The Popular Library of Art
s A LBRECH T DU RER (3 7 Ill ustra tion ) . L N E C K E NSTE I N By I A .
R E I I stra t n s O SS TT ( 5 3 ll u io ). By FO RD M ADO" H U E F FE R.
RE M BRAN DT (6 1 Ill ustra tion s) . U G USTE BRE By A AL .
FRE D W AL K E R ( 3 2 Ill us tra tion s a n d Ph t ra ure o og v ) . C E ME NT N L ACK By L I A B .
M ILL E 2 I u stra t on s T (3 ll i ) . By ROMAIN ROLLAND . THE FRE NC H I M PRE SSI O N I STS 0 I u s ra t n s (5 ll t io ). A M E M A UC L AI R By C ILL .
N R DA VI I s LEO A DO N C (44 Ill u tra tion s) . D r GE O RG GRON U By A .
B u ra t s GA I N S OROU G H (5 5 Ill s t ion ) .
RTH UR C H M B ER N . By A B . A LAI
I L n s BO TT CE L I (3 7 Ill ust ra tio ) . M r AD V C RTW I G T By s (JULIA A R H ) . W A TTS . TE RT G. K . C H E S O By N .
CRU I KSHAN K .
By W . H . C H E S SON .
HOGART H . DW RD G RNETT By E A A .
Other s i n P r e a r a ti o p n .
V S R SPRI CC DEM O REN E ENU F OM NG ( A A IA , FL C ) — Photogr aph H ougfiton ] J ULIA CARTW RI GHT (M RS DY) la
i n a ood ai n ti n i s a mu si an d m e od F lly , g p g c l y wh i h i n te ec t on c an a reci at e a n d t h at c ll ly p p , w ith rea t di ffi cu t h i s ai n tin i s so rare g l y . T p g ” th at fe a a a a i n i n t i w re c p ble of tta g o t . MI CHE ANG EL O L .
) u ) t
3 3 ) 0 5 )
L O N D O N
E U . D T T N P . O Nt s
U RN BU L A N D S PE A RS PR I N TE R S E D I N B U RG H T . L , CONTENTS
P AG E 1 B T E L — R PE R . SANDR O OT I O L I HIS A T AND SONAL I TY — HIS POPULAR ITY IN TH E PR E SE NT AGE— BI R TH AND FAM ILY EAR LY TR AINING UNDER FR A FI LI PPO — LIPPI— HIS FIR ST W OR K S I N FLUE NCE OF TH E POLLAI U OL I — TH E FOR T EZZA J UDITH AND HOLO FER NE S— ST SE BAS TIAN — TH E CHIGI MADONNA — LE O — ’ NAR DO DA VINCI BOTTICE LLI S VISIT TO PISA LOR E NZO AND GIULIANO D E I M E DICI SANDR O PAINTS A PALLAS FOR GIULI
’ ANO S GIOSTR A —LOST POR TR AITS— GIO — VANNI DE I ME DICI TH E ADOR ATION — O F TH E MAGI IN TH E UFFIZI EAR LY — VE R SIONS O F TH E SUBJ E CT POR TR AITS — OF TH E MEDI OI INTR ODUCED LOR E NZO DI PIE R FR ANCE SCO— LA PR IM AVE R A — — CONSPI R AOY O F TH E PAZZI BOTTI
2808 4 0 CONTENTS
PAG E CE LLI PAINTS TH E EFFIGI E S O F TH E CONSPI R ATOR S— PALLAS AND TH E CE N TAU R — TH E BI R TH O F VE NUS— MAR S AND VE NUS FR E SCO O F ST AU GUSTIN E FAM ILY
’ AFFAI R s fi BOTTI CE LI I I S VISIT TO ROM E —TH E ADOR ATION OF TH E MAGI AT ST PE TER SBUR G— TH E SISTINE FR E SCOES —TH E I R TH E OLOGICAL AND POLITICAL SIGNI F ICANCE— TH E TE M PTATION AND — PU R IFICATION OF TH E LE PE R TH E — STOR Y OF MOSE S TH E PUNISHM E NT OF KOR AH — BOTTICE LLI R E TUR NS TO — FLOR E NCE HIS HABITS AND CHAR ACTE R SANDR O W OR K S FO R LO R ENZO D E I M E DICI -TH E VILLA O F LO SPE DALE TTO TH E FR ESCOE S OF VILLA LE M INI W E DDING O F LOR E NZO TOR NAB U ON I AND GIOVANNA DE GLI ALB I ZZI — TH E BOCCACCIO PAINTI NGS IN CASA PUCCI M Y THS AND HISTO R ICAL SUBJ E CTS
’ PAINTED B Y BOTTICE LLI S ASSISTANTS
’ SAVONA R OLA S RE VIVAL— HIS I N FLU — E NC E ON BOTTI C ELl TH E BAR DI AND
V 111 CONTENTS
PAG E
S R B A R E E — . BA NA A LTA PI C S MADONNA OF TH E POM E GR ANATE AND OTH E R S — TH E MAGNI FICAT SCHOOL PICTUR E S - TH E COR ONATION OF TH E VI R GIN " AND UN FINISH ED ADOR ATION
DE — V . ATH OF LOR E NZO DE I MEDICI BOTTI
’ CE LL I S RE LATIONS W ITH LO R E NZO DI
’ PI E R FR ANC ESCO SI M ON E FI LI PE PI S — ’ CHR ONICLE SANDR O S ALL E GOR Y OF — CALUM N Y AND NATIVITY TH E PAN E LS
OF L R E R S ZE UC TIA , VI GINIA AND T NO
’ B I U S — HIS ILLUSTR ATIONS OF DANTE S DIVINA COM M EDIA MI CH E LAN
’ ’ GE LO S DAVID BOTTICE LLI S LAST YE AR S AND DEATH TH E CHI E F W OR K S OF SANDR O BOTTICELLI BIBLIOGR APH Y INDE "
LI ST OF I LLUSTRAT I ONS
PAG E F r E F S Ac c a dem a e c e . R M R . V NUS O P ING i , lo n (Photograp h— Hangman ) F r on ti sp i ece
Sett an . MADONNA DE LLA VANNE LLA . ign o
B H r Es m H P o n e . ( y p er i ssi on of . . , q )
TH E R U Zi Photo E R F J U fli . TU N O DITH . ( — gr ap h Houghton ) m Ph S SE B r n seu . oto T ASTIAN . Be li Mu ( — grap h Ha nfsta engl) " ” TH E B er mi ss i on o CHIGI MADONNA . ( y p f
Mess rs P 8 D Coln a hi . ; . g )
P t r a h G DE I M E Ufli Zi . ho o IOVANNI DICI . ( g p — Houghton )
TH E R F TH E Ufli Zi Photo ADO ATION O MAGI . . ( — gr ap h Houghton )
GR FR M TH E R O F TH E OUP O ADO ATION MAGI .
Ufli zi Photo r a h— Hou hton . ( g p g )
M TH F E GR OUP FR O E ADOR ATION O TH MAGI .
Ufii zi Photo r a h— H u hton . ( g p o g ) POR TR AIT O F SANDR O BOTTICE LLI FR OM TH E
Ufli Zi R TH . ADO ATION OF E MAGI . — (Photogr ap h Houghton )
x i LIST O F ILLUSTRATI ONS
AGE
S R . Ac ca de a F re c e P P ING mi , lo n . ( hotogr ap h Hoaghton )
TH E T R E GR E F R M S R H E AC S O P ING .
Ac c adem a F r n e e . Phot i , lo c ( ograp h Houghto n)
O NE TH E GR E FR M S R OF AC S O P ING .
A a d em a F re n e Photo ra h cc i , lo c . ( g p Houghton )
. a a z tt Photo r a h PALLAS P l z o Pi i . ( g p Houghton )
E R M TH E R F E U O fli Zi . V NUS F O BI TH V NUS . (Photogr aph Houghton )
R E S . Nat a Ga r Phot MA S AND V NU ion l lle y. ( o grap h Va len ti n e 8; Son s )
E R a PUR I FICATION OF A L PE . C ppe lla Sistina
P to h- Rome . ( ho grap An derson )
G R M TH E U R F R ROUP F O P IFICATION O A LEPE .
Ca a S st a R m Phot r h e e . o a pp ll i in , o ( g p A n ders on )
Z O R TH E W E Ca e a MOSES AND IPP AH AT LL . pp ll
S R m Phot a h— An d rs st a e . o r e on i in , o ( g p )
F E a a GROUP F R OM TH E LI E OF MOS S . C ppell
R m Ph to ra h— A n S st a e . o der i in , o ( g p son ) GR OUP O F TH E BLASPH E MER FR OM TH E PU NISH
x ii LIST OF ILLUSTRATIONS
PAGE M F K R a S a e a st . E NT O O AH . C pp ll i in — (Photograp h An derson )
E R M TH E M E R MOS S F O PUNISH NT OF KO AH .
Ca e a S t a R m Ph t a h e . o o r pp ll is in , o ( g p An derson ) LO R ENZO TOR NAB UONI W E LCOM E D B Y TH E Ph L BER A R . Fre Lo r e . oto I L A TS sco , uv ( — grap h An derson ) GIOVAN NI TOR NAB U ON I AND TH E THR E E
Ph t a h— A R E L re . o o r n d r G AC S . ouv ( g p e son )
TH E W S J TH E MADONNA , ITH T OHN BAPTIST
S J TH E E E Berli n AND T OHN VANG L IST .
Photo ra h— Ha n sta l Museum . ( g p f eng ) SAN TA CATE R INA FR OM TH E MADONNA DI
S R B A ad m a F r N . c e e e . . BA A A c i , lo nc — (Photograp h Houghton )
U zi ME R E fli . MADONNA OF THE PO G ANAT . — (Photograp h Houghton ) HE AD OF THE MADONNA OF THE POM E
Ufli Zi h— H u h E . Photo ra o GR ANAT . ( g p g ton )
MADONNA AND CHILD W ITH ANGEL S .
A b a a a Photo ra h m r . osi n , Mil n ( g p An derson ) LIST OF ‘ I LLUSTRATIONS
PAG E P I i - D . O d e Ga l er MA ONNA AND CHILD P zzoli l y,
Photo ra h— An derson Milan . ( g p )
TH U E R . fli Zi VI GIN OF THE MAGNIFICAT . (Photogr ap h— Houghton )
M TH E U R . fli zi ANGELS F O MAGNIFICAT .
(Photograp hm Houghton )
R M MADONNA F O THE ANNUNCIATION . A
W k Photo ra h School or . ( g p B ough ton ) DANCING ANGELS FR OM THE COR ONATION OF
d a F TH E R . A a e r c e e . \ VI GIN cc mi , lo n — (Photograp h Houghton )
M Y Ufli zi Photo ra h— Hou ht CALU N . . ( g p g on ) GR OUP OF CAL UM NY AND INNOCENCE FROM ” M Y Ufli zi Ph r h CALU N . . ( otog ap Houghton )
‘ 1 H Y F M Y S d for th e Nat t HE OL A IL . A tu y ivi y.
Ufli zi Photo r a hm -Hou hton . ( g p g ) SAND RO BOTTICELLI— H IS ART AND PE RSONALITY H I S POPULARITY IN THE PRESENT AGE BI RTH AND FAMILY EAR LY T RAINING — UNDER FRA FILIPPO LIPPI f HIS FI RST — W O RKS INFLUENCE OF THE PO L LAI U O LI — TH E FO RTEZZA J UDITH AND H OLOFE RNES — — ST SE BASTIAN THE CHIGI MADONNA ’ LEONARD O DA VINCI — BOTTICELLI S VISIT
TO PISA .
- 14 4 4 14 75 .
A D R Fili e i or a ALESS N O dei p p , S ndro Botticelli a s he w a s fa milia rly ca lled by his contem
ora ri e s on e of a p , is the most interesting mong
a a a the Florentine p inters Of the Ren iss nce . Both his art a n d personality have ha d a singula r fa scina tion for the schola rs a n d critics of i n the nineteenth century . The strong di vi duali t of a n d y his conceptions, the depth
a of origin lity his thought, his fine poetic
m a a a n d a i gin tion keen sense of beauty, ppeal
( ‘ ‘ in a cu ar to a n d pe li manner the modern mind, have ma de him a s popula r in the present d a y
a s w a s n a he in his ow lifetime . The gre t thinkers of the la st generation wh o first opened ou r eyes to the forgotten glories of R the early enaissance , and the experts who ha ve brought the scien tific methods of the to new criticism bear upon these questions,
a agree in their dmiration for this rare master. ’ Ruskin a n d Pater have enshrined Botticelli s name in immortal prose ; Morelli and Mr " Berenson have pronounced him to be a
a n d n O f a creative origi al genius the first r nk , as well as " the greatest lineal designer th a t " 1 h a Europe s ever had .
A a a bove all, we have in Botticelli typic l
Florentine artist, who gave expression to the
' life and thought o f his fellow- citizens more
a n of a e fully than y master the g . The other great pa inters w ho flourished towards the close of the fifteenth century were soon drawn a way
r a from the city of thei birth . Leon rdo spent the best years of his life at Milan a n d went to die in Fra nce ; Michelangelo belongs more t o
1 Th F re t e a ters th e Re a ssa c e e lo n in P in of n i n , SAND RO BOTTICELLI
a a n d Rome th n he does to Florence, his most fa mous pa intings are to be seen in the Va tica n
a r a cha pel . But S nd o spent lmost the whole of his life in Florence a n d I S closely a ssocia ted v with her greatest a ge and th e golden days when Giova nni Ru c ella i th a nked God that he
a h a d been llowed to live . C a Born in the time Of osimo, the f ther of hi s a a country, Botticelli bec me the f vourite ’ pa inter of tha t gr ea t citizen s still more illus
r n a M t io s gr ndson, Lorenzo dei edici, who employed him to recor d the triumph of his house a n d the r uin of his foes on the wa lls of ' Ar i n im a e fri e n d a n Florence . i t t d compa nion
O f a n Ma n i fic o the hum ists , whom the g de
a a a "/ lighted to honour, he p inted the cl ssic l myths of the Greek world with which they x/
a a s a a 1 were en moured , it ppe red in their eyes .
V a n d a a hi s m a n d C His enus P ll s, ny phs upids,
r r E of were inspi ed by their ve ses . very deta il the Prima vera or the Villa Lemmi frescoes w a s vi
” i A a M i n o supplied by ngelo Polizi no or arsilio Fi c .
for a O f Their enthusiasm ntiquity, their love
a a n tur l beauty, even their revived interest in ’ Da a ll nte are reflected in Botticelli s works . The sa me Christia n idea lism which made Pico 3
SAND RO BOTTICELLI
a 14 20 tr de . The eldest, Giovanni, born in , w a s a a a a a c , like his f ther, le ther merch nt, who qui red the nickname Of I l B otticello either from
w a s of the barrel which the sign his Shop, or
o from his wn corpulent figure . A n The second, nto io, was a goldsmith and
a bookseller, who afterwards settled at Bologn . 14 4 3 The third , Simone, born in , went to
N a e of n aples at the g fourtee , in the service " of Ru c ell a i a a Paolo , wealthy Florentine b nker.
