Annotation. In six years, Galileo Galilei went from being a mathematics professor to a star in the court of Florence to a target of the Inquisition. And during that time, Galileo made a series of astronomical discoveries that reshaped the ideas of the physical nature of the heavens and transformed him from a university mathematician into a court philosopher. Galileo's Instruments of Creditproposes radical new interpretations of key episodes of Galileo's career, including his telescopic discoveries of 1610, the dispute over sunspots, and the conflict with the Holy Office over the relationship between Copernicanism and Scripture. Galileo's tactics shifted as rapidly as his circumstances, argues Mario Biagioli, and these changes forced him to respond swiftly to the opportunities and risks posed by unforeseen inventions, other discoveries, and his opponents. Focusing on the aspects of Galileo's scientific life that extended beyond court culture and patronage, Biagioli offers a revisionist account of the different systems of exchanges, communication, and credibility at work in Galileo's career. Galileo's Instruments of Creditwill fascinate readers interested in the history of astronomy and the history of science in general.

The Scientific Revolution of the seventeenth century has often been called a decisive turning point in human history. It represents, for good or ill, the birth of modern science and modern ways of viewing the world. In What Galileo Saw, Lawrence Lipking offers a new perspective on how to understand what happened then, arguing that artistic imagination and creativity as much as rational thought played a critical role in creating new visions of science and in shaping stories about eye-opening discoveries in cosmology, natural history, engineering, and the life sciences.When Galileo saw the face of the Moon and the moons of Jupiter, Lipking writes, he had to picture a cosmos that could account for them. Kepler thought his geometry could open a window into the mind of God. Francis Bacon's natural history envisioned an order of things that would replace the illusions of language with solid evidence and transform notions of life and death. Descartes designed a hypothetical "Book of Nature" to explain how everything in the universe was constructed. Thomas Browne reconceived the boundaries of truth and error. Robert Hooke, like Leonardo, was both researcher and artist; his schemes illuminate the microscopic and the macrocosmic. And when Isaac Newton imagined nature as a coherent and comprehensive mathematical system, he redefined the goals of science and the meaning of genius.What Galileo Saw bridges the divide between science and art; it brings together Galileo and Milton, Bacon and Shakespeare. Lipking enters the minds and the workshops where the Scientific Revolution was fashioned, drawing on art, literature, and the history of science to reimagine how perceptions about the world and human life could change so drastically, and change forever.

An innovative exploration of the development of a revolutionary optical device and how it changed the world. Between 1608 and 1610 the canopy of the night sky changed forever, ripped open by an object created almost by accident: a cylinder with lenses at both ends. Galileo’s Telescope tells the story of how an ingenious optical device evolved from a toy-like curiosity into a precision scientific instrument, all in a few years. In transcending the limits of human vision, the telescope transformed humanity’s view of itself and knowledge of the cosmos. Galileo plays a leading—but by no means solo—part in this riveting tale. He shares the stage with mathematicians, astronomers, and theologians from Paolo Sarpi to Johannes Kepler and Cardinal Bellarmine, sovereigns such as Rudolph II and James I, as well as craftsmen, courtiers, poets, and painters. Starting in the Netherlands, where a spectacle-maker created a spyglass with the modest magnifying power of three, the telescope spread like technological wildfire to Venice, Rome, Prague, Paris, London, and ultimately India and China. Galileo’s celestial discoveries—hundreds of stars previously invisible to the naked eye, lunar mountains, and moons orbiting Jupiter—were announced to the world in his revolutionary treatise Sidereus Nuncius. Combining science, politics, religion, and the arts, Galileo’s Telescope rewrites the early history of a world-shattering innovation whose visual power ultimately came to embody meanings far beyond the science of the stars. Praise for Galileo’s Telescope “One of the most fascinating stories in the history of science.” —Mark Archer, The Wall Street Journal “In broad outline, the story of Galileo and the first use of a telescope in astronomy is well known. Bucciantini, Camerota, and Giudice take a new look at this seminal event by focusing on how the news spread across Europe and how it was received. Their well-written narrative examines the central issues using papers, paintings, letters, and other contemporary documents . . . After four centuries [Galileo’s] reputation has been thoroughly vindicated.” —D. E. Hogg, Choice

In a bid to claim ‘scientific objects’ as requiring a significant amount of conceptual labor, this book looks sequentially at instruments, habits, and museums. The goal is to uncover how, together, these material and immaterial activities, rules, and commitments form one meaningful and credible blueprint revealing the building blocks of knowledge production. They serve to conceptualize and examine the entire life of an instrument: from its ideation and craft to its use, reuse, circulation, recycling, and (if not obliterated) its final entry into a museum. It is such an epistemological triptych that guides this investigation.

