Caverni, Raffaello, Storia del metodo sperimentale in Italia, 1891-1900

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        <body>
          <chap>
            <p type="main">
              <s>
                <pb xlink:href="020/01/088.jpg" pagenum="69"/>
              misura. </s>
              <s>Quale però si fosse questa misura cadde in controversia
                <lb/>
              fra il Landino, che sosteneva l'opinione di Antonio Manetti, e il Vel­
                <lb/>
              lutello, che seguiva un'opinione alquanto diversa. </s>
              <s>Baccio Valori,
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              consolo dell'Accademia fiorentina, dette poi a decidere la contro­
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              versia a Galileo, ciò che egli fece in due lezioni accademiche, pub­
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              blicate nel 1855 da Ottavio Gigli, sentenziando in favor del Manetti. </s>
            </p>
            <p type="main">
              <s>Se la Conca infernale e il Monte purgatorio dimostrano in Dante
                <lb/>
              una gran perizia di arte, diremo così, topografica, il gran Pano­
                <lb/>
              rama del Paradiso attesta che egli doveva essere esercitatissimo
                <lb/>
              ne'calcoli dell'astronomia. </s>
              <s>La distanza de'pianeti dalla Terra, le
                <lb/>
              loro grandezze relative, le paralassi del Sole e della Luna, tutto ciò
                <lb/>
              insomma che poteva servire a que'calcoli di fondamento, è de­
                <lb/>
              sunto, com'appar dal
                <emph type="italics"/>
              Convito,
                <emph.end type="italics"/>
              da Tolomeo, da Alfagrano e da si­
                <lb/>
              mili altri autori di opere astronomiche, delle quali dà prova il
                <lb/>
              Nostro di essere massimamente erudito. </s>
              <s>Su tali dati poi, qualunque
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              ne sia la certezza, i calcoli astronomici danteschi son condotti con
                <lb/>
              tal matematico rigore, che noi più volte, per nostro giovanile eser­
                <lb/>
              cizio, ci siam provati a ritesserli e gli abbiamo trovati riscontrar
                <lb/>
              sempre, con maraviglioso diletto. </s>
            </p>
            <p type="main">
              <s>Che l'Alighieri si fosse accorto del sonno delle piante, e avesse
                <lb/>
              riconosciuto la causa dell'ascensione della linfa su per i vasi; che
                <lb/>
              il velocitarsi delle acque correnti l'attribuisse alla pressione degli
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              strati superiori; che ne'condensamenti e nelle dilatazioni dell'aria
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              prodotta dal calor del sole riconoscesse l'origine dei venti; che i
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              vapori acquosi disseminati nell'aria, condensati dal freddo, tornino
                <lb/>
              in pioggia: queste e simili altre cose che vanno a ripescare a gara
                <lb/>
              qua e là pel Poema sacro i dantisti, son senza dubbio esagerazioni,
                <lb/>
              specialmente se si vogliono intendere quelle parole nel preciso si­
                <lb/>
              gnificato scientifico de'moderni; son conati di farfallette, che in­
                <lb/>
              tendono a sollevare più in alto che mai un gigante col leggiero
                <lb/>
              tremolare delle ali. </s>
            </p>
            <p type="main">
              <s>Il vero si è che il Poeta riassume tutta la scienza de'suoi
                <lb/>
              tempi, e la commenta e la condensa ne'suoi splendidi versi, na­
                <lb/>
              scondendola talvolta così fra le loro pieghe, che occhio poco esperto
                <lb/>
              non se ne accorge. </s>
              <s>Un esempio di quei commenti si può citare,
                <lb/>
              nel XV canto del Purgatorio, dalle terzine 6 e 7, nelle quali si
                <lb/>
              rendono compiute le leggi della Calottrica, soggiungendo che il rag­
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              gio d'incidenza e quello di riflessione si ritrovano in un medesimo
                <lb/>
              piano perpendicolare alla superficie riflettente. </s>
            </p>
            <p type="main">
              <s>Dell'ardito modo come il grande artefice del verso toscano sa-</s>
            </p>
          </chap>
        </body>
      </text>
    </archimedes>
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