This essay proposes that the only publication of the Accademia del Cimento, referred to as Saggi,Footnote11 Accademia del Cimento, Saggi di naturali esperienze fatte nell’ Accademia del Cimento sotto la protezione del serenissimo principe Leopoldo di Toscana e descritte dal segretario di essa Accademia (Firenze: Per Giuseppe Cocchini, 1667). had as one of its main goals the celebration of the House of Medici’s paternity of cutting-edge experiments and instruments during the reign of Grand Duke Ferdinando II. These included Ferdinando II’s (...) thermometers and hygrometers, Torricelli’s experiment and barometer, and Galileo’s pendulum as a clock-regulator. It seems that this agenda went unnoticed, not at the time of its initial circulation, but rather in modern historiography. Christiaan Huygens’s challenged invention of the pendulum clock provides a case study to explore the agenda of this publication and the problem of defining an invention in seventeenth-century Europe. This paper presents for the first time the document that attests to when the first specimen of Huygens’s clock arrived in Florence, disproving the previously believed date of September 1657. The paper argues that over the last two centuries, this error has made the Medici narratives of this dispute appear inconsistent and marginalized them. In light of this new find, they must be reconsidered. (shrink)

The brief life of the Accademia del Cimento (1657–1667), the first known society with a purely experimental programme,1 is entangled with the most surprising advancements in the history of scientific instruments of that century, from the telescope to the microscope, the thermometer to the barometer, the hygrometer to the pendulum as a time-regulator, and more. The making of instruments at the Florentine court shows the interaction of princely, scholarly and artisanal actors. This paper explores this collaboration and shows how the (...) supposed “invisibility’ of artisans depended on their proximity to the academicians and princes, who mainly communicated verbally with them, directly or through middlemen. The visibility of artisans increases proportionally to their physical distance from the Court. In this essay I unveil the identity of the artisans of the Cimento and, finally, attempt to attribute five instruments (some lost and others still extant) to specific makers, shedding light also on relations between the artisan and his patron. (shrink)

Lynceorum Historia: Le ‘Schede Lincee’ di Martin Fogel is a significant contribution to the scholarly understanding of the Lyncean Academy (Accademia dei Lincei) and its reception in Europe during...