An d a a the fourth , S ndro, seems to h ve been
a only about a year younger th n Simone . In an in come -tax return ofFebruary 14 5 8 14 5 7) which ha s lately been discovered by Mr Herbert H orn eJSan dro i s d esc ri bed a s b ei n gthi rt e en yea rs of a n d on a n age, as still going to school, ccou t of
a a a u s a a his delic te he lth . Vas ri tells th t S ndro
n o a a r or took ple sure in re ding, w iting, figures , a n d w a s a hi s a lways discontented, until f ther, ’ a seeing the boy s eccentric habits, pprenticed
a him to a goldsmith n med Botticelli, which was the origin of the nickname which clung
a But r to the p inter throughout his life . the e seems to have been no goldsmith of that name
a n d n a l in Florence ; the sur me of Bottice li, by
1 R Ar ché l 12 e e e 3 9 . vu o ogiq u , , p . SANDRO BOTTICELLI
a which the artist bec me known to posterity, w a s evidently a cquired from his elder brother
r the b oker Giovanni . On the only two occa sions in which he Signed his works, he gives his n a me as Alessa ndr o or Sandro di Mariano ;
a a n d - r but alike in contr cts income tax eturns,
i s n a r a s dett B tticell or di he ge er lly desc ibed o o o,
tticelli w a s a Bo . This evidently the n me com m on l s a a da y u ed by his comr des . Leon rdo Vinci speaks O f him in his Tra ttato a s our
a n d M w h o w a s r Botticello ichelangelo , thi ty
r a r years younge , sent a letter to him be ing
a of a A the ddress S ndro Botticelli . ntonio
a Billi, writing e rly in the Sixteenth century, describes the pa inter a s Sa ndro di Botticello ;
A C a while the nonimo of the odex Gaddi no,
hi s a r who compiled record a few ye rs late , f‘ gives his full na me a s Sa ndro di Ma ria no di ” i li e i a a Va . nni F p p , c lled S ndro di Botticelli
i s of u r a m a It , co se , possible th t Sandro y ha ve worked for a yea r or two with hi s
A r brother, the goldsmith ntonio, but befo e long he succeeded in persua ding his fa ther that
a a painting w s his true voc tion . " " V a a The boy, writes as ri , was en moured
a a n d o e n e d a of p inting, p his he rt freely to his ‘ 6 SANDRO BOTTICELLI
O f father, who, seeing the force his inclination,
Ca a took him to Fra Filippo of the rmine, most
a ho a excellent p inter of t se days, in order th t Sandro might lea r n from him a ccording to his
a desire . From th t time he devoted himself
a n d wholly to the study of this art, followed
a n d hi s a so imitated the style of m ster closely,
a Fra r a n d SO th t Filippo loved him dea ly, took
a a a much p ins in teaching him , th t S ndro soon ”y a a n a re ched excellence far beyond expect tion . Botticelli w a s proba bly a ppr enticed to Fra
u 14 60 or Filippo abo t , when he was fifteen
a n d a C sixteen, ccompanied the armelite to
ra r a a r P to, when fou ye rs l ter, by o der of
C M e di a 8 son Ca osimo dei illegitimate rlo, the newly - a ppointed Pr ovost O f the Collegiate
C - r hurch, he resumed his long neglected wo k
a in the Pieve . This ncient choir, where the genia l friar pa inted his series of frescoes from the lives of St Stephen a n d St J ohn the
a w a s B ptist, the true school in which the
r a l a d r a d eamy, impression ble eceived his rtistic
ra t ining .
a a a - a In these f scin ting, but s dly injured p int
h a r ings, which still c rm us by their b ightness an d a r of h anim tion, we ecognise many t e SANDRO BOTTI CELLI motives which his scholar was t o turn to good a ccount in years to come . In the venerable
a a a ev ngelists, whose p triarch l figures look down from the vaulted roof ; in the light a n d of S graceful steps the dancing alome, in her swa ying form and fluttering draperies ; in the yearning fa ces of th e sor rowing disciples who stand round the bier of the first martyr ; we ’ se e o f a rt An d already the germ Botticelli s .
i s o f it precisely in the last subjects the series \ — the Feast Of Herodias a n d the Stoning and Buria l of St Stephen— that we trace the ’ strongest resembla nce to the younger master s 64 . r 14 style These frescoes we e painted in , when the reckless friar w a s working with feverish haste to make up for lost time and r ecover the favour of his indignant patrons . Ea rly in 14 65 the long- dela yed work w a s a t f length completed, and soon a terwards
t o Botticelli returned Florence . He did not a a C a Ma ccomp ny the armelite fri r when, in rch 14 6 out on a t o o 7, he set his l st journey, dec rate D the cupola of the uomo at Spoleto . But the Singing a n d dancing a ngels sca ttering roses at
of r the feet the blessed, which are so p ominent ’ a r o f a fe ture in Fra Filippo s f esco Paradise , 8 MADONN A DELLA V A NNELL A (S zTTIGNAN O )
B er miss i on H P . H om e Er y p qf . , a ]
SANDRO BOTTICELLI bear a striking likeness t o some of Bo tti c elh s cr eations and Show that the pupil was familia r ’ with the la test phase of his master s art . He may ha ve helped the friar in pr eparing the
a or a s cartoons for this import nt work, , is more
r V p obable, may have isited Spoleto on his way 14 8 1 a n ot to Rome in . In any case S ndro did
r a Ol d a fo get the debt th t he owed to his m ster, ’ ’ a n d when a fter Filippo Lippi s dea th the Fri a r s
a young son was brought b ck to Florence, he ’ enter ed Botticelli s studio a n d received his early ’ tra ining from hi s father s most distinguished ’ r of r pupil . One inte esting work Sandro s fi st period has been latelydiscovered by Mr Ber enson a n d Mr Herbert Hom e in the little oratory Of
Ma a d a Va a a the donn ell nnell near Settign no . The wayside Shrine which contained this dama ged fr esco w a s origina lly ra ised in honour of a Our L dy, whose kindly influence the Tuscan pea sants invoked to Shield the vineya rds and orcha rds on the hill of Settigna no from
a a n d hail n d tempest . The plump rosy child ’ sta nding on his mother s knee reca lls Fra
’ ’ Filippo s ba bes ; but th e droop of the Virgin s
a of he d, and the gentle melancholy her expres
a of sion, are lready characteristic Botticelli . I I
SANDRO BOTTICELLI
a n d a brother Piero, prob bly worked during
a a a s a . a a sever l ye rs their assist nt In this c p city,
a a 14 0 a somewhere bout the ye r 7 , he p inted his
of ort e zza a s a noble figure F , companion to the si x Virtues alrea dy executed by the Polla i u oli
a a n zi a brothers for the tribuna l Of the Merc t .
A a A s youth , writes ntonio Billi, the oldest ’ " a a a Of S ndro s biogr phers, he m de in the
a Merc a ta n Z i a a m ost beautiful Fortezz . Both Vasa ri a n d the Anonimo give us the s a me i n formation ; a n d Albertini in his Memoria le o f
15 10 a V Mer , remarks th t the Six irtues in the c a ta n zi a a re a of a by the h nd Piero Poll iuolo, ” adding, the seventh is by Sandro .
a There can, we think, be no doubt th t the
figure in question was painted by Sandro, a lthough in this insta nce he followed the pattern before him SO closely tha t even Morelli would
a a not ccept the panel s his work . His Fortitude
a a is a young wom n partly cl d in armour, seated
a on a o f r a n d in recess, throne coloured ma bles,
a a a a be ring m ce in her h nds . The figure is executed in the same pa le colouring and sculptural style a s the six companion Virtues by
Poll ai uoli the , her embroidered draperies and the variega ted marbles Ofher throne are the 13 SAND RO BOTTICELLI
a s me . But the attitude and expression a r e ’ a a ltogether S ndro s ow n . The bent hea d a n d
v us a a a n d a ner o ly cl sped hands, the p tient we ry
a l l t o a but still resolute mien, help give the s me
of a of a a n d impression restr ined force , br ve
a a a r ste df st endurance . We e reminded Of the eloquent pa ssage in which Ruskin long a go described this picture .
a n d a a Worn somewhat not little we ry,
of r a for instead standing e dy all comers, she is
a a sitting pp rently in reverie, her fingers playing
a n d — n a restlessly idly y, I think even nervously
- fh F r a about the hilt of e r sword . o her b ttle is
' 4 t o a n or a . not begin to d y, did it begin yesterd y Many a m om and eve h a ve pa ssed since it bega n ; a n d n ow is this t o be the ending day of " — P it An d if this by wha t manner of end ’ i s a a n d This what S ndro s Fortitude is thinking, the pla ying fingers a bout the sword hilt would
a n d h ow fain let it fall, if it might be ; yet
a n d a on swiftly gl dly will they close it, when
fa r - off sh e a the trumpet blows , which will he r ll ” 1 through a her reverie .
a m a The s e fine, imaginative conception m rks the other pictures which the young Florentine 1 rn s F r en c e . 5 3 . Mo ing in lo , p I 4 TH E R T R O IT E U N F JUD H (UFFIZI)
Ph t m o ogr aph H oz/ghton ]
SANDRO BOTTICELLI
master pa inted at this period of his career . Foremost a mong these are the two small panels o f J Bor hi n i udith and Holofernes which g , the
- a s eighteenth century writer, mentions having been given by Messer Ridolfo Si ri ga tti to the Gra nd Duchess Bia nca Ca pello for her ca binet
O f a re of paintings . Both these little pictures
Ufli zi a n d S now in the , in pite Of clumsy restora tion a re chara cteristic examples of Bot ti c lli Polla i u ol u on e e s e . e in his q time In the ,
J a a udith, be ring a sword in her right h nd a n d a n a a olive br nch in her left, w lks swiftly a n d a a lightly cross the open hillside, ttended by a fa ithful handm a id ca rryn her vessels Of wine and Oil in the one ha nd and the head
f a on o . Holofernes, wrapt in cloth her head J udith has the sa me long neck a n d peculia r
of type face as the Fortezza, the same high
- c ou n t en cheek bones and w istful eyes . Her ance wears the sa me expression of gentle
a re sadness, and the eyes of the servant fixed
on in silent devotion her mistress, as strong in the might of the gr eat deliverance th a t Sh e Sh e of has wrought, returns to the tents
. s e e Israel In the other panel, we the tent r a s w a s on of Holofe nes, it that same dread
SBb I 7 SANDRO BOTTICELLI
a a a n d morning, with the curt ins dr wn back the soldiers a n d servants looking in grief a n d
a t r horror the headless co pse . The scene is pa inted with dra matic truth a n d vivid
a n d ness, and the drawing modelling of the nude figures shows how much Botticelli h a d
Polla i uol i learnt from the . The sa me a ttempt to render the human form with truth a n d dignity is evident in the
St Sebas ti a n a noble which S ndro painted, a a of r ccording to Vas ri , by order Lo enzo dei
M for C of Ma r a Ma edici, the hurch Santa i g
- i or e J a a 14 73 74 . a g , in nu ry If this d te, given A ’ St by the nonimo, is correct, Botticelli s Seba stia n was finished before the famous ’ o f m version the Saint s artyrdom, which A 14 5 for ntonio Pollaiuolo executed in 7 , the
u C of A a a P cci chapel in the hurch the nnunzi t ,
Na a a n d which is now in our tional G llery . The su bj ect was a favourite on e with the Florentine na tura lists who rea dily embraced this Opportunity of displ a ying their knowledge
w a s of ana tomy and modelling . But Sandro
hi s St Seba s tia n n ot content with this , and if ’ fa ils to atta in Antonio s mastery of structural f ’ u of th e a a design, the calm bea ty m rtyr s f ce
18 ST SEBA STI A N ( BERLIN MUSEUM)
SANDRO BOTTICELLI reveal s the poetry a n d eleva tion of the young ’ a o f rtist s thought . We have another proof S ’ andro s romantic invention, in the fine land
a sc pe background, with its steep rocks and
on S of towers the hore a distant sea, which
t o for c on was serve as a model many Of. his temporaries and followers in future days . Closely akin to these works is the lonely Madonna which Morelli discovered twenty
’ yea rs a go in a dark corner Of Prince Chigi s
a p lace in Rome . Since then its sale has been
O f a - th e obj ect notorious law suit, and the pic
M a r r . ture is now the p ope rty Of s J L . G rdner of A a Boston, U . S . . There is youthful charm i e and na vet about this little work, together
a a n d a with certain delicacy and refinement,
of n mystic vein poetry, which re ders it very
r a att active, while its excellent preserv tion
a a A - lends it an especi l v lue . boy angel robed
ba - in green , with a wreath Of y leaves in his
a a c t of ff o f f ir locks , is in the o ering a bunch ’ gra pes and whea t t o the child on his mother s
V a knee . The irgin looks down pensively s
Sh e on e of i a of a n d plucks the r pe e rs corn, seems t o muse thoughtfully over these symbols of E a i m the uch rist, wh ch the child in her ar s
2 1 SANDRO BOTTICELLI
a blesses with his little h nd . The composition of a t a the group, the Open window the b ck with its charming glimpse of wooded hills a n d
n a - windi g stream, the soft rose and p le blue ’ t of Ma ra a n d tin s the donna s d peries , the tra nsparent veil on her rippling ha ir all reca ll ’ Fra Filippo s style, while in the fine modelling ’ of a a the forms, especi lly that Of the ngel s
a a f ce , Botticelli comes ne rer to Pollaiuolo, in
a ra his attempt to att in structu l completeness, than in any other work of this period . There was another young Florentine pa inter with whom Sa ndro must h a ve been intima tely
a w a s acquainted in these early ye rs . This
V w a s Leonardo da inci, who growing up in ’ Andrea del Ve rroc c hi o s workshop and who was admitted into the Guild Of Painters
a 4 A t a in the ye r 1 72. l hough eight ye rs ’ a Verroc c hi o s younger th n Botticelli, pupil a lr eady gave Signs of genius that w a s to di s ti n ui sh g him among his fellows , and certain qualities in his art must early ha ve excited ’ I w a Sandro s nterest . We kno th t the two masters were friends at this period of their
a a rt c reer, and though the character Of their
f a difered in m ny respects , they were alike in
22 THE CHIGI M ADONNA
B ermiss i on M ess r s P D Coln a (7 . hi y p qf . g ]
SANDRO BOTTICELLI their consta nt endea vour to a tta in idea l bea uty a n d to give expression to the inner life Of the
c a n soul . There be little doubt that they
u a infl enced each other mutually, lthough the precise nature a n d degree of that influence is
a o a problem that still rem ins t be solved . But the expression O f the a ngel in the Chigi Ma donna Shows that Sa ndro was a lready striving to depict the finer and more subtle
O f a rt ff Shades feeling in his , an e ort which m ay ha ve been prompted by his intercourse with Leonardo . ’ Meanwhile the originality of Sandro s ow n genius could not fail to comma nd the a ttention O fthe cultured society of Florence in the da ys M Of the edici . 14 72 Fra D a Ca When , in , iam nte, the rmelite assistant who had followed Fra Filippo Lippi to
t o a Spoleto, returned Florence fter finishing ’ his master s work, Botticelli was already known a s a n a of a rtist reputation . His fame soon spre d
of beyond the walls his native city, and a few months a fter he h a d completed his panel Of St Seba stia n he w a s invited to help in the
a of Ca a of a u decor tion the mpo S nto Pis , pon
r r a which anothe Flo entine m ster, Benozzo 25 SANDRO BOTTICELLI
GO Z Z Oli h a d , been engaged during the last
Ma 14 4 a six years . In y 7 he p id his first visit t o a flori n Pis , and received a for the expenses of his journey from the superintendent of the
D of r uomo works . The result this inte view w a s that Botticelli agreed t o paint a n Assump tion for the chapel of the Incoron a ta i n the
' D on r uomo, condition that, if the wo k met with approval, he would be employed to paint the sa me subj ect on the wa lls of the Campo
a J a a a n d S nto . In uly S ndro returned to Pis , t o began execute this honourable commission . During the next three months the archives of the Ca thedra l chapter contain frequent entries of of t o supplies corn given Sandro, surnamed
a s a s a of for Botticello, well Of p yments money ultra ma rine which he ha d procured from Flor ’ 14 74 a ence . But after September , S ndro s
n o a name longer appe rs in the register, and we c a n only conclude that the work was aban
u a V a do ed and left unfinished, bec use, as as ri
not a or writes, it did s tisfy either the painter i m his employers . In all probability he was
t o hi s patient to return Florence, where reputa
w a s a a n d tion lready secured , where a series of
a a new and impor tant works was w iting him .
