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Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University
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Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Dec 21, 2015

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Page 1: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Galileo, Mathematics, and the Arts

January 18, 2012

Mark A. Peterson

The Franke Program in Science and the Humanities

Whitney Humanities Center, Yale University

Page 2: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

NBC magazine advertisement, 1940s, Print and Picture Department, Free Library of Philadelphia

Archimedes and the crown: Vitruvius’ version

Note spillage!

Page 3: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Archimedes and the crown: Galileo’s version (ca. 1586)

From Galileo and the Scientific Revolution, Laura Fermi and Gilberto Bernardini (1961).

Page 4: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Archimedes Law of the LeverA:B=b:a

Page 5: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

The Pythagorean theory of music, according to traditional sources

Theorica Musicae (1492), Franchino Gaffurio

Page 6: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Pythagorean experiment (ca. 1588)

Galileo and his father both report the result of an experiment on the relationship between tension (weight) on a string and the pitch of the plucked string. Their result, unknown before them, is that doubling the weight does not raise the pitch an octave, the way halving the length would do. One must quadruple the weight, and in general the frequency goes up like the square of the tension, and not simply like the tension.

Page 7: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Renaissance Lute frets

Page 8: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Botticelli: Inferno (ca. 1490)

From H. Bredekamp, Galilei der Kuenstler (2009).

Page 9: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Manetti’s Inferno (ca. 1490)

Page 10: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Would Manetti’s roof collapse?

Page 11: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Brunelleschi’s Dome: a scale model of Dante’s Inferno? (ca. 1588)

Page 12: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Galileo’s military compass (ca. 1606)

Page 13: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Solving 138:400=x:190

Page 14: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

The Geometric Compass as Sighting Device (1606)

Galileo Opere II, p. 417.

Although Galileo was by now formally an astronomer, writing a comprehensive description of all the things his compass could do, he never discusses sighting on a celestial object.

Page 15: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Uniform Acceleration in Two New Sciences (1638)

Page 16: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Musical Proportions from TNS (1638)

Page 17: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

How does strength of a structure behave under scaling? (TNS, 1638)

Page 18: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Two New Sciences: more days

Among Galileo’s last (unpublished) works is a dialogue exploring proportionality,

Euclid’s Book V, Definition 5, intended by him as a sequel to TNS, a 5th day.A 6th day uses the balance (a sure way to

establish proportionality) as an instrument to measure the force (percossa) of falling water.

Page 19: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Aggiunti’s Oratio (1627)

Page 20: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.
Page 21: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.
Page 22: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Euclid’s Book V, Definition 5

Magnitudes are said to be in the same proportion, the first to the second and the third to the fourth, when, if any equimultiples whatever are taken of the first and third, and any equimultiples whatever of the second and fourth, the former equimultiples alike exceed, are alike equal to, or alike fall short of, the latter equimultiples respectively taken in corresponding order.

Page 23: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Archimedes Law of the LeverA:B=b:a

Page 24: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Balance when mA=nBfor two integers m and n

To prove: mb=na i.e., the weights and the lengths are in the same proportion (at least in the rational case).

Page 25: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Reshape the masses A and B, keeping their centers fixed …

Page 26: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

and now notice where the center of the system is:

Thus mb=na, QED! (And further, not proved here, when b is too big, i.e., mb>na, then B goes down.)

Page 27: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

Balance when A’ and B are incommensurate

Take A’:B=b:a’ and suppose that, contrary to the rational case, the lever does not balance, but rather that A’ goes down.

Page 28: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

[Remember: A’:B=b:a’]

• If A’ goes down, remove a small amount E from A’ to make (A’-E):B rational. That is,

• m(A’-E)=nB for some integers m and n.

Page 29: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

[Remember: A’:B=b:a’]

• If A’ goes down, remove a small amount E from A’ to make (A’-E):B rational. That is,

• m(A’-E)=nB for some integers m and n.• Then mA’>nB, so mb>na’ (by Definition 5).

Page 30: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

[Remember: A’:B=b:a’]

• If A’ goes down, remove a small amount E from A’ to make (A’-E):B rational. That is,

• m(A’-E)=nB for some integers m and n.• Then mA’>nB, so mb>na’ (by Definition 5).• Thus b is too big, and B goes down, i.e. A’-E

goes up. But A’ by itself went down, a contradiction.

Page 31: Galileo, Mathematics, and the Arts January 18, 2012 Mark A. Peterson The Franke Program in Science and the Humanities Whitney Humanities Center, Yale University.

It is absurd that an arbitrarily small removal E should cause this change. Thus it cannot be that A’ goes down, and by a similar argument, it cannot be that B goes down. Thus if

A’:B=b:a’, then A’ and B are in balance. QED.