The Birth of Venus
The Birth of Venus
The Birth of Venus
PAINTINGS
Frank Keim
ABSTRACT: In Botticellis fresco Study of Saint Augustine (c. 1480) we find first measurements
of elongation angles of inner planets. The painting Birth of Venus (c. 1483-85) depicts the
phases of the inner planets: inferior conjunction, superior conjunction (only Venus) and
greatest elongation (Mercury and Venus). At the superior conjunction the Planet is fully
illuminated by the Sun, the phase angle is 0. The Venere nuda shows the angle 23.5 for the
obliquity of the ecliptic. Venus is in line with the Sun and the Earth, located behind the
Sun. At the greatest elongation, the phase angle is exactly 90, the elongation angle about
46. Finally, at inferior conjunction, Venus is fully dressed: there is only a small sickle. The
phase angle is 180. But this figure still shows the phase of maximum brightness that will
be achieved at about 39. So, this painting is one of the first allegories of the heliocentric
system in the Quattrocento.
Ronald Stoyan, Atlas of Great Comets (Cambridge: Cambridge University Press, 2015), 49.
Frank Keim
In the tondo the comet is represented by the peacock with its marvelous tail. It
was first seen on 8 January 1472 in the constellation of Libra.2 The distribution of
light and shadow in the upper round arch clearly shows that the Sun illuminates
the scenery from the left side.3 Its recognizable that the comets head is pointing
to the sun.4 Now, the central body of our planetary system was found: it is the
Sun. The comet was so important for our astronomer that he dedicated two
adorations to it.
In his third Adoration (Figure 2) we recognise Cosimo deMedici (1389-1464) in
the middle, and his sons Piero in the red coat and Giovanni, all of them
deceased at the time of the tables creation. On the left we see the grandsons:
Lorenzo, who is observing the comet and - black dressed Giuliano. Our early
astronomer, Sandro Botticelli, is standing in the front, dressed in an ocker coat
with golden boarders. The peacock is above him. The founder of the table,
Guaspare del Lama (1409-1481) is pointing to its tail. Again, the comets head is
pointing to the Sun.5 This painting is not only meant to honour the Medici but
also to commemorate the observance of comets since 1433 in Florence. The
observer then was Paolo Toscanelli (1397-1482), a contemporary of Cosimo.
See Jane L. Jervis, Cometary Theory in Fifteenth-Century Europa (Wroclaw [u.a.]: The Polish
Academy of Sciences Press), 1985, 65.
3 The author would like to thank Dr. Georgios Kavallaris for this important observation
(made after the authors INSAP-presentation in August 2015).
4 In this case, Botticelli would have anticipated the Schweifrichtungsgesetz, which was
formulated later by Peter Apian (Bennewitz) (1495-1552): the comets tail is always in
opposition to the Sun (See Christoph Meinel, Grenzgnger zwischen Himmel und Erde.
Kometen in der Frhen Neuzeit (Univ.-Verlag: Regensburg, 2009), 17).
5 The source of light coming from above was interpreted as a star by Lightbown (See
Ronald Lightbown, Sandro Botticelli (Mnchen: Hirmer, 1989), 68). Considering that the
great comet of 1472 was also visible by day (See Gary Kronk, Cometography, Vol. 1
(Cambridge: Cambridge University Press, 1999), 288), however, the Sun was to be meant
instead of this star.
2
Figure 1. Sandro Botticelli, The Adoration of the Kings, c. 1472. The National Gallery, London
(drawing of the author).6
Left side: Adorazione dei Magi of Sandro Botticelli (1445-1510), photo dAlexandra
Grmling et Tilman Lingesleben (traduction de Stphane Schoonover), H.F. Ullmann,
Cologne, 2007. ISBN 9783833138102. URL der Seite:
https://commons.wikimedia.org/wiki/File%3ASandro_Botticelli__Adoration_des_Mages.jpg. URL der Datei:
https://upload.wikimedia.org/wikipedia/commons/1/1c/Sandro_Botticelli__Adoration_des_Mages.jpg.
Bildnachweis
Libra:
Libra_constellation_map.png
von
Torsten
Bronger
(https://commons.wikimedia.org/wiki/File:Libra_constellation_map.png). Das Original
wurde unter einer Creative Commons Attribution-Share Alike 3.0 Unported
(https://creativecommons.org/licenses/by-sa/3.0/deed.en) Lizenz verffentlicht. (Diese
Abbildung steht unter einer Creative Commons Attribution-Share Alike 3.0 Lizenz).
Right side: The Adoration of the Magi of Sandro Botticelli (1444/45-1510), digitized by the
Web Gallery of Art: https://en.wikipedia.org/wiki/Web_Gallery_of_Art. URL der Seite:
https://commons.wikimedia.org/wiki/File%3ASandro_Botticelli_6
Frank Keim
Figure 2. Sandro Botticelli, The Adoration of the Kings, c. 1473. Uffizi Gallery, Florence
(drawing of the author).7
Figure 3: Sandro Botticelli, The Birth of Venus, 1483-85. Uffizi Gallery, Florence.9
Die Geburt der Venus of Sandro Botticelli (1444/45-1510), photo of w:User:The Singing
Frank Keim
Lets begin with the half venus on the left side (Figure 4). We measure a 46-degree
angle for the greatest elongation. The phase angle is 90 degrees. Botticelli has
realized this by covering one half of each body. For Venus, its easy to
demonstrate: one breast, shoulder and arm are uncovered, also a leg; likewise for
Mercury.
The naked Venus on the half seashell represents the superior conjunction. Venus
is inline with the Sun and the Earth, located behind the Sun. With her right hand
she forms the angle of 23.5 degrees, for the obliquity of the ecliptic.10 In this
constellation, the phase and the elongation angles are 0.
The figure on the right is wearing a belt of roses as sign for Venus. With her right
arm shes showing the phase of maximum brightness which will be achieved at
about 39 degrees. Here, the phase angle is about 120 (we can reconstruct from
this figure the inferior conjunction too where shes fully dressed).11
Figure 4. Sandro Botticelli, The Birth of Venus, 1483-85. Uffizi Gallery, Florence (inscriptions
and drawing by the author).
The height of the naked Venus and the width of the half seashell are almost
equal (Figure 5). The Mediterranean shell can reach a maximum size of 14 cm.12 If
we suppose the size of a 15th century woman is 140 cm or 150 cm, then the
reduction of Venus is about 10. This is the case when it reaches the superior
conjunction, the size there is only 6 arc seconds. At inferior conjunction this value
changes into 1 arc minute. The reduced Venus is placed next to the dressed one at
the bottom of the figure.
12
Frank Keim
Figure 5. Sandro Botticelli, The Birth of Venus, 1483-85. Uffizi Gallery, Florence (inscription
and drawing by the author).13
they are engaging in a light embrace: Venus must release her partner for a short
moment, because of his higher speed.
Figure 6. Sandro Botticelli, The Birth of Venus, 1483-85. Uffizi Gallery, Florence (drawing by
the author).
15
10
Frank Keim
Figure 7. Sandro Botticelli, Madonna del Magnificat, c. 1483. Uffizi Gallery, Florence (drawing
by the author). 16
the Calumnia, scattering roses on her shoulder and hair. As halfvenus shes
binding her hair protecting her from the emotional condemnation of the painter.
The painting demonstrates that its subject is clearly an astronomical one.
Figure 8. Sandro Botticelli, The Calumniation of Apelles, c. 1497. Uffizi Gallery, Florence
(inscription by the author).17
Die Verleumdung des Apelles of Sandro Botticelli (1444/45-1510), digitized by The Yorck
Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed
by DIRECTMEDIA Publishing GmbH. URL der Seite:
https://commons.wikimedia.org/wiki/File:Sandro_Botticelli_021.jpg?uselang=de. URL
der Datei:
https://upload.wikimedia.org/wikipedia/commons/8/85/Sandro_Botticelli_021.jpg.
17
12
Frank Keim
Bibliography
Heilbron, John L. The Sun in the Church : Cathedrals as Solar Observatories.
Cambridge, Mass. [u.a.] : Harvard Univ. Press, 1999.
Jervis, Jane L. Cometary Theory in Fifteenth-Century Europe. Wroclaw [u.a.]: The
Polish Academy of Sciences Press, 1985.
Keim, Frank. Sandro Botticelli : Die astronomischen Werke. Hamburg: Dr. Kova,
2015.
Kronk, Gary. Cometography, Vol. 1: Ancient1799. Cambridge: Cambridge
University Press, 1999.
Lightbown, Ronald. Sandro Botticelli. Mnchen: Hirmer, 1989.
Meinel, Christoph. Grenzgnger zwischen Himmel und Erde. Kometen in der Frhen
Neuzeit. Univ.-Verlag: Regensburg, 2009.
Stoyan, Ronald. Atlas of Great Comets. Translated by Storm Dunlop. Cambridge:
Cambridge University Press, 2015.