26 LO RENZO AND GIULIANO DE I ME DICI— SAND R O ’ PAINTS A PALLAS FO R GIULIANO S GIOSTRA LOST PO RTRAITS— GIOVANNI D E I MEDICI THE AD O RATION OF THE MAGI I N THE UFFIZI — EARLY VERSIONS OF THE SU BJ ECT PO R TRAITS OF TH E MEDICI INTR ODUCED LO RENZO DI PIER F RANCESCO— LA PRIM A VE RA — CONSPI RACY OF THE PAZZI— BOTTI CELLI PAINTS TH E EFFIGIES OF THE CONSPI RATO RS— PALLAS AND THE CENTAU R THE BI RTH OF VENUS— MAR S AND VENUS
14 75 - 14 80
W HEN Sandro Botticelli first opened a work shop a n d entered on his career a s an i n
a a a n d a dependent m ster, new brilli nt era w a s a r d wning for his native city of Flo ence . a il 14 6 On the de th of Piero Gottoso in 9, his
son of su c elder , Lorenzo, a youth twenty, c eeded without Opposition t o the post of chief 27
SANDRO BOTTICELLI
son n o Piero, Sandro needed introduction to ’ 14 4 a s a Lorenzo s notice . In 7 he had, we h ve
a a a St seen, received commission to p int A Sebastia n for this a ugust patron . fter his r e of eturn from Pisa, at the clos the year, he w a s employed t o pa int a banner for the Tour a J a 14 75 on a n ment held in nuary , the Pi zza di
a C a Sa nt roce . On this memorable occ sion
a of Giuliano, the d rling the Florentine people, who w a s distinguished by his prowess in a ll
a knightly exercises, entered the lists we ring a
a a n d a cape sewn with pe rls and rubies, suit of
a on shining silver rmour, and mounted a splendid cha rger with richly - embroidered a n d j ewelled
a . tr ppings There, before the eyes of his adored
a mistress, the beautiful Simonett Vespucci,
a ll a a n d Off he vanquished his riv ls, bore the prize amidst the acclamations ofthe assembled multitudes . The device a dopted by Giulia no and re p re
on w a s sented the banner borne before him, as
customary in these jousts , is described in an a ccount Of the Tournament which h a s been recently discovered in the Ma gli ab e c c hi a n a l Po i Library by Signor Giovanni gg . Here,
1 ’ ” L Art 1 02 1 e 9 . . , , p 7 29 SANDRO BOTTICELLI
a n on a a p i ted blue ground, with rising sun a bo h er a a a a a ve he d, was l rge figure Of P ll s
a a we ring fine gold vest and white robe , and
a o n h e r st nding burning Olive boughs . In right hand the goddess bore a lance, in her
a M a left, shield with the head of edus , while the God of Love l ay bound with gold
r co ds to an olive tree behind her . The name of the a rtist i s not given but the description a grees exa ctly with that given by Va sa ri of a life - Sized Pa lla s pa inted by Botticelli in the Medici
a a o n Pal ce, st nding a device of burning
r a n a branches . The e is evident llusion to this Pa llas in the followi n g entry from the I u ven tory of the treasures contained in the Medici ’ " Pa lace at the time of Lorenzo s dea th : In the room of Piero— a cloth (p a n no) s et in a gold
a 4 bra cci a 2 a frame, bout high by wide, be ring a figure Of Pa — (Pa llas) with a burning shield and ” 1 a n a o f da . arrow, by the h nd Sandro Botticelli U n fortuna tely this banner h a s perished together with most of the other paintings A o f S a ndro in the Medici Palace . mong these Va sa ri describes Bacchus lifting a flask of wine t o hi s lips with both hands a figure
1 ” z L s C e t n s des Médic is . 86 . E . t e Mun , oll c io , p 30 o SANDRO BOTTICELLI
’ a — a s a s a full of nimation, well two portr its which must ha ve been the earliest works which
M w a s he painted for the edici . One of these the
a of a Torn a bu on i a n d portr it Lucrezi , the wise gifted mother to whom Lorenzo w a s so deeply a tta ched a n d whose dea th in 14 82 he la mented
so w a s of la truly . The other the portrait
bella Sim n etta a o , the fair Genoese m iden who
a t a Ma V fifteen bec me the bride of rco espucci,
M a n d w a s a devoted follower of the edici, the ’ a a Object of Giuli no s rom ntic devotion . Lorenzo ’ S a hi s ff pe ks of friend s wife with Sincere a ection, a n d her cha rms and goodness were the favourite theme o f Polizia no and a ll the courtly poets O f " A his circle . mong many excellent gifts, " a sh e a n d writes Polizi no, had the Sweetest
a so a a ll most attr ctive manners, th t those who
r enjoyed the p ivilege of her friendship, thought
a n d themselves beloved by her, it seemed a lmost impossible tha t so many men could love
a n a a n d so a her without exciting y je lousy, m ny women praise her without feeling a n y sense f of envy . Both the profile o Simonetta in
i a n d r a a the P tti, the st iking portr it of Giuli no
M a a t a himself in the orelli G llery Berg mo, were formerly supposed to h a ve been painted 3 1 SANDRO BOTTICELLI
a re n Ow as by Botticelli, but recognised the
of a work an assistant, prob bly the unknown artist t o whom M r Berenson ha s given the
A a name Of mico di S ndro . The only Medici portrait by Botti c elh S own hand that still rema ins in existence is on e of C ’ osimo s younger and favourite son Giovanni , whose early deat h was SO bitterly lamented by ’ e a of his ag d f ther . Sandro s little picture this popular persona ge must have been copied from
on e some earlier work , probably Of the wax e fli gi e s that were Often modelled from a cast
a a n a taken after de th . Giov n i is represented in bla ck vest with a Scarlet cap on his fair curly locks a n d a view of the wi nding Arno in the
An d a background . in order th t there should
n o a as to a be mist ke his f mily, he holds a medal f C a o his father osimo in both his h nds . Another port rait which Sa ndro must have pa inted about the same time is that of the young Florentine in the red cap with the
a a n d broad forehe d thick curly locks, now in of the Na tiona l Gallery . We know nothing
or of this youth, his connection with the hi s c ou n t en painter, but bright and pleasant ance and keen intellectual air are rendered 32 GI OV A NNI MEDICI (UFFIZI) — z Photogr aph H oughton ]
SEC
SANDRO BOTTICELLI with a force and rea lity which ca nnot fa il t o
r kindle our interest a n d a wa ke ou curiosity . ’ Giovanni dei Medici s portra it appears aga in ’ in Sa ndro s fa mous a lta r-piece ofthe Adora tion
o the M a i Ufli zi . f g , now in the The subj ect w a s a a on e h h a s f vourite wit Sandro, who left us severa l versions ofthe fa milia r story painted ff of at di erent periods his career, with the
a n d most varied intentions surroundings . Sometimes he pla ces the scene in a rocky wilderness,sometimes in the hea rt ofa pine forest . In some instances he introduces Roma n arches a n d monuments or wide land
Ca e s h sea - s p wit mountains and shore . In the Uffizi a ltarpiece the legend of the Three Kings becomes an apotheosis of the house of Medici in a later work it is used as an Opp or ’ t u n i ty for celebrating Savonarola s drea m ofthe
Ne w J a on of a ll erus lem earth . Last , it is trans formed into a mystic vision of the Celestia l C e - ountry, wh re bright hued seraphs dance
a n d of a sing on the clouds heaven , and ngels
a a welcome martyred s ints to their embr ces . Two versions of the subject belong t o the ea rly days when the influence of the Polla i u oli
w a s a of still the predomin ting feature his art . 35
SANDRO BOTTICELLI
- Na tivit 15 00 the well known y of , from the
- M a a Fuller aitl nd collection . Sever l Of the heads in the left-hand corner of this ton do bea r a marked r esembla nce to those in the
Uffizi Adora ti n a o , which was evidently p inted 6 1 a a or a a 14 7 . ye r two l ter, probably bout The first thing tha t strikes us in this little alta rpiece is the boldness a n d origina lity of the
C a a a of conception . ert in tradition l fe tures the
a re composition still retained . The pent
a r house roof and the ruined arches e still here . The peacock sprea ds his tail over the rou gh hewn wa lls of the stable of Bethlehem a n d the Star from the Ea st sheds its heavenly lustre
on a r the Holy F mily . But the Vi gin and
C of a a r hild, instead being pl ced in corne of the picture a n d surrounded with a crowd o f
r a r wo shippers, occupy p ominent position in the
c a r e a on a r a entre, and r ised highe plane th n
Ma J on r the gi while oseph looks f om behind, leaning his hea d on hi s ha nd in tra nquil medi
a i n r a t t o . The numbe Of spect tors is greatly reduced and the a ttenda nts a r e ranged in
on a O f groups either side . Immedi tely in front
a i the centr l group, kneel ng devoutly at the feet 1 Herb H r R e t . e th e ew 1902 r P o n , Mon ly vi , . 43
SANDRO BOTTICELLI
a Ma a n d immedi tely behind the kneeling gi, Lorenzo himself in the youth wea ring a crimson doublet a n d cla sping the hilt of his sword with
of both hands . But in neither these do we find tha t close resembla nce to the meda ls and busts Of the youthful brothers which is so marked in
a of a n d the c se their grandfather his sons, and which justifies Va sa ri in decla ring tha t this portrait O f Cosimo is the most life - like and
w a s a natural that ever p inted .
One other figure in the picture, however, is
s a m a n undoubtedly a portrait . This i the t ll with hooked nose and dark curling locks, who
a a a a st nds in the right h nd corner, wr pt in
a a a long or nge clo k . This is cle rly the portrait of s e e Sandro himself, whom we here standing
a a a in char cteristic ttitude, looking back over
n a his Shoulder, and fixi g his keen g ze upon us .
a - s et The powerful head , sh ggy locks, and deep
a m a n of eyes, all give the impression of strong
a a n d a a n d a ch racter great intellectu l force, be r a striking likeness to the portra it introduced by
a a his pupil , Filippino, eight or nine ye rs l ter,
a Bra n a c c i a into fresco of the c Ch pel . The scientific arrangement ofthe whole c om position, the Skilful manner in which the separ 45 SANDRO BOTTICELLI
a t e a re a a groups b l nced, the masterly modelling a n d life - like expression of ea ch individual head
a a in the picture, help to expl in the enthusi stic ’ admira tion which Botticelli s Adora tion excited a a i s mong his contempor ries . It impossible, " a a ri writes V s ri , to desc be the beauty which Sa ndro h a s impa rted to ea ch different figure and
a a r a ff e . f ce . They all pl ced in di erent positions
a Some are seen full f ce, others in profile, others a a a t - g in three quarters, while some are looking
a r down . The v iety of expression is infinite . Young a n d old a like a r e represented with an individua lity tha t reveals the perfect ma stery A to which the artist had atta ined . like in
a a n d dr wing, colour composition, the work is so a dmira ble a n d bea utiful that every pa inter ” Of o ur time is filled with wonder at the sight . The date O f this altarpiece a n d the intro
of M a un duction the edici portr its has, not
a t o a natur lly, led modern writers conclude th t this painting was presented by Lorenzo dei Medici t o the church of Sa nta Ma ria Novella a s a tha nk - offering for his esca pe from the
a n a ssa ssins who murdered his br other Giuli o . But there is n o evidence in support of this
r a n d Mr m h a s theo y, Ho e recently discovered 46 PORTR A IT OF SANDRO BOTT ICELLI FROM THE ADOR ATION OF THE MA GI (UFFIZI) — P12otogr aph H oughton ]
SANDRO BOTTICELLI documents which prove tha t this Adora tion was originally painted for the family alta r of
a a Giovanni L mi, merchant of a good Old
O f Florentine house, who availed himself this Opportunity to p ay a gra ceful compliment t o the powerful Medici We lea rn from a n l eighteenth century record that this a tar, n a n d richly ador ed with fine marble carving, stood on the left of the grea t doors of Santa
Ma a N a s ri ovella, and became known the altar " of E a of the piph ny, from the picture the
Three Ki n s a g , painted by th t most excellent a a a n d a ll m ster, S ndro Botticelli, held by to ” a be marvellously fine work . A ’ lbertini, who wrote in Sandro s lifetime , Antonio Billi a n d the Anonimo Gaddiano all mention the altar- piece ofthe M agi by Sandro Botticelli as ha nging on on e Side Of the great
a doors in this church . It rem ined there until, 15 70 a a a in , the ncient ltar of the L mi familywas removed and the picture sold to Fa bio Mondra
a a gone, Sp nish chamberlain in the service Of the
D a . a Grand uke Fr ncis I Five ye rs later, Fabio fell into disgra ce and his pa la ce and effects were ’ a Ad ra ti n a sold . Then S ndro s o o p ssed into the ’ a D a n d Gr nd uke s collection, remained at the
8 8 d 49 SAND RO BOTTICELLI villa of Poggio Imperiale until it w a s removed t o Ufli zi 1 6 the in 79 . But if this altar- piece was n ot executed by ’ Ma n i fic o s o w n t a the g orders, it no doubt at r cted
a n d a his attention th t Of his powerful friends, ’ and a ssured Sa ndro s place a mong the foremost
a masters in Florence . From th t time he be came the chosen painter ofthe Medi ci a n d w a s employed a lmost exclusively in their service
f w a during the next e ye rs . He was now called upon t o give another proof o f his power in a n e w a direction . Th t enthusiasm for the Old Greek world which was the ma ster- passion of
so a the age , and which found congenial home ’ a mong the poets a n d huma nists o f Lorenzo s
ha d a immediate circle, lready fired the imagi
a of a D n tion the best Florentine rtists . ona tello reproduced the motives O f cla ssica l story in the meda llions with which he a dorned the
of a Vi a a a a n d inner court the pal ce Of the L rg , the Poll a i u oli brothers painted th e L a bour of ’ H erc ul n a An d es o the w lls . Sandro s poetic and impressiona ble na ture was quick to re s on d t o a n d p those new influences , to feel the cha rm of the Old myths which had so powerful a fa a of a e scin tion for the finest minds his g . 50 SANDRO BOTTICELLI
An tonio Billi a n d the Anonimo both tell us that he pa inted ma ny figu res of nude women that were surpassingly bea utiful The la st named writer further informs us tha t many of ’ this ma ster s finest works wer e to be seen in
d a a t C a his y astello, the vill of Signor Gio
M — a sa a vanni dei edici th t is to y, the f mous ” a a s a delle ba nde n ere capt in known Giov nni , who w a s killed in a skirmish at Ma ntua in
14 26 a r . o V sari, who wrote thirty forty years
a l ter, tells us that, in his time , these pictures ’ Ca V a a were at stello, a ill belonging to Giov nni s " D C a son, uke osimo I . One of them, he dds, " - V is a new born enus, who is blown to the
a n d . Shore by the winds zephyrs The other, a Venus wrea thed with flowers by the Gra ces to r epresent Spring ; a n d both of these he
a r ra painted with r e g ce . In all proba bility these two pictures which the Anonimo a n d Va sa ri both saw in the villa O f Ca stello wer e pa inted for Lor enzo di Pier
a ra o f Fr ncesco, the head Of the younger b nch ’ M a n d C the edici, grandson of osimo s only
ha brother . This young man d l a tely su c c e e d ed to a la rge fortune on the dea th of his
ra a a M father, Pier F ncesco, p rtner in the edici 5 1
SANDRO BOTTICELLI
’ hi s chose for son s tutor, had lately composed an ’ r of a n As epic in honou Giuli o s Tournament .
