Problem: Gabrielle Emilie Le Tonnelier de Breteuil, Marquise Du Chatelet (French pronunciation: [emili dy Satle] ( listen); 17 December 1706  - 10 September 1749) was a French natural philosopher, mathematician, physicist, and author during the early 1730s until her untimely death due to childbirth in 1749. Her most recognized achievement is her translation of and commentary on Isaac Newton's book Principia containing basic laws of physics. The translation, published posthumously in 1759, is still considered the standard French translation today. Her commentary includes a profound contribution to Newtonian mechanics--the postulate of an additional conservation law for total energy, of which kinetic energy of motion is one element.

In addition to producing famous translations of works by authors such as Bernard Mandeville and Isaac Newton, Du Chatelet wrote a number of significant philosophical essays, letters and books that were well known in her time.  Because of her well-known collaboration and romantic involvement with Voltaire, which spanned much of her adult life, for generations Du Chatelet has been known as mistress and collaborator to her much better known intellectual companion. Her accomplishments and achievements have often been subsumed under his, and as a result, even today she is often mentioned only within the context of Voltaire's life and work during the period of the early French Enlightenment.  Recently, however, professional philosophers and historians have transformed the reception of Du Chatelet. Historical evidence indicates that Du Chatelet's work had a very significant influence on the philosophical and scientific conversations of the 1730s and 1740s - in fact, she was famous and respected by the greatest thinkers of her time.  Du Chatelet corresponded with renowned mathematicians such as Johann II Bernoulli and Leonhard Euler, early developers of calculus. She was also tutored by Bernoulli's prodigy students, Pierre Louis Moreau de Maupertuis and Alexis Claude Clairaut. Frederick the Great of Prussia, who re-founded the Academy of Sciences in Berlin, was her great admirer, and corresponded with both Voltaire and Du Chatelet regularly. He introduced Du Chatelet to the Leibniz's philosophy by sending her the works of Christian Wolff, and Du Chatelet sent him a copy of her Institutions.  Her works were published and republished in Paris, London, and Amsterdam; they were translated into German and Italian; and, they were discussed in the most important scholarly journals of the era, including the Memoires des Trevoux, the Journal des Scavans, the Gottingische Zeitungen von gelehrten Sachen, and others. Perhaps most intriguingly, many of her ideas were represented in various sections of the Encyclopedie of Diderot and D'Alembert, and some of the articles in the Encyclopedie are a direct copy of her work (this is an active area of current academic research - the latest research can be found at Project Vox, a Duke University research initiative).

Can you tell me some things she wrote

Answer with quotes: translations of works by authors such as Bernard Mandeville and Isaac Newton,


Problem: Sir Lawrence Alma-Tadema,  (; born Lourens Alma Tadema Dutch pronunciation: ['l^ur@ns 'alma: 'ta:d@,ma:]; 8 January 1836 - 25 June 1912) was a Dutch painter of special British denizenship.

Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings.

What gave him inspiration for his style?

Answer with quotes:
He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy