his Scene, of which the most complete and polished version is preserved as Gal. Ms. 130 in the Biblioteca Nazionale Centrale in Florence. Ricci was working on having the manuscript published, as he contributed to the Scene with some of his own mathematical work, but this never came to fruition. Nothing is known of when and where Nardi died. After the deaths of Bonaventura Cavalieri and Torricelli in a typhus outbreak in 1647, there is no trace of him in the Galileans' correspondence. It is likely that he too was killed by typhus. The Scene Almost 1,400-pages long, Gal. Ms. 130 represents the culmination of Nardi's work, combining his geometrical material with subject matter from almost every field of learning from theology to philology. Written in polished, literary Tuscan [i.e. Tuscan language], all the material displays a high level of sophistication, although Nardi himself concedes that he has not made a decisive contribution to any one field. What is strange about the work, however, is that it seems to lack any kind of organization, jumping indifferently between ruminating on Aristotelian philosophy and commenting on Montaigne's Essays. The manuscript, despite the clear hand in which is written, has the aura of a rough draft of Nardi setting down his thoughts as they came to him, but other iterations of the manuscript indicate that Nardi preserved its disorder as the Scene developed. Indeed, in a table of contents that appears in the middle of the work, Nardi jokes about this apparent "philosophical chaos": « how confused are these Academic scenes? It would seem to be the idea of confusion itself if confusion were to have an idea. But if they were ordered, it would not be formed by confusion. For myself, I think that they are a philosophical chaos, which could be easily ordered if only the mind survives it. Certainly I have placed them in their place where they seem to me not entirely without order. » The Scene has never been published, and that is arguably why Nardi became the obscure figure he is today. That being said, it is important to note that this was not the case in his own time. Torricelli, Magiotti, and Mersenne all saw some part of Nardi's work and regarded it highly. Indeed, Ricci collaborated closely with Nardi on the Scene, contributing some of his own geometrical material that he would later publish in