My Trapezium sketches

Galileo’s observed the Trapezium stars in the sword of Orion on February 4, 1617. He labeled the three stars “c”, “g”, and “i”. These stars are known now as the “D”, “C” and “A” components of Theta 1 Orionis, or 41 Orionis. He did not see the fainter [...]]]>

Galileo's Trapezium

My Trapezium sketches

Galileo’s observed the Trapezium stars in the sword of Orion on February 4, 1617. He labeled the three stars “c”, “g”, and “i”. These stars are known now as the “D”, “C” and “A” components of Theta 1 Orionis, or 41 Orionis. He did not see the fainter “B” component.

Galileo’s text states that the apparent spacing of stars “a” and “g”, as seen through his telescope, exactly matched the apparent spacing of two of the stars in Orion’s belt as seen with the unaided eye. This implies a power of 27 for his telescope.

This observing report from Galileo’s notebook is translated from the Latin: “The arrangement of fixed stars pictured here was discovered by me near the point of Orion’s sword, from which they arise toward the north and lean a bit to the east; and g and b appear equal in magnitude, a smaller really by little, but two, c, i, rather faint, scarcely a fourth or fifth part of g itself. Three, a, b, g, form a very obtuse angle. The lines through b, a, and through i, c, are almost parallel, but will [eventually] meet [in a direction] towards c, a. Two, c, i, are equidistant from g, which they practically touch. The distance between a and b is adjudged three semidiameters of Jupiter, to which the distance b-g seems triple. These things were observed by me the fourth day of February 1617 at Bellosguardo.”

I sketched the Trapezium using my 70mm Televue Ranger and two eyepieces — my 25mm Zeiss Abbe for a 19x and 16mm Zeiss Abbe for 30x magnified view. At 19x I had difficulty seeing the B or faintest component of the trapezium stars. But when I upped the magnification to 30x I could see all four stars easily.

Here is an astrophoto of M42, the Orion nebula, showing the Trapezium stars. It was taken by my hubby Morris Jones.

Here is Charles Messier’s sketch of M42 and the Trapezium stars

Here is a huge list of links, references and additional information about Galileo’s observations.

sketch of 3-day old waxing moon 2-28-09

sketch of 5-day old waxing moon

sketch of 14-day (full) moon 3/11/09

Galileo’s watercolor drawings were made with brown ink wash on watercolor paper. To me, these are the most beautiful of Galileo’s astronomical renderings. When I look at the [...]]]>

Folio page 28 manuscript copy of Sidereus Nuncius

sketch of 3-day old waxing moon 2-28-09

sketch of 5-day old waxing moon

sketch of 14-day (full) moon 3/11/09

Galileo’s watercolor drawings were made with brown ink wash on watercolor paper. To me, these are the most beautiful of Galileo’s astronomical renderings. When I look at the lunar terminator through my own telescopes, and hunt for interesting features to sketch, I sometime daydream, and try to imagine what Galileo thought as he surveyed these surprising lunar features. I feel a tingle every time I see the sunrise or the sunset illuminate a lunar crater floor, or escape through a crumbling wall to create a fleeting sun ray.

I’ve been sketching the moon for about 20 years, but I’ve always focused on a small segment of the lunar terminator as my sketching target. I’d never tried to sketch the entire moon in one sitting before. Sketching the entire lunar disk is a daunting project. So I decided to make my sketches very small – three sketches to a page. I like to show my “rough sketch” first. It is sort of a outline of the major features. Then I create a finer sketch, filling in the details. Often, I make a third “final final” sketch, too.

I used a 5″ x 8″ inch bound sketch book instead of my usual 3.5 x 5 inch 400 Series Strathmore spiral bound sketch pad. I always use my slender set of 12 mix and match Pitt pure graphite, Castell fine, and Wasserlack bold Faber-Castell graphite art set pencils. I like to keep the sketching process simple and uncluttered and the supplies compact. No table, no lights shining off my forehead, no messy products that would get on my Zeiss eyepieces or my fingers. Armed with these supplies, all I have to do is wait for the moon to become visible on a night of above-average seeing.

Here is a partial collection of “cropped” lunar sketch pages made at the eyepiece of my 70mm Televue f/7.8 Ranger refractor. I haven’t completed my “Galileo-like” lunar sketches yet because I prefer to wait for those nights of exceptional seeing to sketch at the eyepiece, and I am in no hurry to finish this project. These crops don’t show the “rough” sketch, and are rotated to match Galileo’s brown ink wash paintings. There is one full sketch linked at the bottom of this article, and I’ll dedicate one future blog to each of the lunar sketches.

I used one of the finest planetary eyepieces to complement my telescope — a 25mm Zeiss Abbe Orthoscopic. This gave me a 19x view of the lunar surface, similar to what you would see through a pair of binoculars, but also similar to the magnification (but not the same field of view) of Galileo’s telescope, which was 21x. Twentieth century Extra-Low Dispersion (“ED”) glass in the Televue Ranger and the exceptional quality of the Zeiss Abbe orthoscopic eyepieces plus a wider field of view give me quite an advantage, but that’s the telescope and eyepieces I have at my disposal. Lucky me!

An example of my uncropped 3-to-a-page lunar sketches through a 70mm refractor