r Luigi Pulci, some yea s before, had celebrated ’ i so Lorenzo s G ostra in verse , Poliziano now devoted his Muse t o sing the a rms and loves of A a . the gallant , Giuli no fter extolling the chivalrou s deeds O f his hero a n d the cha rms of
r a a the fai Simonett , the poet t kes us to the isle
C a n d a V s of yprus, describes the G rden Of enu and the coming of Spring in melodious vers e / This was the passa ge which Botticelli chose
of L a to be the subj ect his first painting,
Prima vera , and which he no doubt executed of with the help and advice Poliziano . It was,
of a a we know, the habit these Ren iss nce lords a n d la dies to employ schola rs to a rr ange the
of details the pictures which they ordered . ’ Isa bella d Est e invariably a pplied to some
- well known humanist of her court, Pietro
or a C a Bembo P ride da eresar , and desired them to supply Giova nni Bellini or Perugino with minute dir ections for the fa n tasi e which
a of An were to adorn the w lls her studio . d Poliziano himself took a keen interest in a rtistic questions, and was intimately con n e c t ed with some Of the chief Florentine 5 3 S AND RO BOTTICELLI
masters . He it was who published Alb ert i s ” r on a n d T eatise Painting, suggested the Battle of the Centa urs to young Michelangelo a s a of - subj ect for one his first bas reliefs . He w a s a lso employed by Lorenzo t o compose the
a ra a n d epit phs of Giotto and F Filippo Lippi, ’ wrote the inscription on Ghirla ndajo s frescoes in
a M N a for Torn a bu on i S nta aria ovell the , In this case, he probably discussed the details ofthe
a a for a picture , which S ndro was to p int the h lls
C o a n d Of astello, with L renzo di Pier Francesco
a n d Ma n i fic o a s his friends ; the g himself, the
a of a of le der fashion and rbiter taste in Florence, no doubt took a prominent part in the discussion . ’ Pol i zi a n o s description Of the enchanted rea lm where Venus reigns has been closely
a followed by the painter . Here, under
of r a grove o ange trees l den with golden fruit,
a r O f encircled by a luxuri nt g owth myrtle, the f of . o "ueen Love holds her court Tall stature,
a a and m j estic in be ring, robed in draperies
a n d of white and gold, carrying a red mantle on a rm her , She advances to welcome the
a b ea u t ewou s a n coming Of Spring, m ide who
a a steps lightly over the grass, bearing l pful of roses, which she scatters before her as She 54 " 8 n 9 i U U
D‘ D
SPR I G ADEM OREN E N ( ACC IA , FL C )
— h on Photogr aph H aug t ]
THE THREE GR A CES F ROM " SPR ING
ACCADEM LA ORE E ( , FL NC ) — Photograph Houghton ]
ONE OF THE GR A C ES FR OM " SPRING A D EM O RE E ( CCA IA, FL NC ) — Photogr aph Haughton ]
SANDRO BOTTICELLI
H r a a goes . e f ir h ir is wreathed with blue c orn flow ers and daisies ; her white robe is garla nded with long trails of fresh ivy a n d
a a n d bri r rose, patterned over with flowers Of
C on every hue . lose her footsteps follows the
a - a n d laughing nymph Flor , dropping rose buds a r nemones f om her lips, as She flies from the a a of Z - od rdent embr ce ephyr, the blue robed g
r a s who t ies to seize her in his arms, exactly a of described by Lorenzo, in passage the ’ ” d Am ore i Selve , which he has ev dently bor
a rowed from the L tin poet Lucretius . On the
a a left, the Three Gr ces clad in white dr peries
a a a a of tr nsp rent g uze, d nce with hands linked
a n d a on together rms entwined , the dewy
n M a u a a law . ercury, stalwart yo th we ring winged helmet over his thick black locks a n d a a red dr pery round his strong limbs, goes before and sca tter s the clouds of Winter with
a a ll of the rod in his h nds, unconscious the golden sha ft which the little Cupid who
a n a hovers in the air bove, is aimi g at his he rt . All the different elements which we find in ’ Sandro s ea rly works a r e present in this pic The ture . tall and slender figures and oval of a faces are his peculi r type ; the light, cling
6 1 SAND RO BOTTICELLI i n g draperies and the rhythmica l movement ’ of the da ncing maidens reca ll Fra Filippo s a ngels ; the rich embroideries and pearl - sewn tresses ofVenus displa y tha t love of orna ment ’ which he h a d learnt in the goldsmith -pa inter s Shop ; a n d the smile on the fa ce Of Spri ng has the subtle Cha rm which haunts his friend ’ Leonardo s creations . But what strikes us ’ most Of a ll in Sa ndro s pa inting is that new born joy in the gl a dness of spring a n d the bea uty Of na ture which spea ks in every deli
a c te bud and tender leaf, and which makes this picture SO perfect a n image of the delicious May- time which Lorenzo a n d his comra des were never tired of praising in their
old a a songs . The cl ssic l myth is blended t ra n sfi ured with the new modern spirit, and g ’ by the poet s fancy into a fa iry drea m of the
young Ren a issa nce .
E d a a n d ven to y, when time neglect have da rkened the soft blue ofthe Sky and the glossy
a n d verdure Of orange and myrtle leaves, dimmed ’ of a n d a the bright hues fruits flowers, S ndro s Primavera remains on e Ofthe most radia nt Visions that ha s ever da wned on the heart of a poet
How pa inter. much more must the loveliness
6 2 SANDRO BOTTICELLI
’ of the young Florentine master s pa inting ha ve ca lled forth the a dmira tion of the huma nists who met tha t joyous May- time in the fa ir ga rdens of Ca stello " But a tra gic doom hung
a n over these dr eams of youth d love .
’ "uant é bella giovin ezza ' Ch e Si fugge tuttavia Chi v esser l i et O Sia uol , ’ Di d m a C e rt zza o n non c e e .
’ of Ca SO, in the words Lorenzo s rnival hymn ,
a a r a ll of s ng the g y revelle s, unmindful the pr ophetic ring in the light refra in of their
a n d song, telling them how soon youth j oy
a ha d must pass aw y . Before Poliziano finished
a r a his poem, the f i Simonett died of lingering
w a s t o consumption, and borne her grave in " a a Ognissanti with her f ce uncovered, th t ” ’ " a ll , writes Lorenzo s friend Bettini, might
b a w a s see her e uty, which even greater in A death than it had been in life . great
of a multitude people followed her with te rs , a n d a ll the poets of the Medici circle la mented
a d a n her s fate in song . Pulci d Polizia no
a a n d a a n d composed L tin elegies epigr ms,
r Lorenzo himself w ote sonnets to her memory .
a r a r on a 2 h of Two ye s l te , Sund y the 6t 63 SANDRO BOTTI CELLI
A i 14 78 a a pr l , her constant dorer, Giuli no, was murdered by the Pa zzi conspira tors during the o f D celebration mass in the uomo, and fell pierced with nineteen wounds on the steps o f C the hoir. Lorenzo narrowly esca ped the
a a n d ow same f te , was only saved by his n presence of mind and the courage of his w ho servants , dragged him into the sacristy ’ and closed Luca della Robbi a s bronze doors in of the face his pursuers . The Florentines
a n r llied loyally round Lorenzo, and ave ged ’ a Giuli no s murder with terrible promptitude . t o The conspirators were put death, even the Archbishop of Pisa w a s hung from the windows
Of the Palazzo Pubblico, and Botticelli was employed t o paint the e ffigi e s of the traitors
n o the walls outside . 14 80 t In , when peace had been res ored and the dominion of the Medici was once more
firmly established , Lorenzo desired Botticelli t o commemorate the triumph Of his house in a
n w as a of new painti g. This the f mous group
Pa lla s subduin the Ce nta ur g , which was dis covered eight years a go i n a dark corner of of the Pitti Palace . The only mention the picture in contempo rary records is t o be found 64 P A LL A S (PALAZZO PITTI) Photogr aph- Houghton ]
SE"
SANDRO BOTTICELLI in a n inventory of the Medici collections in the pala ce of the Vi a La rga ta ken in October " 15 16 r a s a , whe e it is described a p inting 1 a M a a n d a C r containing figure of inerv entau . But I n this tall a n d sta tely Pa lla s a rmed with halberd a n d buckler seizing the Centa ur
r a a a a n by the fo elock, it is cle r th t we h ve a llegory of the victory of the Medici and the restora tion of their wise a n d b en e fic en t
Th e of rule . " white robe the goddess is embroidered with the triple dia mond r ing that
of M w a s the favourite device the edici . The gra ceful Olive boughs wrea thed a bout her brows a n d trailing over her brea st a n d a rm s a re symbolic Of the peace which Lorenzo ha d
e ri C r wh o succeed d in secu ng ; while the entau , ha d b een the emblem o f crime a n d folly from
a a n d D a fitl the d ys of Giotto ante , in this c se y r a a a rep esents the P zzi, whose n me liter lly ’ a r signifies fools . But S nd o s Centa ur is no r a n d . a monste Of vice ugliness On the contr ry, his venera ble figure a n d a ged fa ce seems to plea d for mer cy a s he cowe rs before this triumph a nt da ughter of the gods standing befor e us in the might of h e r divine youth a n d 1 i . z t E t o . c . 8 . 6 Mun , p p . 67
VENUS
" ROM THE B RTH O F VENUS FF (F I , U IZI) Ph — otogr aph Houghton ]
SANDRO BOTTICELLI
’ Two other mythica l subj ects by Sa ndro s
a a re a is h nd still in existence, lthough it very doubtful if he pa inted them before his jou rney
t o of 14 8 1. Rome, in the early months One of these is the Bir th of Venus which V saw in the villa of Castello toge ther with the
Prima era As a - a v . in the c se Of the last n med
w a s picture, the composition evidently derived ’ P l zi a n o s r a from o i poem of the Giost a . In pa ssa ge a da pted from on e of the Homeric
- r hymns, the poet tells us how the new bo n Aphrodite w a s blown by the soft br ea th of Z r on a O f E ea n the ephy s, the fo m the g
a a nd a w ves to shore . Heaven e rth , he sings,
a t a rejoice her comin g . The Hours w it to welcome her and spread a sta r- sown robe over her white limbs, countless flowers spring
a a All up in the gr ss where her feet will tre d . this exquisite imagery is fa ithfully r eproduced in ’ a r a h a s S nd o s p inting . He represented his Venus Ana dyomene laying on e hand on her
a on snowy bre st, the other her loose tresses of — golden hair a form of virgina l bea uty a n d
r a s r pu ity, with feet esting on the golden Shell She glides softly over the rippling surfa ce Of the
h a a waves . He s p inted the winged Zephyrs
7 I SAND RO BOTTICELLI
a t hovering in the air linked f st toge her, blow ing the goddess t o the flow e r- strewn shore a n d the shower of Sin gle roses fluttering a bout her
of form . Only, instead Of the three Hours ’ ’ a n d Pol i zi a n o s Homer s hymn poem, he shows
o n e a a us f ir nymph , in white robe , embroidered
- flow ers with blue corn , springing lightly for ward t o Offer Venus a pink mantle sown
a a with d isies . In the l urel groves along the
a - a t o shore , we see courtly llusion the Laurel wh o sheltered the song- birds that carolled t o ” i the Tuscan spring, wh le in the background the eye roams a cross long rea ches o f Silent s e a t o dista nt hea dlands sleeping under the cool
of a grey light e rly dawn . The sense of light and a iry movement i s wonderfully given in wind -blown dra peries and
a f lling roses, in rippling waves and tossing
a of locks, in the swift action and gl d gesture
o f the welcoming nymph , in the gliding motion
ha s Venus herself. Sandro himself never fashioned a fa irer or more delica te form than this goddess whose ivory limbs may well have
e a s been modell d , tradition says, from some antique marble in the Medici garden . In this ma sterpiece we feel tha t the painter has freed
7 2
SANDRO BOTTI CELLI himself wholly from the influence O fothers a n d
on ow n c stifll relies entirely his resour es . The ness a n d rigidity of his ea rly works ha ve given w a r a a n d r a a of y to pe fect e se g ace, to be uty line a n d decorative completeness which h a s been ra rely surpa ssed by the most consumma te a rtist . The other cla ssica l subject which Sa ndro
a a a a p inted bout the s me time, is the p nel of
a a a M a rs a n d Venus in the N tion l G llery . This ’ time one of the Ma gn i fic o s own poems w a s a the theme of his picture, which prob bly a r a a M a a a n d do ned doorw y in the edici p l ce, remained in Florence until it came to Engla nd
a r a o in the B ker collection some fifty years g . The Loves of Mars a n d Venus w a s the title of one of the curious drama tic compositions which Loren zo wrote and m ay ha ve been performed
ow n on a by his children some festive occ sion . It consists offour monologues spoken in turn
Ma A a n d V a by Venus, rs, pollo ulc n, and contains some of Lorenzo ’ s best and sweetest verse . In his pa inting Sandro represents the
r a - r - of w a r b o d chested, st ong limbed god
a s reclining on the flowery sward, with his
a head drowsily sunk b ck, he slumbers in the 75
SAND RO BOTTICELLI
a r a a n d po tr it of Simonetta, that the sleeping l god is none other th a n her lover the be Giulia n o .
a ll This conjecture may not commend itself to , but there can be n o question as to the rare
a oft h e a r decor tive charm design, the dmi able ’ w a r - i n c om modelling of the god s limbs, the parable beauty O fline revealed in living forms a n d or flowing draperies, the rich colouring of
r - c imson cushions, gold chased armour and green myrtles seen against the soft tints Of Sky and
s ea .
a No The companion p nel to this picture ( . a V on enus reclining a couch , while three Amorini play at her feet with bunches of
a a n d gr pes red and white roses, which was also acquired by the National Ga llery at the Barker
a n ow a s ofJ a s le, is recognised the work copo 1 ’ Sella o on e del j , Of Sandro s most skilful
h a s o assistants, who recently been the subj ect f critical studies from the pens of Mrs Ber enson
Ma c kow sk and Herr Hans y .
1 ar L a n Re e Ar hé 1 00 e 9 . M y og in vu c ologiq u ,
77 FRESCO OF ST AU GUSTINE— FAMILY AFFAI RS ’ BOTTICELLI S VISIT To ROM E— TH E ADO RA TI ON O F TH E MAGI AT ST PETERSBU RG TH E SISTINE FR ESCO Es— THEI R THEO LOGI — CAL AND POLITICAL SIGNIFICANCE THE TEMPTATION AND P URIFICATION OF TH E LEPER — THE STO RY OF MOSES - THE PUNISH M ENT O F KO RAH B OTTICELLI R ETU RNS To FLO RENCE— H IS HABITS AND
CHA RACTE R .
14 80- 14 8 "
14 80 a IN , the ye r in which Botticelli painted his
’ Pa lla s a nd the Cen ta ur to commemorate Lor enzo s
a N s fe return from aples, he was employed by ’ a r a V the de d Simonetta s el tives, the espucci, to pa int a fr esco of St Augusti n e in the na ve
a . of Ogniss nti, their parish church There, " r a hi s writes Vasa i, S ndro put forth greatest
hi s a s powers to surpass all contempor rie , but
D ha d especially omenico Ghirlandajo, who 78 SANDRO BOTTICELLI
a St er me p inted a J o on the opposite wa ll . This work proved worthy of the highest pra ise
a and he succeeded in showing, in the he d
a n d Of this Saint, that profound depth acute ness of intellect which ma rks those wise a n d thoughtful men w h o a r e continua lly enga ged
of a n d ffi t in the study high di cul subj ects .
a a s V a a w as a t Ghirland jo, as ri intim tes, this ’ time Sa ndro s chief rival in the favour of the
M a a edici and the le ding f milies Of Florence . But the style a n d temperament of the two
a w a s r a n d r i s m sters cu iously unlike, the cont ast nowher e mor e evident tha n in the frescoes which
m a a y still be seen side by side in Ogniss nti . Both Sa ints are represented sitting a t their
- writing desks , engaged in profound meditation . But while Ghirla ndajo i s wholly intent on the
r a of a n d r exte nal spect his theme, renders eve y
— a a n d - a detail the c ndle hour gl ss, the inkstand ’ an d Ca a h a t on scissors, the rdin l s and flask
a of the Shelf, even the v riegated pattern the
- - D - a a table cloth with utch like ccur cy, Botti celli a fter his wont takes us into the hea rt of his subject a n d lays ba re the working of ’ r a a r a the g e t schol r s mind . He e lises with penetrating sympathy the fiery zeal and 79 SANDRO BOTTICELLI
a of a O f rdent devotion the S int Hippo, whom s he show us sitting in his lonely cell, with
- worn face and deeply furrowed brows, ponder
r r ing over the p oblems which pe plex his soul, while his upturned eyes a n d pa rted lips seem to breathe a prayer to heaven for light .
a 14 80 w a s so In this same ye r, , which full
- Of great enterprises , a second income tax return ’ a a gives us a glimpse into S ndro s priv te life . The painter we find is still living in the home of Vi a N a M his Old father in the uov . ariano
- of himself is described as eighty Six years age,
oo — n on a in n a lhi and t Old to work f p . But his la rge family of children and grand - childr en are for the most part still living under the
n a n d a for pater al roof, in order to m ke room these twenty souls he rents another house
o n flori n s Hi s next t o his w at nine a year .
