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R. J. M. Olson (Wheaton College, MA), J. M. Pasachoff (Williams College--Hopkins Observatory)
We discuss several topics relating artists and their works with actual astronomical events in early Renaissance Italy to reveal the revolutionary advances made in both astronomy and naturalistic painting. Padua, where Galileo would eventually hold a chair at the University, was already by the fourteenth century (trecento) a renowned center for mathematics and nascent astronomy (which was separating from astrology). It is no wonder that when Enrico Scrovegni commissioned the famous Florentine artist Giotto di Bondone to decorate his lavish family chapel (c. 1303) that in the scene of the Adoration of the Magi Giotto painted a flaming comet in lieu of the traditional Star of Bethlehem. Moreover, he painted an historical apparition he recently had observed with a great understanding of its scientific structure: Halley's Comet of 1301 (since Olson's first publication of this idea in Scientific American we have expanded the argument in several articles and talks). While we do not know the identity of the artist's theological advisor, we discuss the possibility that Pietro d'Abano, the Paduan medical doctor and ``astronomer" who wrote on comets, might have been influential. We also compare Giotto's blazing comet with two others painted by the artist's shop in San Francesco at Assisi (before 1316) and account for the differences. In addition, we tackle the question how Giotto's pupil, Taddeo Gaddi, who is documented as having been partially blinded by lengthy unprotected observation of the partial phase of an annular solar eclipse, reflects his observations in his frescoes in Santa Croce, Florence (1328-30). Giotto also influenced the Sienese painter Pietro Lorenzetti, two of whose Passion cycle frescoes at Assisi (1316-20), contain dazzling meteor showers that hold important symbolic meanings in the cyle's argument but more importantly reveal that the artist observed astronomical phenomena, such as the ``radiant" effect, which was first recorded by Alexander von Humboldt in 1799 and only accepted in the nineteenth century. Lorenzetti also painted sporadic, independent meteors, which do not emanate from the radiant, demonstrating that he observed this phenomenon as well. (It is significant that these artists knew the differences between comets and meteors, facts which were not absolutely established until the eighteenth century.) We demonstrate that artistic and scientific visual acuity were part of the burgeoning empiricism of the fourteenth century that eventually yielded modern observational astronomy. Our joint work has been supported in part by the National Endowment for the Humanities and the Getty Grant Program.