The Trial of Galileo (n.d., 58.5 x 105 cm, oil on canvas) is one of the works of Filipino painter Juan Luna (1857-1899), currently housed in the Jorge B. Vargas Museum and Filipiniana Research Center at the University of the Philippines Diliman, Quezon City, Philippines. It depicts the last part of the trial of the Italian scientist Galileo Galilei (1564-1642): on his knees, he reads the statement of abjuration, which renounced heliocentrism before the Roman Inquisition at the Convent of Santa Maria sopra Minerva in Rome, Italy, in 1633. Using Trial of Galileo, this article aims to settle “the relation between what we see and what we know” (Berger). Such attempt to clarify, in this case, is through “locating art in the context of time and space”—therefore, through art history, which “investigates the changes in the language of art, the structures of the art world, the ways of making and appreciating art” (Flores & De la Paz). Due to the lack of clear provenance of the painting, Trial of Galileo can be situated in how the ilustrados (Filipino intelligentsia) received modern science developed in Europe and how this history of science could be used by the Propaganda Movement in advancing political reforms. By linking Trial of Galileo to the scientific knowledge and political movement of the ilustrado propagandists, we can identify the “emancipative effects of scientific knowledge” in the so-called “Filipino Enlightenment” (Mojares).