a a n d M Va wife is de d her sister, onna ngelista, ’ a M ged seventy, the widow of ariano s brother
A n ow a . medeo, man ges the household The
son a a a eldest , Giov nni, surn med Botticello, ged
a on a a t of sixty, c rries business as merch n
a ha s a of le ther, and family seven children ,
f M N a r of by his wi e onna era, the d ughte i a C . Beninc sa dei hor Of these the eldest, 8O SAND RO BOTTICELLI
a a Benincas , youth of nineteen, is in Rome
‘ th e ba n ker a a with S lvi ti, but costs his parents
a A more money than he e rns . medeo, aged eleven, is employed in a bank and has good
a prospects, but does not yet e rn a single ma ra vedi ’ A n l t o a n d a c o o . o et J g , aged eight, p ,
r aged th ee, go to school, and the three girls
A A a a a n lessandra, nna and Smer ld , infant in
a re r . arms, as yet unp ovided with dowries
A fift - on e The second brother, ntonio, aged y , formerly a goldsmith, is now living at Bologna, where he sells books a n d makes about two
flori n s a s h a s month, beside expenses, and
a E is ab three children, girl l etta , aged nine, a n d t w o M r a a e boys, a i no, g d seven, who after
a ir 15 2 wards became an rtist a d died in 7, and
Bart ol om Bartolommeo, aged five . His wife,
m ea . Spigolati, is seven months with child The
a - third brother, Simone , is bout forty one years of a e Na a g , is living in ples without occup tion . ’ a M Fin lly there is ariano s youngest son, the painter Sandro, who works in the house when
- he chooses . His age is given as thirty three, which does n ot a gr ee with the statement that r ca ta st of 14 5 7 he was thi teen in the o , but these small discrepa ncies a r e common in Floren
81 SAND RO BOTTICELLI
a a tine registers , and as rule the returns m de in ea rlier yea r s when a boy was still living a t home ’ a re u under his mother s eye the most tr stworthy . In spite of the usua l attempt t o plea d poverty
of a in the eyes the law, it is plain th t the
a r a r a f mily were in comfo t ble ci cumst nces . Ma riano h a d inherited property from his
r J a b other acopo , lso a tanner, who had died
a n d o an d a childless, owned h uses l nd at Pere tola which produced seventy-tw o bushels O f wheat and thirteen measures Of wine in the
a ar C for ye r, and rented a f m at areggi, thirty
flori n s , where he might seek shelter in time ” of l a plague . This ast fact deserves ttention . ’ It is Of especia l interest to know that S a ndro s
a C r f ther had a country house at a eggi, close ’ t o a a Lorenzo s favourite vill , in these d ys when the pa inter was constantly working for the Ma gn i fic o and his friends a n d enjoyed the society of the distinguished schola rs a n d poets
who belonged to the Medici circle . Ea rly in the following yea r Sandro received a n important commission from a new and u n
w a s expected quarter . H e invited by Pope
t o r r O fhi s Sixtus IV . supe intend the deco ation
— V a D newly erected chapel in the atic n . uring
82 SANDRO BOTTICELLI
ma ny yea rs this ambitious pontiff ha d been the
of M bitterest enemy the edici . His nephew,
Ri a ri o r Girolamo , had been the p ime mover in
ha d a the plot which cost Giuli no his life, and it w a s no secr et tha t the Pa zzi conspiracy h a d
been hatched in the Vatican . When the Flor entines in their just indigna tion hanged the Archbishop of Pisa a n d imprisoned Ca rdina l
a ffa Ri a ri o a a a R elle , Sixtus IV . ret li ted by l ying their city under a n interdict which was only i n D 14 80 removed ecember . One Of the first dema nds insisted on by the Pope a t tha t time w a s the remova l of the e fli gi e s O f the Pa zzi
a r r a a a a conspir to s f om the f c de of the P l zzo .
Now a a r a r a , by Singul f te, the ve y rtist who h a d pa inted these e ffigi e s was invited to pa int
a a V the pap l ch pel in the atican . It h a s genera lly been supposed th a t Botticelli a n d his comrades were invited to Rome by the ’ Ca r a a a Pope s nephew, din l Giuli no dell Rovere,
a a J . r fterw rds Pope ulius II , who visited Flo ence
J 14 8 I w a a in une , on his y to Fr nce . But by this time the Tu scan pa inter s were alrea dy a t work
a a in the Sistina, and it is more prob ble th t their na mes were suggested to the Pope by Giova nni Torn a bu on i or Guido Antonio Ves
SANDRO BOTTICELLI
- a s pilla rs which support the pent house roof,
a s a a well the pr ncing horses, which rec ll the
a M Ca a a r e f mous group on onte v llo, evident ’ a signs ofSa ndro s pr esence in the Etern l City .
a oa k r Fin lly, in the vigorous young trees g ow
on r O f a of ing the ight the st ble Bethlehem, we r ecognise the device Of the Della Rover e
a a a w a s on e da t o f mily, which R ph el y introduce in the frescoes on the ceiling of the Ca mera
a r m a della Segnatur . This pictu e y have been
for Ca r a a of painted din l Giuli no, whose love a rt w a s a r a a n d m a a l e dy well known, y h ve been ’ the Adora tion which fi rst a ttra cted the Pope s
’ n Otrc e a n d led him to choose Sa ndro to super
n e ow n i t nd the decoration of his chapel .
All a i rs a on 2 th we know for cert n , th t the 7 of October 14 8 1 a contra ct w a s drawn up be tween the Flor entine a rchitect a n d p on t i fic a l Commissioner Giovannino dei B ol d a n d the
a A a r Ma r a C four p inters, less nd o di i no, osimo
D a r a a of Rosselli, omenico Tomm so (Ghi l nd jo)
a n d C a a Florence, Pietro Perugino, of itt dell
a a r t o Pieve , by which these m sters g eed paint
’ ’ ten frescoes in the Pope s new cha pel by the 1 ow 15 Ma foll ing th Of rch . In this document
1 ’ D . Gn ol i i n Ar h de A t 18 r e 93 . c ivio ll , 85 SANDRO BOTTICELLI
mention is made of the subjects which ha d been a lrea dy pa inted in this pla ce by these
a a n d a r m sters, of p yments which they had e
c e i v d An d a a e . the p p l secr etary J a copo di
V a a a a n d r olterr , c reful trustworthy write , notes in his dia ry of 14 8 1 tha t on the first
a da Sund y in Lent, being the eleventh y of ’ Ma w a s rch , divine service held in the Pope s
a a r t a w a s p ments, Since the ch pel being adorned
a n d a r with excellent splendid works . We le n from the sa me a nn a list tha t at Christma s 14 8 1
a w a s a a u s e the ch pel not yet av il ble for , " n a s a Si ce, I h ve often said before, it is being ” 1 a a a n decor ted with s cred emblems d paintings . The new ch a pel formed part o f a block of buildin gs which the Florentine architect Gio va nnino dei Dolci a dded t o the Va tica n by the
’ a Pope s order, soon fter his accession . It w a s a pla in Oblong building lighted by twelve r ound - hea ded windows in the upper pa rt of
a r a the w lls , which left the su f ce of the lower ’ a a wa lls free for pictori l decor tion . The builders
r 14 80 a n d wo k was completed by the end of , the pa inters set to work e a rly in the following ’ a r a a a th e a ye . Botticelli s ctu l sh re in decor
1 " 12 15 9 . rat r x . 3 Mu o i , xiii , 86 SANDRO BOTTICELLI
tion of th e cha pel consisted in three historical
a s a s m of frescoes, well so e of the figures the
a r e ly Popes , which occupy the niches between
In a the windows . spite of their dam ged condi ’ a r a c a n a r tion, S nd o s h nd be cle rly ecognised in
r a a n d Dr a several of these po tr its, Steinm nn
a r a of sc ibes no less th n seven to him . That
hi a hi a a n d . s s Sixtus II , with h nd on he rt his
a a a a a eyes r ised to he ven, be rs m rked resem blance to the St Augusti n e which Botticelli h a d
a a a l tely p inted in Ogniss nti, while both the figur es of the venera ble Stephanus Roma nus a n d of the young and ascetic Corneliu s a ppear
to be his work . The subj ects Of the historical frescoes were
r a w h o p ob bly chosen by Sixtus IV . himself, ha d acquired considera ble reputation a s a
a a to a a theologi n before his elev tion the P p cy . On the left wa ll we have si x scenes from the
of M a s a of life oses, who, the le der the chosen
w a s a C O n people, recognised type Of hrist . si x C the right, subj ects from the life of hrist a r e seen . Thus the outline of the chief events in the J ewish a n d Christia n dispensa tion a n d the history of the founders of the old a n d new covena nt a re set forth on the wa lls ofthe Pa pal 87
PUR I FI C ATION OF A LEPER
C P S ST ROME ( A P ELLA I INA , ) — Photogr aph An ders on ]
SANDRO BOTTICELLI
- a a . ced r wood, surrounded by crowd of figures su The leper himself is led up the steps, p
r d a a ported by his f ien s . His wife dv nces
a on a r ff r h stily the Opposite Side, c rying the O e
a a on a ing of two doves in b sket her he d . In
r a the foreg ound , the high priest receives golden bowl from the ha nds of a young a a a n d Of ssist nt, dips the bunch myrtle into V r the blood Of the ictim, with which the lepe i s a to be sprinkled seven times . The mystic l mea ning a tta ched to leprosy th roughout the
a a of si n a n d a Old Test ment as type , the f ct tha t the nur sing O f lepers was a duty enjoined on e a his follow rs by St Fr ncis, the founder of the Order to which the Pope belonged ,
a a r render this subject especi lly pprop iate .
O f a th e In the group Spect tors on right, por tra its of severa l prominent persona ges of the
a C a re a P pal ourt introduced, prob bly members of C the onfraternity of S . Spirito, to which the
a n d of Ca a Pope most the rdin ls belonged . Among these we r ecognise the ha ted Girola mo
Ri a ri o a of C a a a , the husb nd aterin Sforz , be ring
a a C a n d his b ton as Gonf loniere of the hurch, the da rk eyes a n d striking fea tures of Cardinal
a a In a Giuli no dell Rovere . the be utiful young
Ro ere d . Ca rdin a l Gi ul a n o v R G ROUP FR OM THE PURI F I C ATION O F LEPE
CAPI’ ELLA S ST NA RO M E ( I I , )
h— An der son Photograp ]
SANDRO BOTTICELLI
’ ’ r ar a sta fl a a f i s h bit, and ros ry, plunges he d
a a n d a a long into the byss , ngels place bre d a n d wine on a ta ble covered with a fa ir white
linen cloth , and minister to their Lord . ’ Botticelli s second fresco on the Life of M oses incl udes no less tha n seven episodes
r a O f La w - f om the e rly history the giver, which
h a d to be combined in a Single work . Out Of this unpromising materia l the pa inter h a s con
ri t ved t o ma ke a singula rly bea utiful picture . With true artistic feeling he seizes on the most pictur esque incident in the story —the meeting Of Moses with the daughter s of J ethr o a t the well— and groups the other
r s e e episodes round this cent al subj ect . We
M a - a ra r oses, the d rk h ired st nge , drawing water for the thirsty sheep from the well
a oak r a n d Mi a under the Sh dy t ees, the di nite
a a h a Shepherds retre ting h stily, w ile the f ir shepherdesses look with shy gratitude in their e yes at the chivalrous Hebrew who ha s come
Z a o f to their help . ipporah, the d ughter
J a ethro, with her tall, gr ceful form, gentle
a a r a r f ce, and fair h i wre thed with my tle, bea r ing the distaff a n d apple bra nch in h e r ’ a o f a h nd, is one S ndro s most attractive crea 95
SANDRO BOTTICELLI
a of a s A . he be c lled God, aron was These
r on A wo ds of the Latin text, inscribed the rch
C a of onst ntine, which is, introduced in the
of - centre the picture, strike the key note Of the subject which is supposed to have been suggested by the revolt o f the Archbishop of
K a a i a w h o a t o r in, the Hung r n prelate d red procl a im a general council at Bale in Ma rch
14 82 a s a , and openly denounce Pope Sixtus A child Of the devil . retribution as swift a n d sudden as the judgment Of Kora h soon ’ a n d a n d overtook him his friends, Botticelli s ’ fresco was painted opposite Perugino s D elivery o the Ke s to St Peter f y , to commemorate this fresh proof of the divine authority which was committed to the successor s ofthe Prince Of the
A ra a n d of postles . The g nd imposing figure
M a oses , who, st nding before the altar, lifts his rod a n d ca lls down the wrath ofGod on the c on
a a t o spirators, lends cert in unity the composi ’ tion which is la cking in Sa ndro s other Sistine
r a n d r of i n f escoes, the dest uction the guilty t rud er a s is rendered with dram tic vigour . One is struck down in the a c t of approaching the a a of a a a lt r sacrifice, another f lls b ck with cry
Of r terror, and a third lies p ostrate on the 99
G ROUP FROM THE LIFE O F MOSES
C PPE S ST ROM E ( A LLA I INA , ) — Photograph An derson ]
SAND RO BOTTICELLI
r a These three f escoes, which Botticelli p inted on the wa lls of the Sistina during the yea rs
14 8 1 a n d 14 82 a r e a a r a , mong his most rem k ble a a i n chievements . They reve l at once the flu en c e which the cla ssica l monuments Of a r a rt i n ncient Rome p oduced upon his , his crea sed ma stery i n the r endering of form a n d movement a n d hi s power a s a crea tive a n d
a An d r a origin l genius . they Show his sup em cy a m a mong his conte por ries, whether Florentine
or r a i Umb i n . It s true that the works which ’ he painted in the Pope s cha pel fa ll short in some r espects of those executed by hi s fellow
a c a n d rtists . They la k the calm repose wide ’ spaces of Perugino s compositions a n d the sym metrica l a rra n gement a n d unity which lend a ’ certa in grandeur to Ghirla ndajo s mor e prosa ic
a a n a of a crea tions . But in we lth d v riety im gi
i n a r a n d r nation, be uty Of fo m pictu esque
a a n d of detail, in vigorous ction intensity ’ a fa r emotion, S ndro s compositions excel those
a ofhis riv ls .
a a of The Pope, no me n uthority in works
a rt w a s a a n d a a r e , well s tisfied , V s ri tells us,
a a a a w rded S ndro liber lly, recognising th t he ha d surpa ssed all his peers a n d a cquired grea ter
G ROUP OF THE BL A SPHEMER F ROM THE PUNISHMENT O F KORA H (CAFPEL LA SISTINA) — Photogr aph An der s on ]
SANDRO BOTTICELLI
Of the Crucifix ion ofSt Peter in the Bra n c a c c i
C a h pel . Va sa ri records for our benefit some of the merry sayings a n d pra ctica l jokes in which Sa ndro frequently indulged with his friends
a n d pupils . On one occasion Biagio Tucci ’ painted a replica of on e of his master s works — a tondo Of the Ma donna a nd Child with eight a ngels — a n d Botticelli found him a customer who promised to return the next day
a n x flori n s d buy the picture for si gold . But
a n d of in the night Sandro another his pupils,
J of a named acopo, with the help little wax,
h a a s stuck eig t red paper c ps, such those
a on a o f worn by the chief magistr tes, the he ds
a l a a the nge s, and when Bi gio ppeared the
a a next morning with the purch ser, to his gre t surprise he sa w his Ma donna seated in the mi dst of a of r " the Signori Flo ence The customer,
a a however, m de no obj ection, but purch sed the
r a a pictu e, and taking Bi gio b ck to his house,
r m a paid him the Six flo i s . When Bi gio returned
botte a u a a a n d J a c o o to the g , he fo nd th t S ndro p ha d a a removed the red c ps in his bsence, and
a a M a in his mazement excl imed, y dear m ster, a m a I know not if I dre ming, but when I w a s
107
SANDRO BOTTICELLI
t o ing Vasari, led him to neglect his own
a p inting . But the best Of these stories is told by
a a the Anonimo Gaddi no . One day his gre t
r M a Sod eri n i f iend, esser Tomm so , Lorenzo dei
M edi c r a s cousin, was trying in v in to persuade
a a S ndro to m rry . I will tell you, replied " a a the p inter, what h ppened to me the other
r a a night . I d eamt th t I was m rried, and the a a a SO a for b re ide m de me miserable, th t fear I Should fall asleep a n d drea m the sa me dr ea m
a a n d over gain, I got up rushed about the
r st eets of Florence all night, as if I were a
a a " A a a M a m dm n fter th t s lly, esser Tomm so saw that this w a s n o t the kind of soil to pla nt ” a a A r viney rd in . confi med bachelor and
a a a ple sant comp nion, the best Of m sters and
r a a t uest of friends, with kind he rt and keen
of sense of humour, full sympathy for promising
a r of for schol s and love little children, spending
a n d a freely giving l rgely, strong in his likes a n d a a dislikes, deeply religious but h ting c nt a n d a a hypocrisy, p ssionate in his enthusi sm for — gr ea t lea ders and lost ca uses such was Sa ndro
a a of Botticelli, the f vourite p inter Lorenzo dei
Me a a a r a dici and the f ithful follower of S von ol .
