Ever since they began to take an interest in lens grinding, the brothers Christiaan and Constantijn Huygens searched for high-quality glass to turn in to lenses. Historical research in combination with optical measurements on preserved lenses has allowed the verificationof the lenses ground by the brothers, and also provided information on who helped them with the necessary knowledge and material.

in 1612, lodovico cigoli completed a fresco in the pauline chapel of the basilica of santa maria maggiore in rome depicting apocalypse 12: “a woman clothed with the sun, and the moon under her feet.” he showed the crescent moon with spots, as his friend galileo had observed with the newly invented telescope. considerations of the orthodox view of the perfect moon as held by philosophers have led historians to ask why this clearly imperfect moon in a religious painting raised (...) no eyebrows. we argue that when considered in the context of biblical interpretation and the rhetoric of the counter-reformation, the imperfect moon under the woman's feet was entirely consistent with traditional interpretations of apocalypse 12. (shrink)

Ever since they began to take an interest in lens grinding, the brothers Christiaan and Constantijn Huygens searched for high-quality glass to turn in to lenses. Historical research in combination with optical measurements on preserved lenses has allowed the verificationof the lenses ground by the brothers, and also provided information on who helped them with the necessary knowledge and material.

The ArgumentIn 1612, Lodovico Cigoli completed a fresco in the Pauline chapel of the Basilica of Santa Maria Maggiore in Rome depicting Apocalypse 12: “A woman clothed with the sun, and the moon under her feet.” He showed the crescent Moon with spots, as his friend Galileo had observed with the newly invented telescope. Considerations of the orthodox view of the perfect Moon as held by philosophers have led historians to ask why this clearly imperfect Moon in a religious painting (...) raised no eyebrows. We argue that when considered in the context of biblical interpretation and the rhetoric of the Counter-Reformation, the imperfect Moon under the woman's feet was entirely consistent with traditional interpretations of Apocalypse 12. (shrink)

In 1714, the Dutch scholar Willem Jacob's Gravesande published a theoretical essay on how to optimize the air-pump. Although his paper did not attract much attention, there was one important supplier of air-pumps who knew about it: the Leiden instrument maker Jan van Musschenbroek. 's Gravesande and he cooperated intensively between 1717 and 1742. Among other things, this cooperation resulted in two new air-pump designs to replace Musschenbroek's own models. A closer analysis of's Gravesande's influence on Musschenbroek's repertoire reveals that (...) the various changes were not inspired by the theory of the air-pump. Commercial and practical considerations were much more important than theoretical reflections, even though both approaches aimed at the same goal: a fast and handy air-pump. (shrink)

This essay concerns the authors’ translation of the debate between the Jesuit astronomer Christoph Scheiner and Galileo Galilei in 1611–1612, published as On Sunspots by the University of Chicago Press in 2010. In offering an account of their experience as translators, and of the intellectual aims and unforeseen complications of this project, they have focused on two particular issues. The first is that of the asymmetrical linguistic environment of this epistolary exchange: Galileo’s Tuscan was accessible and congenial to his patron (...) and primary audience but not to his German rival, who was forced to rely on translations and to respond in the more cumbersome idiom of scholarly Latin. The second concern lay with the often problematic translation of the solar images themselves, central to this debate, from various media to print. Here they encountered both the subterfuges of the protagonists and the fiscal concerns, understandable and ultimately manageable, of their own publisher. (shrink)