David Topper, Professor of History at the University of Winnipeg, Canada, teaches both History of Science and History of Art. He was the recipient of two teaching awards: the Robson Memorial Award for Excellence in Teaching at the University of Winnipeg (1981), and the National 3M Teaching Fellowship (1987). Since 1982 he has been an international co-editor of Leonardo. His research and publications reflect the eclectic nature of his interests, covering facets of the art/science interface: philosophical matters and historical case studies on the nature of and interaction between art and science, the role of perception in science and art, and the realm of scientific illustration. Some recent publications include: "Newton on the Colors of the Spectrum," Studies in History and Philosophy of Science (1990); "The Parallel Fallacy: On Comparing Art and Science," British Journal of Aesthetics (1990); "Towards an Epistemology of Scientific Illustration," in Picturing Knowledge: Historical and Philosophical Essays Concerning the Use of Art as Science, ed. B. Baigrie (University of Toronto Press, 1996); "Perspectives on Perspective: Gombrich and his Critics," in Gombrich on Art and Psychology, ed. R. Woodfield (1996); (with C. Gilles) "Trajectories of Blood: Artemisia Gentileschi and Galileo's Parabolic Path," Woman's Art Journal (1996); (with D. Vincent), "An Analysis of Newton's Projectile Diagram," Euro. Jour. Physics (1997); "Galileo, Sunspots, and the Motions of the Earth: Redux," Isis (1999); "On Anamorphosis: Setting Some Things Straight," Leonardo (2000); "'I know that what I am saying is rather obscure': On Clarifying a Passage in Galileo's Dialogue," Centaurus (2000); and "[History of] Physics," in History of Modern Science and Mathematics (Scribner's, 2002).