I I I
SANDRO BOTTI CELLI
a r month , he received commission f om the Signoria to a dorn a ha ll in the Pa lazzo
l r a a Pubb ico with f escoes . Ghirl nd jo, Perugino, a n d o w n a r a his schol , Bi gio Tucci, were to be a a ssoci ted with him in the work, but we never
a m a n d le rn if this com ission was executed, only a 14 87 a a t n d know th t in , Sandro p inted o o for the
A C Ma H a ll of udience of the ouncil of the ssari . During the next few yea rs he w a s chiefly
a r for Ma n i fic o eng ged in wo king the g , who
a n d ol d r u employed him his ivals, Per gino and
a a a s a s ow n i li i n o Ghirl nd jo, well his pupil, F pp , to decora te the villa of L O Spedaletto with f r o . a on another g eat series frescoes This vill ,
a r b e the heights ne r Volterra, had forme ly longed to the Nursing Order Of the Frati
a n d a Ospitalieri Of Siena, was a f vourite
a residence of Lorenzo, who, during the l tter
of r a r years his life, egul ly Spent some weeks ther e during the a utumn for the benefit of his
a A a 14 2 he lth . t his de th in 9 , he left the estate Of the Speda letto to h rs fa vou ri t é
a Ma a a o d ughter, dd len , the wife of Pope Inn ’ VIII S a . C bo cent nephew, Fr ncesco y , of whom
SO a ff he speaks with much ection in his letters, " ’ ” a a r and c lls the pple of her mothe s eye . SBb 1 1 3 SANDRO BO ’ I‘TICELLI
From her descenda nts it passed on e hundr ed
C a a re years later to the orsini f mily, who still
of M the owners this old edici villa . The importance Of the works that wer e executed ’ here by Lorenzo s orders a bout the yea r 14 83 or 14 84 a w a s t , is proved by a report th t sen a few yea rs later by a Mila nese a gent to Lodovico
r h a d a Sforza . This p ince , who already t ken ’ Leonardo into his service on the Ma gn i fic o s
n ow t o recommendation, asked his envoy send
O f him a list the best painters in Florence . After giving the na mes a n d describing the
of respective merits Botticelli, Filippino, Peru
a a gino, and Ghirl nd jo, the writer informs his " r a a ll a lo d th t the said m sters, excepting
Filippino, have given proof Of their excellence
C a S a a ll o f in the h pel of Pope ixtus, and th t them aft erwards worked in the Spedaletto o f ” 1 the Ma gn i fic o Lorenzo . We lea rn from Vasari that on e of the subjects painted by Ghirlandajo in this villa " F r e o Vulc a n was the o g f , with many nude figures welding the thunderbolts o fJ ove with
a c on mighty h mmers . From this we may
" 1 - K s 18 er W a de J ah rb h d . re ss . t 97. Mull l , uc p u un , 1 14
SANDRO BOTTICELLI elude tha t the themes of the frescoes were ’ cla ssica l a n d tha t Lor enzo s dra ma tic poem Of " the Loves of M a rs a n d Venus w a s a mong the subjects with which Sa ndro and his com
a a a a rades decor ted the vill walls . But lthough
r a a a n d po tion of the Sped letto is still st nding, a loggia in the courtya rd r etains some tra ces of
r a a w a s colou , the gre t h ll destroyed by fire
a a r a n d e rly in the l st centu y, nothing is now to be seen by the ha nd of the gifted ba nd of 1 r a maste s who once worked within its w lls . A better fa te has a ttended two of the frescoes which Sa ndro pa inted a t Chia sso M a c e r e lli nea r
Ca r r eggi, to commemo ate the wedding Of young Lor enzo Torn a b u on i with the bea utiful
a a Albi zzi a Giov nn degli . The bridegroom w s
son of a a Torn abu on i the the we lthy Giov nni , the uncle O fthe Ma gn i fic o a n d his chief agent
a n d w a s a a in Rome, himself great f vourite with
a n d a h a Lorenzo the le ding um nists in Florence .
a 14 86 a d TO him, in the ye r , Polizi no edicated his poem of Ambra i na dedica tion extolling
’ the young ma n s wide lea rning and excellent
of a n d a knowledge Greek L tin . When this a ccomplished youth led home the lovely bride
1 H . H r e Re e Ar ché 0 2 e 1 . 19 1 . o n , vu ologiq u , , p 1 r7 SANDRO BOTTICELLI
whose delicate fea tures and a uburn ringlets ’ G a r a live in hirlandaj o s p intings, there was g e t
M a n d rejoicing among the edici their friends . The tw o illustrious families vied with each other
S of a in the plendour the b nquets, torchlight dances a n d tourn aments at which the guests were
i S a a enterta ned . The panish amb ss dor to the
Va a t tican was present the wedding, which took f 1 place in the month o J une 4 86 . While ’ a Torn a b uon i s a a Giov nni f vourite p inter, Ghir l a n daj o; w as Enga ged in decorating the Cha pel a t C Ma c erelli son hiasso with frescoes , his Lorenzo ’ s finer taste led him to employ Botticelli t o pa int a series Of allegorica l subj ects in a ha ll on the pi a n o nobile ofthe villa t o which he brought hi s Hi s a m a bride . friend Polizi no, we y be sure, had a Share in the composition ofthe t w o paint
a ings, which after rem ining buried under a coat
a Of whitewash during three hundred ye rs, were
on a of V discovered the w lls the illa Lemmi, in
18 3 a n d a r a 7 , removed nine ye rs afte w rds to the
Louvre . on e a a n d In the , the bridegroom, noble
a a a n d refined youth, we ring deep violet robe a red c a p on his long fa ir locks; is admitted
of into the circle the Liberal arts, seven bright
1 18
SANDRO BOTT ICELLI
a a w hd a h ired m idens , sitting in the sh de of a
a r r a ll l u el g ove, welcome this friend of the
M s a s a a a u es, Polizi no c lls him , withgr cious smiles a D a n d . t courteous greeting i lectic, the younges
r a r a a n d of the g oup, le ds Lo enzo by the h nd
a ll presents him to Philosophy, the "ueen of the
r a n d Sciences, who, throned above the est wea ring a white veil a n d r obe adorned with
of a golden tongues fl me, bids the youthful
ra At a r e st nger welcome . her feet her five w n a h er o . Sisters, e ch with symbol On the r s e e A a ight we rithmetic, with a t ble Of figures
h e r a a a r a n d in h nd ; Gr mm , with a scorpion ;
h r a r on e . Rhetoric, with sc oll unfolded knees
a a On the left we h ve Geometry, with square
A a resting upon her shoulder ; stronomy, with
a n d M a a a a n d globe ; usic, holding sm ll org n t a m bourrn e I n her hands ; while a curly- hea ded boy bearing a shield with the Torn a bu on i a rms ’ a t r stands Lo enzo s feet . ’ a r r r In S ndro s othe f esco, the Graces , th ee lovely ma idens with gliding motion a n d wist
fu l a a a f ces , cl d in delic tely tinted robes Of
a a n d a n d r m uve white green, bring thei gifts
C a B a n d r of h stity, eauty Love , unde the symbol
of r o a a single flowe s, to the lovely Gi v nn , who,
I 2 I SANDRO BOTTICELLI
r a r e d standing under a po tico, cl d in a simple
a n d a a f gown tr nsp rent veil , receives their O fering
a a a a r in white h ndkerchief. Her regul r fe tu es a n d rippling hair a r e the sa me a s in Ghi rl a n ’ ’ daj o s fresco a n d Niccolo Fi o re n ti n o s medal ; the very pea rl neckla ce round her throa t is the same ; but there is a cha rm in her Simple robe a n d sweet serious fa ce which is a ltogether a h l cking in these ot er representations . The roguish little love who bea rs the Al bi Z Z i ’ coat- of- a rms a t Giovanna s feet h a s been ha lf
ffa a n d r a a a . e ced , the whole f esco is b dly d m ged B ut even in their present ruined condition,
a a a s a torn w y , they h ve been, from their
a a a be utiful surroundings in the f ir Tuscan vill , ’ Sa ndro s compositions ha ve a grace a n d a fresh
a ness which nothing c n destroy . The sa me tra gic fa te which a ttended Giuliano a n d r a Simonetta, ove took the wedded p ir whose union is celebra ted in these frescoes .
a a a a a a r a Giov nn died few ye rs fter her m ri ge , in 1 a n d giving birth to her third child, in the
14 - summer Of 97, when he was only thirty two, Lorenzo was condemned a n d put to dea th with four other lea ding citizens for conspiring to bring
1 L tta Fa m e e ebr . i , igli c l i
I 22 SANDRO BOTTICELLI
r M w a a back Pie o dei edici . It s politica l crime
a a w a s a for which the Pi gnone p rty to pay de rly, a n d the untimely fa te of this brillia nt a n d
o a w a s r a ll p pul r youth deplo ed on sides .
a a r a a S von ol v inly recommended him to mercy ,
a n d a u a a th t staunch Piagnone, L c L nducci, owns tha t he could n ot keep ba ck his tea rs when ’ he sa w the young Lorenzo s corpse borne pa st
a a a n d his house on bier. Such were the sh rp sudden cha nges which sta rtled the hearts ofth e
n i n Fl ore t es in those troubled times . Well " ’ t Di d ma n n on c ecer ezz a . might the poet sing, o Another wedding whic h excited gr ea t i n t ere st a mong the fri ends of the Medici w a s
a t O f a r a th Pier Fr ncesco Bini and Luc ezi , the ’ da ughter o f the Magn i fic o s strong supporter
a a 14 8 a Fr ncesco Pucci, which took pl ce in 7 , ’ a orn a n i a r a yea r fter Lorenzo T bu o s m r i ge . On this occasion Botticelli was desired to a dorn ’ four ca sson i with scenes from Bocca ccio s weird
Na st a i o a n d ra tale of g degli Onesti, the Spect l
a a r huntsm n , whose hounds devour his h d
a n a o f a a he rted mistress in the Pi et R venn . Sa ndro himself no doubt designed the com
of a w r position these p nels , which e e executed under his supervision by clever s chola r s a n d p ro 12 3
SANDRO BOTTICELLI
’ M t oo J a Sell a o s useum . Such were copo del j ' St r o Or heus a n d E u dice a s ub a o y f p ry , j ect pl inly ’ Poli zi a n o s r Ba rt ol om suggested by O feo, ’ a J a son a t C lchis a n d B a ttle meo di Giov nni s o , between the Cen ta urs a n d L ap i tha’ ; a n d the D ea th o L ucretia Sto o Es ther f in the Pitti, and the ry f a t C a a l r h ntilly, by th t scho a Of Botticelli whom
Mr a s A a Berenson h dubbed mico di S ndro .
a These p nels, most of which were designed for the decoration of ca ssoni a n d other furn i
a r e r a r ture, of g e t inte est as Showing the close connection between the huma nists a n d pa inters ’ a e a n d a Of Lorenzo s g , illustr ting the domestic
a r r An d life of contempor y Flo entines . they ’ a fford a fresh proofof Sa ndro s sympa thy with
a of da a n d o f the intellectu l tendencies the y, the extra ordina ry popula ri ty which hi s poetic r enderings of these themes ha d a cquir ed in
f - the eyes o his fellow citizens .
But a a , ere long, a ch nge c me over the Spirit
B i lh 5 a 1 ott c e rt . 4 8 r a of In 9, Fra Gi ol mo Sa vona rol a bega n to pr ea ch in the Dominica n
C O f Sa n M a r a h a d hurch co, convent which a lways been closely connected with the Medici
a a r a r a a ra r f mily . Two ye s l te , fter tempo y
ab e n c e ‘ h e c a nre a a t s , b ck to Florence the 125 SAND RO BOTTI CELLI
of M a a urgent request Pico della ir ndol , who begged Lorenzo to send for him, and began D that wonderful course Of sermons in the uomo, t o which was stir Florence to its depths . The fiery eloquence of the prea cher h a d a stra nge fa scination for the scholars a n d painters of
M Ma i c i n a n Poli z the edici circle . rsilio F o d
a a Be n i vi e n i a n d i no, the poets Girol mo and ,
M a a the young ichel ngelo all he rd him gladly . ’ M a d Ma n i fieo s a Pico della ir n ola, the g de rest
a n d friend, the most brilliant scholar Of his ’ da on e of ra a y, became F Girol mo s most
a n devoted followers d died in his arms . Lorenzo himself sent for Sa vona rola on his
a - a n de th be d d received his last blessing . The frequent allusions t o Plato tha t we find in
’ a m a n d S vonarola s ser ons, the bold rebukes
r t o which he add essed painters , Show that both schola rs and artists were among the
An d crowds which flocked to hear him . just ’ a s the Frate s strong fa ith in the unseen kindled the interest of the Platonists wh o belonged to
M e di c i so the circle, the prophetic note in his teaching appea led in a specia l ma nner ’ to the mystic Side o f Sandro s nature ; while
m a n a the sincerity of the , his deep hum n
126 T A W IT ST T BA PTI ST A ND HE M DONN A , H JOHN HE ST J OHN THE EV A NGE LI ST (BERLIN MU SEU M) — Photograph Ha nfi ta engl ]
SANDRO BOTTICELLI
‘ a a a r symp thy, could not f il to touch cho d in ’ a the painter s bre st . " He beca me a pa rtisan of the sect of Fra
a V a h i s u w a Girol mo, says as ri in contempt ous y,
a a a An d a n d for this c use b ndoned painting .
Ire Since had not money enough to live upon,
ffa r r a his a i s soon fell into the g e test disorder . Being obstina tely atta ched to this party he h e ca me wha t w a s known as a Piag non e (a snivel ’ l er a n d a a ) g ve up p inting, and was reduced to s uc h poverty in his old a ge tha t he would
a h ve died of hunger, if it had not been for the alms of Lorenzo dei Medici a n d other friends ” of n and men substance who admired his ge ius .