A cogent portrayal of a turning point in the evolution of the freedom of thought and the beginnings of modern science. Celebrated, controversial, condemned, Galileo Galilei is a seminal figure in the history of science. Both Stephen Hawking and Albert Einstein credit him as the first modern scientist. His 1633 trial before the Holy Office of the Inquisition is the prime drama in the history of the conflict between science and religion. Galileo was then sixty-nine years old and the most venerated scientist in Italy. Although subscribing to an anti-literalist view of the Bible, as per Saint Augustine, Galileo considered himself a believing Catholic. Playing to his own strengths—a deep knowledge of Italy, a longstanding interest in Renaissance and Baroque lore—Dan Hofstadter explains this apparent paradox and limns this historic moment in the widest cultural context, portraying Galileo as both humanist and scientist, deeply versed in philosophy and poetry, on easy terms with musicians, writers, and painters.

Mark Peterson makes an extraordinary claim in this fascinating book focused around the life and thought of Galileo: it was the mathematics of Renaissance arts, not Renaissance sciences, that became modern science. Galileo's Muse argues that painters, poets, musicians, and architects brought about a scientific revolution that eluded the philosopher-scientists of the day, steeped as they were in a medieval cosmos and its underlying philosophy. According to Peterson, the recovery of classical science owes much to the Renaissance artists who first turned to Greek sources for inspiration and instruction. Chapters devoted to their insights into mathematics, ranging from perspective in painting to tuning in music, are interspersed with chapters about Galileo's own life and work. Himself an artist turned scientist and an avid student of Hellenistic culture, Galileo pulled together the many threads of his artistic and classical education in designing unprecedented experiments to unlock the secrets of nature. In the last chapter, Peterson draws our attention to the Oratio de Mathematicae laudibus of 1627, delivered by one of Galileo's students. This document, Peterson argues, was penned in part by Galileo himself, as an expression of his understanding of the universality of mathematics in art and nature. It is "entirely Galilean in so many details that even if it is derivative, it must represent his thought," Peterson writes. An intellectual adventure, Galileo’s Muse offers surprising ideas that will capture the imagination of anyone—scientist, mathematician, history buff, lover of literature, or artist—who cares about the humanistic roots of modern science.

Galileo (1564–1642) incorporated throughout his work the language of battle, the rhetoric of the epic, and the structure of romance as a means to elicit emotional responses from his readers against his opponents. By turning to the literary as a field for creating knowledge, Galileo delineated a textual space for establishing and validating the identity of the new, idealized philosopher. Galileo's Reading places Galileo in the complete intellectual and academic world in which he operated, bringing together, for example, debates over the nature of floating bodies and Ludovico Ariosto's Orlando furioso, disputes on comets and the literary criticism of Don Quixote, mathematical demonstrations of material strength and Dante's voyage through the afterlife, and the parallels of his feisty note-taking practices with popular comedy of the period.

Since Aristotle's famous declaration that the speculative sciences originated with the emergence of a leisure class, it has been accepted as a truism that intellectual activity requires political stability and leisure in order to flourish. Paradoxically, however, some of the most powerful and influential contributions to Western intellectual culture have been produced in conditions that were adverse-indeed hostile-to intellectual activity. Examples include Socrates' stirring defense of the examined life before a hostile Athenian jury, Boethius writing The Consolation of Philosophy under the specter of impending torture and execution, Galileo devising key notions for modern mechanics while under house arrest, and Jean-Paul Sartre drafting portions of Being and Nothingness in his war diaries, to name only a few of the most famous incidents-all extraordinary achievements spawned, developed or completed in adversity. In cases such as these, a philosopher or scientist must manage somehow to remain intellectually creative and focused despite living in conditions that are adverse or hostile to thought. In brief, they are working on ideas under fire. This book is a survey of several momentous cases of philosophers and scientists working under fire. Each chapter of Ideas Under Fire explores a particular case or set of related cases. For each case contributors consider two questions: How did the individual at the center of a particular moment of discovery overcome such formidable obstacles to leisure and conceptually abstract thought? And how did adversity shape their thinking under fire? Each chapter has been written by a specialist on its respective subject, and the book covers every period of Western history. All the chapters are written in an accessible style that is intended to appeal to both specialists and generalists.

This book looks at Galileo's friend, student, and patron, Gianfrancesco Sagredo (1571-1620). Sagredo's life brings to light the relationship between the production, distribution, and reception of political information and scientific knowledge.

In a fascinating and accessible style, Marco Piccolino and Nick Wade analyse the scientific and philosophical work of Galileo Galilei from the particular viewpoint of his approach to the senses (and especially vision) as a means of acquiring trustworthy knowledge about the constitution of the world