A Galileo Forgery

Galileo’s O, Volume III, is perhaps without peer in the history of the book. In this work, historians in various fields revise the results they presented in the first two volumes, which focused on the New York copy of Sidereus Nuncius, written in 1610. The analysis of this book was conceived as a uniquely multidisciplinary and cooperative undertaking, and many of its findings remain valid. Yet the subject of analysis proved to be the work of an international group of forgers. Volume III describes the chronology and methods by which the discovery of forgery was made – a veritable watershed moment in the continuing struggle between the ever-more refined methods of forgers and new methods used to apprehend them. Ultimately, the work also provides insight into the psychology of specialists who “research themselves” in order to prevent similar errors in the future.

V. 1 is a detailed analysis of a previously unknown proof copy of the first edition of Galileo's Sidereus nuncius (1610), in which watercolor drawings appear in place of the etchings of the published edition, consigned in 2005 to the antiquarian bookselling firm of Martayan Lan (New York, New York). V. 2 is an account of the composition and production of the edition, based on analysis of extant copies (a census of which is included) as well as the New York proof copy. V. 3 was written in response to the discovery, soon after the publication of v. 2, that the proof copy was in fact an elaborate forgery produced between 2003 and 2005 under the direction of Marino Massimo de Caro, as first reported in the article "A very rare book," by Nicholas Schmidle, in The New Yorker issue of 16 December 2013. V. 4, in German, is a heavily revised edition of Horst Bredekamp's Galilei der Künstler (Berlin: Akademie Verlag, 2007), which had included a chapter on the then unrecognized forgery.

"As recounted here by Ingrid D. Rowland, Curzio preyed on the Italian fixation with ancestry to forge an array of ancient Latin and Etruscan documents. For authenticity's sake, he stashed the counterfeit treasure in scarith (capsules made of hair and mud) near Scornello. To the seventeenth-century Tuscans who were so eager to establish proof of their heritage and history, the scarith symbolized a link to the prestigious culture of their past. But because none of these proud Italians could actually read the ancient Etruscan language, they couldn't know for certain that the documents were frauds. The Scarith of Scornello traces the career of this young scam artist whose "discoveries" reached the Vatican shortly after Galileo was condemned by the Inquisition, inspiring participants on both sides of the affair to clash again - this time over Etruscan history."--BOOK JACKET.

A hilarious reeducation in mathematics-full of joy, jokes, and stick figures-that sheds light on the countless practical and wonderful ways that math structures and shapes our world. In Math With Bad Drawings, Ben Orlin reveals to us what math actually is; its myriad uses, its strange symbols, and the wild leaps of logic and faith that define the usually impenetrable work of the mathematician. Truth and knowledge come in multiple forms: colorful drawings, encouraging jokes, and the stories and insights of an empathetic teacher who believes that math should belong to everyone. Orlin shows us how to think like a mathematician by teaching us a brand-new game of tic-tac-toe, how to understand an economic crises by rolling a pair of dice, and the mathematical headache that ensues when attempting to build a spherical Death Star. Every discussion in the book is illustrated with Orlin's trademark "bad drawings," which convey his message and insights with perfect pitch and clarity. With 24 chapters covering topics from the electoral college to human genetics to the reasons not to trust statistics, Math with Bad Drawings is a life-changing book for the math-estranged and math-enamored alike.

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 “intriguing and accessible” (Publishers Weekly) interpretation of the life of Galileo Galilei, one of history’s greatest and most fascinating scientists, that sheds new light on his discoveries and how he was challenged by science deniers. “We really need this story now, because we’re living through the next chapter of science denial” (Bill McKibben). Galileo’s story may be more relevant today than ever before. At present, we face enormous crises—such as minimizing the dangers of climate change—because the science behind these threats is erroneously questioned or ignored. Galileo encountered this problem 400 years ago. His discoveries, based on careful observations and ingenious experiments, contradicted conventional wisdom and the teachings of the church at the time. Consequently, in a blatant assault on freedom of thought, his books were forbidden by church authorities. Astrophysicist and bestselling author Mario Livio draws on his own scientific expertise and uses his “gifts as a great storyteller” (The Washington Post) to provide a “refreshing perspective” (Booklist) into how Galileo reached his bold new conclusions about the cosmos and the laws of nature. A freethinker who followed the evidence wherever it led him, Galileo was one of the most significant figures behind the scientific revolution. He believed that every educated person should know science as well as literature, and insisted on reaching the widest audience possible, publishing his books in Italian rather than Latin. Galileo was put on trial with his life in the balance for refusing to renounce his scientific convictions. He remains a hero and inspiration to scientists and all of those who respect science—which, as Livio reminds us in this “admirably clear and concise” (The Times, London) book, remains threatened everyday.

Few legal events loom as large in early modern history as the trial of Galileo. Frequently cast as a heroic scientist martyred to religion or as a scapegoat of papal politics, Galileo undoubtedly stood at a watershed moment in the political maneuvering of a powerful church. But to fully understand how and why Galileo came to be condemned by the papal courts—and what role he played in his own downfall—it is necessary to examine the trial within the context of inquisitorial law. With this final installment in his magisterial trilogy on the seventeenth-century Roman Inquisition, Thomas F. Mayer has provided the first comprehensive study of the legal proceedings against Galileo. By the time of the trial, the Roman Inquisition had become an extensive corporatized body with direct authority over local courts and decades of documented jurisprudence. Drawing deeply from those legal archives as well as correspondence and other printed material, Mayer has traced the legal procedure from Galileo's first precept in 1616 to his formal trial in 1633. With an astonishing mastery of the legal underpinnings and bureaucratic workings of inquisitorial law, Mayer's work compares the course of legal events to other possible outcomes within due process, showing where the trial departed from standard procedure as well as what available recourse Galileo had to shift its direction. The Roman Inquisition: Trying Galileo presents a detailed and corrective reconstruction of the actions both in the courtroom and behind the scenes that led to one of history's most notorious verdicts.

“Demonstrates an awesome command of the vast Galileo literature . . . [Wootton] excels in boldly speculating about Galileo’s motives” (The New York Times Book Review). Tackling Galileo as astronomer, engineer, and author, David Wootton places him at the center of Renaissance culture. He traces Galileo through his early rebellious years; the beginnings of his scientific career constructing a “new physics”; his move to Florence seeking money, status, and greater freedom to attack intellectual orthodoxies; his trial for heresy and narrow escape from torture; and his house arrest and physical (though not intellectual) decline. Wootton also reveals much that is new—from Galileo’s premature Copernicanism to a previously unrecognized illegitimate daughter—and, controversially, rejects the long-established belief that Galileo was a good Catholic. Absolutely central to Galileo’s significance—and to science more broadly—is the telescope, the potential of which Galileo was the first to grasp. Wootton makes clear that it totally revolutionized and galvanized scientific endeavor to discover new and previously unimagined facts. Drawing extensively on Galileo’s voluminous letters, many of which were self-censored and sly, this is an original, arresting, and highly readable biography of a difficult, remarkable Renaissance genius. Selected as a Choice Outstanding Academic Title in the Astronautics and Astronomy Category “Fascinating reading . . . With this highly adventurous portrayal of Galileo’s inner world, Wootton assures himself a high rank among the most radical recent Galileo interpreters . . . Undoubtedly Wootton makes an important contribution to Galileo scholarship.” —America magazine “Wootton’s biography . . . is engagingly written and offers fresh insights into Galileo’s intellectual development.” —Standpoint magazine