Galileo's Telescope: A European Story by Massimo Bucciantini, Michele Camerota, Franco Giudice,

By Massimo Bucciantini, Michele Camerota, Franco Giudice, Catherine Bolton

Between 1608 and 1610 the cover of the evening sky replaced eternally, ripped open through an item created nearly accidentally: a cylinder with lenses at either ends. Galileo’s Telescope tells the tale of the way an creative optical machine developed from a toy-like interest right into a precision medical tool, all in many years. In transcending the boundaries of human imaginative and prescient, the telescope remodeled humanity’s view of itself and data of the cosmos.

Galileo performs a leading—but under no circumstances solo—part during this riveting story. He stocks the level with mathematicians, astronomers, and theologians from Paolo Sarpi to Johannes Kepler and Cardinal Bellarmine, sovereigns corresponding to Rudolph II and James I, in addition to craftsmen, courtiers, poets, and painters. beginning within the Netherlands, the place a spectacle-maker created a spyglass with the modest magnifying strength of 3, the telescope unfold like technological wildfire to Venice, Rome, Prague, Paris, London, and finally India and China. Galileo’s celestial discoveries—hundreds of stars formerly invisible to the bare eye, lunar mountains, and moons orbiting Jupiter—were introduced to the realm in his innovative treatise Sidereus Nuncius.

Combining technological know-how, politics, faith, and the arts, Galileo’s Telescope rewrites the early heritage of a world-shattering innovation whose visible energy eventually got here to embrace meanings a ways past the technological know-how of the stars.

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This marked the beginning of yet another season for the Dutch spyglass: one that would prove to be completely new and unpredictable. TWO $ The Venetian Archipelago The news arrived in autumn—in November 1608, to be precise—and Paolo Sarpi was one of the first to hear it. In his letter of December 9, he wrote to the Huguenot Francesco Castrino: “A month ago, I received from The Hague your lordship’s report regarding the embassy sent to Count Maurice by the Hindu king of Siam, and about the new spyglasses made by that gifted man, and this has given me much to ponder.

Galileo reminisced about the atmosphere of those frenetic days in a document that reads more like the screenplay for a Chaplin comedy than an actual report—and it was written four centuries ago. Venice was a city in the thrall of odd and unexpected euphoria, in which the most popular sport was clambering up and down towers and campaniles. Not only young men The Venetian Archipelago 39 . . . . . . . . . . . . . . . . . . . . . but also portly middle-aged lords vied to be the first to get to the top, determined not to miss a spectacle that had become the social event of the year.

Large and distinct form, and one could make out the orders of the Tower, and the windows with other even smaller parts still under construction. 40 This means that at the end of March 1609 Albert of Austria owned instruments like the one shown to Maurice of Nassau the previous September. Moreover, it was with one of these very instruments that the archduke had Brueghel portray him in the park of his castle at Mariemont. ”4¹ Yet Bentivoglio’s letter also tells us more. ” Consequently, with the same courier he had sent “the instrument to the hands of Lord Entio, my brother, so that he may deliver it to Your Excellency in my name.

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