The Ghost of Galileo
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J.L. Heilbron 2021
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First Edition published in 2021
Impression: 1
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Library of Congress Control Number: 2020938749
ISBN 9780198861300
ebook ISBN 9780192605559
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Contents
It is a pleasure to thank my wife, Alison Browning, for her capital formative ideas, help in bibliography and transcription, and perfectly tempered enthusiasm; my friend and colleague Moti Feingold for the strength of his scholarship, gentleness of his corrections, and generosity in encouraging trespass into the fields he can call his own; and my editor at Oxford, Latha Menon, for her ever wise and informed advice. Since much of this book is composed of mosaics, I have a particular debt to those who have helped me to the quarries: compilers, indexers, librarians, archivists, and curators, and, among them, I must thank especially members of the staffs of the Bodleian Library in Oxford, the British Library in London, the Dorset History Centre in Dorchester, the Huntington Library in San Marino, California, and the National Trust at Kingston Lacy. Books may be written by their authors but are seldom produced by them. Among those at Oxford to whom I am indebted are Jenny Nuge and Guy Jackson, who coordinated the production, Debbie Protheroe, who gathered the high-resolution images, and Hilary Walford, whose impeccable copy-editing has removed inconsistencies in dates and format that proliferated during the decade this work has been under construction. Finally I must acknowledge the many friends who have listened to me describe the mystery of the painting that makes my story. Among them are Dan Kevles, Adriana Turpin, and the patient regulars at the Rose and Crown in Shilton, West Oxfordshire.
The age of hieroglyphs is not dead. Pictograms direct road traffic, point us to exits and toilets, and invigorate trademarks, logos, and the computer world. A little experience also makes familiar the emblems of nationhood (flags, anthems), professions (uniforms, insignia), religion (crucifix, star of David), other perils (skull and crossbones), sex (readers choice). With more knowledge, we can identify personifications of such abstractions as Justice (with her sword and scales), War (Mars), Love (Venus, Cupid), the Seven Liberal Arts, and the Five Senses. In early modern Europe, educated people who spent most of their quality time with ancient authors could read the iconography of the old myths and Bible stories as plain text. They understood the power of icons. Francis Bacon: Emblem reduceth conceits intellectual to images sensible, which strike the memory more.
The hieroglyph whose elucidation frames this book hides in a painting made in Oxford in 16434. The painting presents the unhappy young heir of Corfe Castle, John Bankes, and his concerned tutor, Dr Maurice Williams (see ).
Figure 1 Francis Cleyn, Our Painting (1643/4): Dr Maurice Williams (standing, with hand on globe) and John Bankes.