Comets, meteors, and eclipses: Art and science in early Renaissance Italy

Abstract

We discuss eight trecento (fourteenth century) paintings containing depictions of astronomical events to reveal the revolutionary advances made in both astronomy and naturalistic painting in early Renaissance Italy, noting that an artistic interest in naturalism predisposed these pioneering painters to make their scientific observations. In turn, the convincing representations of their observations of astronomical phenomena in works of art rendered their paintings more believable, convincing. Padua was already a renowned center for mathematics and nascent astronomy (which was separating from astrology) when Enrico Scrovegni commissioned the famous Florentine artist Giotto di Bondone to decorate his lavish family chapel (circa 1301-1303). Giotto painted a flaming comet in lieu of the traditional Star of Bethlehem in the Adoration of the Magi scene. Moreover, he painted a historical apparition that he recently had observed with a great accuracy even by modern standards. Halley's Comet of 1301 (Olson, 1979). 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 discuss Giotto's pupil, Taddeo Gaddi, reputed to have been partially blinded by a solar eclipse, whose calamity may find expression in his frescoes in Santa Croce, Florence (1328-30; 1338?). Giotto also influenced the Sienese painter Pietro Lorenzetti, two of whose Passion cycle frescoes at Assisi (1316-20) contain dazzling meteor showers that reveal the artist's observed astronomical phenomena, such as the "radiant" effect of meteor showers, 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. It is also significant that these artists observed differences between comets and meteors, facts that were not absolutely established until the eighteenth century. In addition we demonstrate that artistic and scientific visual acuity were part of the burgeoning empiricism of the fourteenth century, which eventually yielded modern observational astronomy.