Science on Stage in Early Modern Spain features essays by leading scholars in the fields of literary studies and the history of science, exploring the relationship between technical innovations and theatrical events that incorporated scientific content into dramatic productions. Focusing on Spanish dramas between 1500 and 1700, through the birth and development of its playhouses and coliseums and the phenomenal success of its major writers, this collection addresses a unique phenomenon through the most popular, versatile, and generous medium of the time. The contributors tackle subjects and disciplines as diverse as alchemy, optics, astronomy, acoustics, geometry, mechanics, and mathematics to reveal how theatre could be used to deploy scientific knowledge. While Science on Stage contributes to cultural and performance studies it also engages with issues of censorship, the effect of the Spanish Inquisition on the circulation of ideas, and the influence of the Eastern traditions in Spain.

“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

This book collects contributions by some of the leading scholars working on seventeenth-century mechanics and the mechanical philosophy. Together, the articles provide a broad and accurate picture of the fortune of Galileo's theory of motion in Europe and of the various physical, mathematical, and ontological arguments that were used in favour and against it. Were Galileo's contemporaries really aware of what Westfall has described as "the incompatibility between the demands of mathematical mechanics and the needs of mechanical philosophy"? To what extent did Galileo's silence concerning the cause of free fall impede the acceptance of his theory of motion? Which methods were used, before the invention of the infinitesimal calculus, to check the validity of Galileo's laws of free fall and of parabolic motion? And what sort of experiments were invoked in favour or against these laws? These and related questions are addressed in this volume.

A precocious teenager, bored with life at his family's Tuscan villa Scornello, Curzio Inghirami staged perhaps the most outlandish prank of the seventeenth century. Born in the age of Galileo to an illustrious family with ties to the Medici, and thus an educated and privileged young man, Curzio concocted a wild scheme that would in the end catch the attention of the Vatican and scandalize all of Rome. As recounted here with relish 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. An expert on the Italian Renaissance and one of only a few people in the world to work with the Etruscan language, Rowland writes a tale so enchanting it seems it could only be fiction. In her investigation of this seventeenth-century caper, Rowland will captivate readers with her sense of humor and obvious delight in Curzio's far-reaching prank. And even long after the inauthenticity of Curzio's creation had been established, this practical joke endured: the scarith were stolen in the 1980s by a thief who mistook them for the real thing.

The “Galileo Affair” has been the locus of various and opposing appraisals for centuries: some view it as an historical event emblematic of the obscurantism of the Catholic Church, opposed a priori to the progress of science; others consider it a tragic reciprocal misunderstanding between Galileo, an arrogant and troublesome defender of the Copernican theory, and his theologian adversaries, who were prisoners of a narrow interpretation of scripture. In The Case of Galileo: A Closed Question? Annibale Fantoli presents a wide range of scientific, philosophical, and theological factors that played an important role in Galileo’s trial, all set within the historical progression of Galileo’s writing and personal interactions with his contemporaries. Fantoli traces the growth in Galileo Galilei’s thought and actions as he embraced the new worldview presented in On the Revolutions of the Heavenly Spheres, the epoch-making work of the great Polish astronomer Nicolaus Copernicus. Fantoli delivers a sophisticated analysis of the intellectual milieu of the day, describes the Catholic Church’s condemnation of Copernicanism (1616) and of Galileo (1633), and assesses the church’s slow acceptance of the Copernican worldview. Fantoli criticizes the 1992 treatment by Cardinal Poupard and Pope John Paul II of the reports of the Commission for the Study of the Galileo Case and concludes that the Galileo Affair, far from being a closed question, remains more than ever a challenge to the church as it confronts the wider and more complex intellectual and ethical problems posed by the contemporary progress of science and technology. In clear and accessible prose geared to a wide readership, Fantoli has distilled forty years of scholarly research into a fascinating recounting of one of the most famous cases in the history of science.

Early Modern Fire offers new perspectives on the history of fire in early modern Europe (ca. 1600–1800). Far from the background role that scholarship has traditionally assigned to fire, the essays in this volume demonstrate its centrality to understanding the entangled histories of science, technology, and society in the pre-industrial period. Analysing case studies ranging from alchemy to cooking and from firefighting to fireworks, the contributors show that the history of fire is not only one of change and progress, but also of continuity, characterised by the persistence of traditional know-how, small-scale innovation, and the coexistence of different paradigms. Contributors: Gianenrico Bernasconi, Catherine Denys, Hannah Elmer, Liliane Hilaire-Pérez, Olivier Jandot, Cyril Lacheze, Andrew M.A. Morris, Cornelia Müller, Bérengère Pinaud, Stefano Salvia, Marco Storni, Marie Thébaud-Sorger, and Simon Werrett.