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PAOLA BERTUCCI

that would productively combine tradition and innovation, research and display, spectacle and usefulness. Keywords: Museums, experimental philosophy, Felice Fontana.

C.H. Lüthy

Helden's excellent monograph on the Invention of the Tele.scope, we know that especially in England and Italy, an active search for telescopic instruments had been underway throughout the later half of the sixteenth century. According to a legend, King Ptolemy had possessed a "Glass, or rather spectacle

Steven J. Harris

, "Scientific Spectacle in Baroque Rome: Athanasius Kircher and the Roman College Museum," Roma Moderna e Contemporanea 3 (1995), 625-65. Findlen provides extensive detail on Kircher's activities in Rome and embeds it in the rich cultural connotations of the time. 63 Ibid., 628. Insofar as the institutional

ALBERTO LUALDI

Gastone de' Medici. François had a son, Giacomo, who was also optician in Milan and obtained the same title as his father in 1775. H e continued to work after his father's death in 1774. A brief survey of other components of the family is given. Working mostly as a spectacle-maker he made a variety of

The Silver Triton

Suetonius Claud. 21.6.13–16

Alan Dorin and Eva Anagnostou-Laoutides

showcasing Rome’s political prominence and their contribution to it. 3 Still, the spectacle of a bloodthirsty, unscripted naval battle, 4 which Coleman described as “the most ambitious naumachia recorded in antiquity,” 5 was sure to pull a more substantial crowd to witness Claudius’ intended engineering

Francesco Paolo de Ceglia

hand, songs and humor. Especially the art of persuasion. In short, illusion and spectacle. These events were not sufficiently “academic” to be recounted by historians of science, at least until a few decades ago. Then, thanks to the interest in the history of scientific popularization and practices

Valentina Pugliano

of the physicality of the pharmacy shop (esp. Ch. 3), which the authors often link to the key drives of spectacle, self-fashioning, and shopping. While we are becoming increasingly familiar with the actors engaged in the medical trades and the art of healing, we still know little about the spaces

Silvia De Renzi

as its main dimension – it was up to the locals to decided when an investigation was necessary and this often resembled a spectacle – and the commendation of proximity as the most authoritative source of competence. The setting and epistemology of medieval investigations could not have been more

Tawrin Baker

both how to see and to question the act of knowing itself. The magnet was central to Kircher’s collection, but rather than demonstrating anything new about the lodestone, Kircher aimed to undermine his audience’s confidence in their prior epistemological habits. Through the spectacle of his elaborate

Eileen Reeves

regarding retinal images to viable optical theory, both developments involving significant use and refinement of the camera obscura. ese rich chapters are complemented by impressive appendices. e first of these offers abundant new information concerning spectacle manufacturers in Florence from 1413 through