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.

Forgeries are an omnipresent part of our culture and closely related to traditional ideas of authenticity, legality, authorship, creativity, and innovation. Based on the concept of mimesis, this volume illustrates how forgeries must be understood as autonomous aesthetic practices - creative acts in themselves - rather than as mere rip-offs of an original work of art. The proceedings bring together research from different scholarly fields. They focus on various mimetic practices such as pseudo-translations, imposters, identity theft, and hoaxes in different artistic and historic contexts. By opening up the scope of the aesthetic implications of fakes, this anthology aims to consolidate forging as an autonomous method of creation.

Throughout history, forgers have attempted to fabricate documents to manipulate the historical record. The book explores the most egregious cases--their intent, effectiveness, exposure and significance--from the Donation of Constantine to the Protocols of the Elders of Zion to the Hitler Diaries. Ironically, forgeries have helped advance the discipline of history. Case studies trace how scholars worked to reveal the truth behind bogus manuscripts while developing new tools and standards for accuracy and authenticity. In the age of "fake news" and digital editing software, the spectacular history of fraud in print has never been more relevant.

Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it. This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, "Noster Chaucer," looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. "Our" Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, "Bibliography and Book History," consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, "Cacophonies: A Bibliographical Rondo," is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. TABLE OF CONTENTS // Part I. Noster Chaucerus Chap. 1. How Many Chaucerians Does it Take to Count to Eleven? The Meter of Kynaston's 1635 Translation of Troilus and Criseyde and its Implications for Chaucerian Metrics Chap. 2. Chaucer's "Rude Times" Chap. 3. Meditation on Our Chaucer and the History of the Canon Coda. Godwin's Portrait of Chaucer Part II. Bibliography and Book History Chap. 4. The Singularities of Books and Reading . Chap. 5. Editorial Projecting Chap. 6. The Haunting of Suckling's Fragmenta Aurea (1646) Coda. T. F. Dibdin: The Rhetoric of Bibliophilia Part III. Cacophonies: A Bibliographic Rondo Fakes and Frauds: The "Flewelling Antiphonary" and Galileo's Sidereus Nuncius Modernity and Middle English The Quantification of Readability The Elephant Paper and Histories of Medieval Drama The Pynson Chaucer(s) of 1526: Bibliographical Circularity Margaret Mead and the Bonobos Reading My Library

What do forgeries do? Forgery Beyond Deceit: Fabrication, Value, and the Desire for Ancient Rome explores that question with a focus on forgery in ancient Rome and of ancient Rome. Its chapters reach from antiquity to the twentieth century and cover literature and art, the two areas thatpredominate in forgery studies, as well as the forgery of physical books, coins, and religious relics. The book examines the cultural, historical, and rhetorical functions of forgery that extend beyond the desire to deceive and profit. It analyses forgery in connection with related phenomena likepseudepigraphy, fakes, and copies; and it investigates the aesthetic and historical value that forgeries possess when scholarship takes seriously their form, content, and varied uses within and across cultures. Of particular interest is the way that forgeries embody a desire for the ancient and forthe recovery of the fragmentary past of ancient Rome.

The “revolutionary, scintillating book” in which Galileo revealed his wondrous astronomical discoveries, with accompanying notes and historical context (Metascience). Galileo Galilei’s Sidereus Nuncius is arguably the most dramatic scientific book ever published. It announced new and unexpected phenomena in the heavens, “unheard of through the ages,” revealed by a mysterious new instrument. Galileo had ingeniously improved the rudimentary “spyglasses” that appeared in Europe in 1608, and in the autumn of 1609 he pointed his new instrument at the sky, discovering astonishing sights: mountains on the moon, fixed stars invisible to the naked eye, individual stars in the Milky Way, and four moons around the planet Jupiter. These discoveries changed the terms of the debate between geocentric and heliocentric cosmology and helped ensure the eventual acceptance of the Copernican planetary system. Albert Van Helden’s beautifully rendered and eminently readable translation is based on the Venice 1610 edition’s original Latin text. An introduction, conclusion, and copious notes place the book in its historical and intellectual context, and a new preface, written by Van Helden, highlights recent discoveries in the field, including the detection of a forged copy of Sidereus Nuncius, and new understandings about the political complexities of Galileo’s work.

Fakes and forgeries are objects of fascination. This volume contains a series of thirteen articles devoted to fakes and forgeries of written artefacts from the beginnings of writing in Mesopotamia to modern China. The studies emphasise the subtle distinctions conveyed by an established vocabulary relating to the reproduction of ancient artefacts and production of artefacts claiming to be ancient: from copies, replicas and imitations to fakes and forgeries. Fakes are often a response to a demand from the public or scholarly milieu, or even both. The motives behind their production may be economic, political, religious or personal – aspiring to fame or simply playing a joke. Fakes may be revealed by combining the study of their contents, codicological, epigraphic and palaeographic analyses, and scientific investigations. However, certain famous unsolved cases still continue to defy technology today, no matter how advanced it is. Nowadays, one can find fakes in museums and private collections alike; they abound on the antique market, mixed with real artefacts that have often been looted. The scientific community’s attitude to such objects calls for ethical reflection.