’ Ther e is as usual a germ of truth in Vasa ri s ‘
a a exaggera ted l ngu ge . Sandro did not give
a rt r up his , neithe was he reduced to the
a point of starv tion . But instead of pa inting
a n d u Greek myths n de goddesses, he devoted himself a lmost exclusively to religious subjects r a n d devotional pictu es . The influence of ’ Sa vonarol a s teaching is a ppa r ent in ma ny of
a r a his most popul r works, mo e especi lly in the ton di of the Virgin a n d Child surrounded with child - angels which he a n d his follower s so a ff repeated in m ny di erent forms . These
88 2 129 SANDRO BOTTICELLI
M a a m st e sorrowful adonn s , burdened with y
of a rions sentiment coming anguish, these f ir children whose faces seem to ha ve caught some mournful foreboding a s they ga ze on the
O f Ma i countenance ry , must have been nspired by the burning words in which the Frate
Ma describes the Mother Of ny Sorrows . In a the absence Of d tes and documents, it is difficult t o Speak positively of the order in ’ which Sandro s well- known Ma donna s wer e
a n d painted , to divide the pictures that belong to the eighties from those tha t wer e
a pa inted in the nineties . It is question on which the best critics seldom agree and which
a must remain for the present uncert in . The only on e of his alta rpieces t o which a date
a M a d n n a c a n be po sitively ssigned, is the o e nthron ed between St J ohn the B ap tis t a n d
Eva n elis t n ow St J ohn the g , in the Berlin M a useum . This noble work was p inted in 14 85 for the chapel Of the Bardi in Brunel
of a n lesco S newly restored church S Spirito . In a book of accounts which was lately dis Covered in the Gui c c i a rdi n i a rchives by Signor
1 a n of a Supino, we find entry the p yments
1 ” S dr B tt e . 94 . an o o ic lli , p I 30 S ANT A C ATERIN A F R OM THE M ADONNA S B R B AC DEM ORE C E . A N A A ( CA IA , FL N )
— Photogr aph Houghton ]
SANDRO BOTTICELLI ma de by Giovanni dei Bardi to the architect
- a Sa n a and wood carver Giuli no di G llo, on the
th a 7 of Febru ry, for the frame supplied by him ’ for S a ndro del Botti c ell o s a ltarpiece . Six
a i s a months l ter, there second entry from which we lea rn tha t on the 3 rd of August Sa ndro himself received seventy-five gold flori n s : thirty- eight for the gold and wood of ’ a tw o for u a n d the p nel, more the az re used,
-fi ow n thirty ve for his work . The Madonna is enthroned on a richly - ca rved
of a a pedestal coloured m rbles, under bower
a a n d of p lm, myrtle cypress, between the venera ble white -bea rded Eva ngelist a n d the ’ a noble and ascetic B ptist . The Virgin s face closely resembles that Of the goddess In the
Bi rth o Venus w a s r a a f , which p ob bly p inted ’ a a a r immedi tely fter S ndro s return f om Rome , a n d a out a the l ughing child, holding both rms
hi s on e of a n d to mother, is the few happy joyous types of childhood which he h a s f . a o u given us The foli ge the backgro nd, the ta ll white lilies a n d Olive bushes sta nding in
- a n d enamelled flower pots, the red white roses
on a a a a re a in the bowls the m rble p r pet, p inted w a n d a of ith exquisite care, this combin tion 133 SAND RO BOTTICELLI na tura l bea uty and a rtistic orn ament produces
a ff the finest decor tive e ect . Closely related to this work is the la rge a n d important a ltarpiece of the M a don n a a nd
Sa in ts A a of in the cc demia Florence, which
Sa a a a or a ndro p inted, prob bly year two l ter, for
a V the church of S . B rnaba . Here the irgin is seated on a lofty throne supported by marble
a columns of rich Renaissance rchitecture . Two attenda nt a ngels dra w ba ck the crimson
a i y velvet h ng ngs of the canop , while two others
a a a t g ze s dly the instruments of the Passion, the
a n ils and crown of thorns, which they hold
a C a up in their h nds . The hild , st nding on the ’ V r a a n d i gin s knee, lifts His h nd in blessing, both Mother a n d Son seem to muse sorrow fully Over the mournful tokens of Hi s coming
a a a t Passion . On the wide m rble p vement
Si x a the foot of the throne stand S ints, types
a a Of struggling and s nctified hum nity . On one
r M a Side we see the youthful wa rior ich el , the a a a A a n d J ged schol r S int ugustine , St ohn the prophet of the desert . On the other we
a a a - a a A h ve bl ck be rded St B rnabas, St mbrose
a n d a n d - with book mitre , the virgin martyr
Ka St tharine , robed in blue, with the palm
1 34 P R AT FFI I MADONNA O F THE OMEG AN E (U Z )
H ou hton Photogr aph g ]
HEAD OF THE M ADONN A OF THE POMEGR A N ATE (UFFIZ I) — Photogr aph H ought on ]
SANDRO BOTTICELLI of victory in h e r ha nd a n d a soft Cxpr es Sion of hea venly contemplation o n her fa ir
a r a n d a fe tu es . Both in type ttitude this Sa int strongly resembles the r eclining goddess in the pa nel of M a rs a nd Ven us a n d the young woma n ca rrying wood in the fresco of the
C a a r Sistine h pel . The predell to this pictu e
a A a a a n d a is lso in the cc demi , consists of Risen Christ a n d three little scenes from the
a a a lives of the S ints in the lt rpiece, the ’ D A r A eath of St mb ose , St ugustine s Vision
C on s ea - r a n d a a of the hild the sho e, S lome be r ’ a a a a r ing St J ohn the B ptist s he d on ch rge .
f r a r a a The fa ce o the Vi gin in the S . B n b a lta rpiece in its sa d a n d medita tive expr ession bea r s a ma rked likeness to the M a don n a of the
Pome ra n a te a a u ton do a g , th t be utif l which c me to the Uffizi from the collection of the Gra nd
D a n d m a a ukes, y h ve once belonged to the
-I n r a M . n d r ra edici fo m colou ing, in the t ns ’ pa r ent veil which r ests on the Ma don na s
a r a a n d h i , in the lovely f ces curly locks Of the si x child -a ngels who pr ess round the Virgin with their blossoming lilies a n d open choir
ton d M a n ca t. books, this o resembles the g ifi But here the note of m ournful yea rning is still 139
M ADON NA A ND CHILD W ITH ANGELS
MBRO S A ( A IANA , MIL N) — Photogr aph An der s on ]
M ADONN A A ND CHILD PO DI-PE O ERY A ( L ZZ LI GALL , MIL N ) — Photograph Ander s on ]
SAND RO BOTTICELLI
a ll But the most famous , the most perfect of ’ ’ a Ma a Our L a d o the M a n i S ndro s donn s, is y f g fijf / ca t d e sr n I a a r . In beauty of g , n lovely tr nsp ency a n d of Of colour, in exquisite finish depth ’ ton do a ll feeling, this surpasses Botticelli s
r ur w a other sac ed pict es . The y in which the
ur of a r a c ving lines meeting h nds, inte l ced
a r a n d a a ll r ms bowed he ds converge, eveals the mastery of design to which Sa n d r ha d
a a of 1n d tt ined, and the ideal divine sorrow ’ tenderness expressed in the Virgin s fa ce rema ins unsurpa ssed in the pa ges Of Christian
a r t At a . the very moment when She re lises
a on all her glory , when ngels place the crown h er brows and the Child guides her ha nd to write the words tha t proc la im her blessed
a a mong women, the sword pierces her he rt
a f a with i ts mysterious foret ste O coming gony . ’ The wonderful success which Sa ndro s
Ma a donn s Obtained, the amazing demand which sprang up on a ll sides for these ton di
of a n d a Virgins angels, was doubtless p rtly due to the new religiou s fervour which a nimated a ll cla sses in Florence during the ’ of a a a E brief period S von rola s reviv l . very
Pi a n n e devout g o , each pious soul who strove set 145 SANDRO BOTTICELLI
’ t o a saw follow the Fr te s rule Of holy living,
’ in the tender mela ncholy ofSandro s Ma donna s
of a] A the fulfilment a cherished ide . nd if the master himself was t oo much absorbed in mystical dreams and t oo deeply interested in wa tching the development ofpublic events to
a a p int with his Old industry, the schol rs and assistants in his bottega made good u se
of n C e their opportu ity . ountless w re the
re licas a p , endless the imit tions which issued ’ a from Botticelli s workshops in those d ys . " a S ndro drew exceedingly well, writes
Va so so a a ll a sari, much th t artists were e ger ” a a to Obtain his dr wings . These dr wings were ff reproduced in a hundred di erent forms . The
of very slightest his motives, the roses and the blossoming lilies in his sketches of Purga torio or Pa ra dis or a o, a lighted candle a spr y Of Olive, were ea gerly seized upon and a dapted t o new a n d varied uses by his followers . Often they t o of n had recourse some his earliest desig s,
for a s Chi i M a d nn a such , instance, the g o , which u some clever assistant reprod ced in a painting, n ow C out at hantilly, leaving the symbolic
ff Of r a n d o ering corn and g apes, substituting
r a rose and basket offlowe s in their stead . 146 TH E VI R G I N O F THE M A GNIFI C A T (U FFIZI) — Photogr aph H angman ]
ANGELS FROM THE M AGNI FIC AT (U FFIZI)
Photogr aph H oughton ]
SANDRO BOTTICELLI
’ The very men who had repea ted Botticelli s
a n d a a n ta si e Greek myths cl ssical f , ten years r J a CO o Sell a o a befo e , p del j , B rtolommeo di Gio
a a t vanni, Bi gio Tucci, now g ve hemselves up to the manufa cture of Ma donna s and Angels . ’ J a copo s hand ha s been recognised in the
a r Lichten stein M a donn a ch ming , with the Six
a a n d angels be ring flowering lilies, Biagio probably pa inted the Virgin with the eight angels wr ea thed with roses ca rrying lighted
a a a t c ndles in the R czynski collection Berlin . ’ As a old a r for Ghirl ndajo s pupil, B tolommeo, ’ a of Nas ta i o de li On esti s B a n uet the p inter g g q , Mr Ber enson tells us that he devoted his whole time to supplyin g designs for the wood cuts for those sma ll books Of Sacre Rappresen ” ta zi on i which were published in Florence 1 a Of during the last dec de the fifteenth century . Several of these a re directly connected with ’ a a n d a a n d m a a Savonarol s life pre ching, y h ve ’ been the origin ofVa sari s assertion that after
a n his return from Rome, S dro wasted his time in designing unsuccessful engravings, the best Of which w a s the Tri ump h of the Fa ith of Fr a Girola mo t oo a . Then, , nother artist who
1 " B r a a e ar ch 190 18 3 . . u lington M g zin , M , p 15 1
MADONN A FROM THE A NNUNCI ATION (A SCHOOL W O RK) — Photogr aph H oughton ]
DANCING A NGELS FROM THE CORONATION
‘ DEM REN E OF THE VIRGI N (ACCA IA , FLO C )
— ou htan Phot ogr aph H g ]
SAND RO BOTTICELLI plate the vision tha t h a s da wned on their
’ ’ i : St J hi s a d a wonder ng sight erome in c r in l s hat,
A a n d Eli i u s a St ugustine St g , r pt in studious
J E a meditation, and St ohn the v ngelist, with his a rm uplifted and eyes turned hea venwa rds in a
a a n p ssion Of love d yearning . The vehement a ction ofthis aged Saint a n d th e rapi d flight ofthe a ngel - children seem to indicate that this Coron ’ ation belongs to the time when Sa vonarola s ’ h a d r a ff a rt influence al e dy a ected Sandro s , a n d the serenity of his earlier conceptions h a d given pla ce t o more pa ssiona te and emotiona l
a feelings . It was probably p inted early in the
Dr u M a . J nineties lius eyer, indeed, pl ces this a a a s a a s 14 a n d r lt rpiece l te 97, Signo Supino thinks tha t the dancing a ngels m ay h a ve been suggested by the white - robed children who da nced r ound the Sacrifice of Vanities on the
Mr on Piazza . Berenson, the contrary, believes
a a s a 14 80 it to have been p inted early s .
a C a of The predell of this oron tion, consisting a n A a — nnunci tion, with a blue robed Virgin seated
a n d r in her chamber, four scenes f om the lives
a n A n of the S i ts represented above . St ugusti e J is seen writing in his cell , St ohn meditating i n o f a J r e the Isle P tmos, St e ome kneels befor 157 SAND RO BOTTICELLI
a n d Eli i u s i s a a crucifix, St g shoeing horse which is led by the devil in the form of a fair
a a young woman we ring green robe , while his ou t horns peep from under her flowing locks .
a The same vehement gestures, the s me sense
a a r of strong emotion, are seen in still gre te degr ee in the unfinished picture which w a s brought t o the Uffiz i from the Pa lazzo Vecchio
a C o a early in the l st entury, and is pr b bly the Adora tion ofthe M agi mentioned by the Anonimo Ga ddiano as having been painted by Sandro at the top Of a staircase in the Pala zzo leading ’ a t o the door Of the Catena . Botticelli s h nd is
a cle rly recognised in the composition, which ’ bears a strong resemblance to Leona rdo s u m
Ad ra ti n fli zi finished o o in the U . Unfortunately
r tem er a Sand o only sketched the picture in p ,
a a e and , more th n a hundred years ft rwards, the whole of the pa nel was coarsely repa inted in
s a Oils by some inferior arti t . The scene is l id ’ a in a wide, mountainous l ndscape, where the Holy Fa mily are sea ted in a rocky cavern under
r ff a a p ecipitous cli s, which rec ll the b ckground
a n th C n ta ur Of Pa ll s a d e e . In the foreground
w h o m a are eight kneeling figures, y be intended to represent the chief ma gistr ates of Florence 158 SANDRO BOTTICELLI
Ott r ff (the o), Since they b ing no O erings in their ra ha nds a n d wea r no ba dge of kingly nk . Through the clefts in the r ocks we se e the va st concourse O f people Of a ll cla sses ea gerly str eaming in thr ough t h e city ga tes to ta ke
a a r a r Y p rt in the s me g e t act of wo ship . oung and old men a n d women a re stirred by the
a a s me feverish excitement, the s me tumultuous
a emotion . Some clasp both h nds together in
a r a r e nest supplic tion, othe s point with out str etched a rms to the Child - Christ on His ’ a r r mother s knee . One le de on ho seback lifts hi s a a sum right h nd with comm nding gesture, moning his men to follow ; a nother sh a des his eyes from the bla ze of light which the bright bea ms of the Sta r throws over the Holy
C Ma r hild . ny portraits have been ecognised a mong the foremost figures . On the right i s r Be n i vi en i a Gi olamo , the poet who g ve up writing carnival songs to compose hymns a n d a for re Sa n Ma c rols the child n of rco . Behind him stands a ta ll figur e in a flowing r a n d a r obe long white be rd, esting his chin
a on a a r a a r medit tively his h nd, who be s m ked ’ a a r r a r resembl nce to S nd o s Old f iend Leon do . D m On the left, behind St Joseph, a o inican 159
SANDRO BOTTICELLI tea rs a n d gloom a n d Sa vona rola and his com ’ a t a panions had died the st ke, Botticelli s picture was na turally put a side and only brought out a ga in to be pa inted over by some inferior a rtist a t a in the next century . Such le st is the in t er reta ti on a p Of this picture which, origin lly suggested by Signor Milanesi a n d Mr Heath
on 18 8 1 ha s Wilson its discovery in , been a Dr n V M ccepted by Ulman , Signor enturi, .
E e M ii n t z ug ne , Signor Supino, and other well
r Mr r known c itics . Ho ne, however, dismisses
a s a n d a the idea absurd, is of opinion th t the work belongs to a much ea rlier period a n d w a s ’ r a 1 painted befo e S ndro s visit to Rome .
1 a B r n t a a e r c h 1903 a . 4 u li g on M g zin , M , p 7 .
16 1 ’ DEATH OF LO RENZ O DEI M EDICI— BOTTICELLI S RELATI ONS W ITH LO RENZO DI PIE R F RAN ’ CESCO — SIMONE FI LI PEPI S CH RONICLE ’ SAND R O S ALLEGO RY O F CALU MNY AND
V — TH E R VI R NATI ITY PANELS OF LUC ETIA, — GINI A AND ST ZENO BI US H IS ILLUSTRATIONS ’ O F DANTE S DIVINA CO MM EDIA M ICHEL ’ ’ ANGELO S DAVI D — BOTTICELLI S LAST YEARS AND DEATH
14 92- 15 10
As M long as Lorenzo dei edici lived, he was a 4 th good friend t o Botticelli . On the J anuary 14 1 a of 9 , the painter was ppointed member a commission which met to choose a design for
a a D a n d on 18th of the f c de Of the uomo, the
Ma tw o y he was chosen, together with the
Ghirlandajo brothers , and the miniaturists
a n d M Gherardo onte di Giovanni, to execute mosa ics for the chapel of St Zen obi us in the
w a s same church . But the work interrupted
16 2 SAND RO BOTT ICELLI by the death O f the M a gn ific o a t Car eggi on 8th A 14 2 r the of pril 9 . In him Flo ence lost
r a the greatest of her ulers, and her rtists were
of a r deprived their most enlightened p t on . Botticelli never seems to have entertained ’ any r ela tion s with Lorenzo s unworthy son ’ a r Piero, who soon disgusted his f the s best friends by his violence a n d folly ; but he still c l un a a g to his old p tron, Lorenzo di Pier Fr n
a a c ou srn cesco . Fortun tely for rtists, this of
Ma n ific o a s a s the g , well his younger brother
a h a d a Giov nni, both joined the popul r party, a n d wer e a llowed to rema in in Florence during the political cha nges tha t followed on ’ r a a It w a a the g e t Lorenzo s de th . s prob bly about this time tha t Sandro bega n his series of dra wings on the Divina Commedia for a n d on 14 J this patron, when , the th of uly
14 6 M r 9 , young ichelangelo wrote f om Rome to
a ha d Lorenzo di Pier Fr ncesco, who sent him
r hi s f with int oductions to riends in that city, he a ddressed his letter to Sa ndro Botticelli in a cover bea ring the cha racteristic Pi agnon e — ‘f inscription Christus
r a 14 8 a of a Two yea s l ter, in 9 , the ye r S vona ’ r a a r r a ol s execution, we le n f om new income
SANDRO BOTTICELLI
Sa ndro himself must have told his brother o f
a on e th t prophetic sermon in which the Frate,
A r 14 2 p il evening in 9 , foretold the coming f‘ troubles— Ecc e gla dius Domin i t m t t l r a a erra ci o e veloci e . Th t s me night,
a a of Simone writes in his journ l , the cupol the
D w a s a n d uomo struck with lightning, three days a fterwa rds Lorenzo i l Ma gn i fic o died a t
C r r r a eggi . The w ite dwells with delight on the wonderful fervour and religious enthusia sm
r a which stir ed the whole city, on the thous nds D who flocked to the uomo, and the crowds t a t waited for hours a t the doors to s e e the
’ a Fra te pass . He describes the m rvellous c fle c t ’ of Sa vona rola s sermons When he mounted
a a a n d the pulpit steps, he was new St P ul, reca lls the ha ppy summer evenings when they wa lked with the friars a n d novices in the quiet
r of Sa n M r a n d a ra ga dens a co, he rd the F te " expound the Gospel in Simple words . Then ,
for a n o r indeed, hour two, one seemed to be
a so a a n d in P radise , gre t was the devotion
a ll simplicity shown by , and blessed were
a t a 1 those who were present these g therings . ’ a r With the same vivid touches, S nd o s brother 1 a r a a a S e C c e ta . 4 9 . Vill i s nov , l , p 7 165 SAND RO BOTTICELLI
a narrates the horror of the l st struggle, the
on midnight attack the convent, the mock
a of tri l , the terrible tale torture and prison , and
a of on a z the fin l scene the execution the Pi z a ,
D r which he witnessed with his own eyes . a ker still is the picture which he pa ints of the days
Of persecution which followed, when all fear Of God and reverence for holy things had died
out a i , when blasphemy and s cr lege went " t o unpunished, and hell itself seemed open, ” and all the devils were let loose . Then the vilest calumni es were heaped on the Frate a n d
n o on e a his followers , and could spe k his name
t o S without peril his life . imone fled for
s t o a a afety Bologn , but Sandro rem ined in
old M Florence . His connection with the edici a n d the friendship of Lorenzo di Pier Fra ncesco stood him in good stead but he sa w the crime
a and misery bout him, and shared in the deep
of a ha d dej ection the f ithful Piagnoni, who ’ a n d believed in the prophet s word , looked for the coming Of the Ne w J eru sa lem tha t w as to 1 be se t U p on earth . ofhi s Then it was that, in the bitterness soul ,
Alle r o Ca lumn Sandro painted his go y f g, and
1 a La d c D a F re t . 1 3 . Luc n uc i , i rio io n ino , p 7
SANDRO BOTTICELLI
gave it to his dearest and most intimate friend, A for a ntonio Segni, the same whom Leon rdo ma de hi s noble dra wing of Nep tun e a n d the Sea ’ ds w a s a u a go . The subject t ken from L ci n s
D a a n d h a d a a i logues, become f mili r to Florentine artists from the version which was A hi s given by lberti in Treatise on Painting . The scene is la id in a sta tely columned portico adorned with a ntique sta tues and ba s - reliefs
a r i in Chi oscuro he ghtened with gold . Old Greek myt hs a r e mingled with Bible stories in the
a a subjects here represented . P ll s, with the ’ Gorgon s head a ppea rs by the Side O fJ udith a n d
a n d D a Holofernes and St George the r gon .
