in history.” History, as more austerely I now know it, is not romantic. But I am.”
—Elizabeth Bowen (1899–1973)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)