The Lynx and the Telescope challenges the traditional interpretation of a programmatic convergence between the visions of Galileo and Cesi’s Academy, while offering a new interpretation of the dynamics that led to the condemnation of Galileo in 1633.

Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly colored, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from seventeenth-century Italy called the Academy of Linceans (or Lynxes). Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection, and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member Galileo Galilei—whom they supported at the most critical moments of his career—to the flora and fauna of Mexico, bees, fossils, and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favorite method—visual description-as a mode of scientific classification. Profusely illustrated and engagingly written, Eye of the Lynx uncovers a crucial episode in the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits, and more.

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.

With over 100,000 copies sold since first publication, this is one of the most popular astronomy books of all time. It is a unique guidebook to the night sky, providing all the information you need to observe a whole host of celestial objects. With a new spiral binding, this edition is even easier to use outdoors at the telescope and is the ideal beginner's book. Keeping its distinct one-object-per-spread format, this edition is also designed for Dobsonian telescopes, as well as for smaller reflectors and refractors, and covers Southern hemisphere objects in more detail. Large-format eyepiece views, positioned side-by-side, show objects exactly as they are seen through a telescope, and with improved directions, updated tables of astronomical information and an expanded night-by-night Moon section, it has never been easier to explore the night sky on your own. Many additional resources are available on the accompanying website, www.cambridge.org/turnleft.

Presents a short study of the history of the telescope, and examines ancient discoveries, Galileo's refracting telescope, and the evolution of the telescope over the centuries.

Classic telescopes are of interest to amateur astronomers for a variety of reasons. There are the dedicated collectors, but there are also many amateurs who love the nostalgia they inspire. These telescopes "feel" different from any contemporary telescope and perhaps have a unique ability to reconnect the owner to a bygone age of craftmanship. This book takes a look at traditional telescopes built by the great instrument makers of the 18th and 19th centuries, particularly the dynastic telescope makers, including Dollond, Alvan Clark, Thomas Cooke & Sons, and Carl Zeiss. Also included are lesser luminaries such as John Brashear, John Calver, William Wray, Henry Fitz, and William Henry Mogey. 'Classic Telescopes' covers the key features of the telescopes designed by these manufacturers, and shows how a heady combination of market trends, instrument condition, and pedigree will dictate their prices at auction. 'Classic Telescopes' also shows the reader how to find real bargains! Interviews with top classic telescope collectors (and users) provide the best tips of prospecting for a genuine acquisition.