A a n d Da o f C pollo phne, the Battle the entaurs ,
a n d A r a a n d a re Venus morini, T aj n the Widow
r a of int oduced, together with st tues prophets a n d a n d a r apostles single figure of St Geo ge, ’ which recalls a t once Don at ell o s warrior in the
of Sa n M a n d A a niche Or ichele , ndre del ’ a a n o ra a C st g s port it of Pippo Sp no . In this noble Renaissa nce ha ll a fea rful crime is being a a of J perpetr ted in the n me ustice . The
a a r a unj ust judge, cl d in green obe, be ring a
a n d on crown sceptre, is seated his throne, while Ignora nce a n d Suspicion whisper 169 SANDRO BOTTICELLI
" n malicious accusations into his lo g ears .
E a a nvy, a pale and squalid figure, cl d in Sh ggy
ou t a skins, reaches a Skinny hand to rrest the ’ C judge s attention, and leads forward alumny,
— a a a richly dressed woman be ring lighted torch , w h o drags prostrate Innocence by the hair a long
a the floor . Her attend nts, Fraud and Treachery, wa it upon her footsteps and wreath roses in
a bo hi s her h ir, while the y Innocence lifts
a a At cl sped h nds to invoke the help Of God .
a his feet stands Remorse, an Old hag, wearing
k a a blac m ntle over her ragged clothes, and le n ing o n a crutch a s sh e looks back over her shoulder at the nude form Of the golden - haired
a w ho a a s V Ama m iden Truth , , f ir the enus dy
of old a omene , is seen lifting her h nd to heaven in the calm certainty tha t there her mute a ppea l
of will be heard . Through the open arches the loggia we look out on a wide waste of green
a a n w ters and distant horizon, which leave indefinite sense of dreariness on the mind ’ the expression of the painter s conviction tha t Truth a n d J ustice were nowhere to be
on a a r found e rth . This llego y, in which the classica l idea ls of his early ma nhood are com bi n e d of a a with the bitter experiences l ter ye rs ,
170
SANDRO BOTTICELLI
’ was Sa ndro s silent protest a ga inst the tragedy ’ a a of Sa vona rol s end . When he painted th t
c a n a inspired vision Of Truth , who doubt th t he remembered the burning words in which the Fra te ended his grea t co urse of sermons on the
a ua m b nus ps lm , " o Wine is strong, the king is strong, women are stronger, but Truth is
a a n d a " mightier th n all, will prev il ’ Even in these dark days Sa ndro s fa ith in the ’ a E of Friar never f ltered . very line Simone s chronicle breathes the sa me profound convie
' tion that this man whom Florence h a d rej e c t e d
a a and put to de th was prophet sent from God . The writer notes how on e by one the words of
a n d Fra Girolamo have come true, dwells with sa tisfa ction on the violent and misera ble end — which h a d overtaken all his enemies Pope
A Cae r a K A lexander VI . , sar Bo gi , ing lfonso of
Na a a n d An d ples, Lodovico Sforz many more . he records the unwilling testimony borne to ’ Sa vona rola s innocence a n d sa intliness by his
’ a a n d al l Doflo j ilors persecutors, most of by
a a of Com a n a c c i Spini, the riotous c pt in the p g
a Ma a n d who led the ttack on San rco, was ’ a t a present the Fr te s trial .
Giorn a te of In the Lorenzo Violi, the young [ 73 SANDRO BOTTICELLI
’ notary who wrote down a ll Savonarola s
a t o sermons, we find repeated llusions the
A o f w h o cademy unemployed artists, met in these days in Sandro Botticelli ’ s workshop and disputed much about the Friar . Simone , the w a s t writer tells us, of en present on these occa
of sions, and wrote down some these discussions A in his chronicle . mongst others, Simone records the following conversation which took
a on ofAll 2n d pl ce the Feast Souls, being the November 14 99
A Ma on e of lessandro di riano, my brother, the good painters which ou r city ha d in these
a t times, being home, by the fire , about eight
’ a t how a O clock night, related th t day, in his h of S op in the house Sandro, he had reasoned
a of ra with Doffo Spini on the f te F Girolamo .
’ a Do flO t o a on e S ndro, knowing h ve been of the chief persons who were present a t his
a a a r ex min tion , djured him to tell him t uth fully what crimes were found in him which
a could deserve so shameful death . Upon ‘ Do ffo which replied, Sandro, must I speak the truth We never found in him any venial, ’ a much l e ss a n y morta l sin . Then S ndro asked Why did you put him t o so sha meful a death " 174 SANDRO BOTTICELLI
‘ r w a s He eplied, It not I , but Benozzo Fede
For n ot a righi . , if we had m de this prophet a n a d his comp nions die, and had sent them
a Sa n M a b ck to arco, the people would h ve ’ 1 sacked our houses and cut us all t o pieces . This interesting recor d throws light on
of Na tivit the picture the y, which Sandro painted a few months after tha t November ’ evening when he extorted Doffo Spi n i s c on ’ fe ssi on Of Fra Girolamo s innocence . It is
a on e cle rly Of those works which, like the medals and portraits of Savona rola a n d the
of a paintings his execution, were h nded down a mong the hidden trea sures Of some Pia gnone
of family Florence during centuries . Sixty years a go it w a s br ought to Engla nd by Mr Y 187 8 a r oung Ottley, and in , p ssed f om the Fuller- Ma itland collection into the Na tiona l
a of O f G llery . This time the story the Birth ’ Christ is tra nsformed by the painter s soaring fa ncy into a mystic vision of the Triumph of
a a a n d o f S vonarol the fulfilment his word . The Holy Fa mily as usua l form the central
a n d se t group, the rude wooden penthouse is
a r c in o ky cavern in the heart of a pine forest .
1 ar e Ca a a c i 5 0 o . t Vill i s nov , p , p . 7. I 7S
SANDRO BOTTICELLI
a for with the witnesses . Sl in the word of their testimony a s told i n the Revela tion of St J a h a s a ohn, S ndro pl ced the following
’ inscription in Greek l ett ers o n the upper part
a A a of his p nel This picture I , less ndro,
a en d O f 15 00 p inted at the the year , during the troubles of Ita ly in the ha lf-time a fter the time which was prophesied in the Eleventh of St J ohn a n d the Second Woe of the
A w a s pocalypse, when the devil loosed upon
r a n d a a A the earth for th ee years h lf. fter wards he sha ll be put in chains a ccording t o
a n d a the Twelfth, we sh ll see him trodden
SO under foot as in this picture . the painter would have us know that, in these dark and
r a a despe ate times , his f ith in the Fri r had a a t never f iled , and th he still looked forward ’ to a da y when the prophet s word should be a n d fulfilled good triumph over evil . A pen dra wing for the centra l group of
" r — of this pictu e the tall. form the kneeling Madonna a n d the St J oseph crouching behind — the Child is still pr eserved a mong a few O f ’ zi the painter s studies in the Uffi . Both in
a the f ulty proportions of these figures, in the
a of h sty execution the face, we see evident 179
SAND RO BOTTICELLI rude hut th a t i s still the property o f the
Ma rchese Fa ri n ol a in Florence . ’ To these closing yea rs o fthe ma ster s life we m ay a scribe with gr ea ter certainty two very
Sto o Vi r i ni a interesting works , the ry f g in the M a a t a a n d D ea th o orelli G llery Berg mo, the f ’ L ucret a Mr a a i . t in s J L . G rdner s collection
Boston, in the United States . These long, na rrow pa nels wer e evidently intended for the
a ofcasson i or a n d m a decor tion other furniture, y belong to the series which Botticelli pa inted for hi s a a a Old p trons the Vespucci, and which V s ri " describes a s full o f bea utiful a n d animated
a re a for figures . Both pictures rem rkable the imposing cha racter of the classica l a rchi
r r a s l tectu e int oduced in the background , we l a s for the dra ma tic power with which the different incidents in those tra gic stories a r e
a a a represented . The Berg mo p nel h s the a dditiona l a dva nta ge O f being in excellent
r r a a n d a O f r a p ese v tion, ret ins much its o igin l
ai r r richness d harmony of colou . Closely related to these Roma n subjects are the panels on the Life a nd Mi ra c les of St
Z n bi us TW O h a e o . t e of these , in which b ptism a n d consecra tion of the good Bishop a n d his
181 SANDRO BOTTICELLI
a a re n n ow first mir cle represe ted, belong to Mr M A Ludwig ond . third, in which the Saint restores t o life a child w ho has been run
a w it a over by the wheel of , and gives his l st blessing t o the priests a n d people on hi s dea th
i n D e a All of bed , is the r sden G llery . a re ma rked by the same rich and va a a t rchitecture and anim ted ac ion , but t
' a rtistic c fle c t is somewhat m a rred by violence ofthe gestures a n d display Of emotion in the l e These last designs Were probably intended
" for the decoration oft he Cha pel of St Zen obi us
D a i f in the uomo, work wh ch , a ter being
for a t abandoned many years, was length
a 15 04 Gon fa li on e r e resumed , e rly in , by the ’ Sod e ri n i a a Old Piero , brother Of S ndro s friend Tomma so They certainly belo n g to the
’ a n d painter s declining years, betray evident ma rks o fadva ncing a ge and fa iling power . Another interesting little picture o f this
Mr a n d period, in which Berenson other critics ’ of authority have recognised the ma ster s
o - a D er elitta or Outcas t a s . h nd, is the c lled
a a A in the Pallavicini P l ce in Rome . young woman in a ra gged white linen ga rment is
182 SANDRO BOTTICELLI
seen weeping bitterly on the steps Of a Re
a a a a a r a r a n iss nce p l ce . Her long, d k h i f lls
a h e r a d a over her f ce, he d is burie in her h nds, a n d h e r other clothes lie strewn on the stone
a n d i s steps . In her Silence loneliness She
i n ra e a a the very g of inconsol ble desp ir . There is some resembla nce to the ga rments worn by
of Ca lumn b ut Remorse in the picture y , it is
d f a so i ficult to believe th t this work, which is
a n d curiously modern in style sentiment, Should h a ve been pa inted by a fifteenth
r a centu y rtist . But the great work to which Sa ndro devoted the l a st years Of his life w a s the illustra tion of ’ D a a a C . nte s Divin ommedi From the first, Botticelli h a d Sha red the r evived enthu siasm for Dante which distinguished the hu ma nists
M w a s a n Of the edici circle . He , we know,
a of D C a rdent student the ivina ommedi ,
a n d a ra Ver in e ma dre line from the Pa diso, g ,
i lia del tuo i lio on t fg fg , is inscribed the s eps of the throne in the a lta rpiece of the M a don na a nd Sa in ts which he pa inted for
C ar a a . the hurch Of S . B n b There is little doubt tha t he designed the nineteen pla tes for the edition by the Germa n printer Nicola us 183
SANDRO BOTTICELLI
The whole series origina lly consisted of a
a a s a s - a a n d hundred dr wings, well the title p ge
a A O f r a di gra m of Hell . ll these were o igin lly d ra wn with a soft Silver -point supposed to
a a n a a d a n d a a r r cont in lloy of le , fterw ds oughly
a n d i n k r tra ced over with pen . Only th ee of
a re a r a them p inted in body colou , while
a Ca x . a a fourth , illustr ting nto , in the V tic n, i s a of Da p rtly tinted, the figure nte being
a a n d a of r Ma p inted red , th t Vi gil blue . ny of the dra wings a re ba dly da ma ged and ha lf
ffa a s a re r e ced, while compositions they of ve y
a . unequ l merit But in spite of these defects , the whole series is of the deepest interest, and deserves to ra nk a mong the finest a n d most
a a r a a im gin tive wo ks of the Ren iss nce . To ’ this day Sa ndro s illustra tions rema in the best a n d most sa tisfying a rt istic interpreta tion ’ of Da nte s grea t epic tha t ha s ever been a a n d r a h ow ttempted, eve y p ge proves deeply a n d tr uly the painter ha d entered into the ’ poet s mea ning . ’ The ma ste r s ha nd i s pla inly visible through
hi s a f . o a r out We recognise peculi r type fe tu es,
O f a the wistful expression his f ces, his skill in
a a n d ra depicting r pid movement flying d peries . 185 SAN DRO BOTTICELLI
We se e hi s love ofna tural bea uty in the delicate
a a a n d a a dr wing Of foli ge pl nts, in the or nge and
r myrtle , the palms and pomeg anates of the
divin a res ta s ess a e viva Ma a fo p , where tild plucks flowers in the grassy meadows on the ’ of Eu n o é D a re banks the river , and ante s eyes
a of at length gl ddened by the sight Beatrice . ’ The artist s evident a nxiety to keep closely to the text of the poem a n d his adoption Of
ae a a u a medi v l im gery have not, it is tr e, alw ys proved successful . But if some of the illustra " tions of the Infer no appear crowded a n d
a a a re of confused , others g in full grandeur and
i a for orig n lity . Such instance is the illustra
Ca si x a re tion of nto xxxi . , where the Giants represented bound in cha ins on the brink o f a n d A ae the nethermost pit, nt us bends down t o lower Da nte and Virgi l into the a a byss below . Here the admir ble foreshorten ing a n d fine modelling Of the nude forms ’ recall Poll a i u ol o s style a n d remind us of ’ Sa ndro s ea rly studies under this master . But it is in the la tter cantos of the Purga torio
a a and in the P r diso, that the mystic poetry ’ ’ a of Botticelli s imagination finds free pl y . ” " V si bella e riden te The ision Of his Lady, ,
186 SANDRO BOTTI CELLI
t r c a r C u r a h oned on the of the h ch , ttended by
a A l a n d a n d E a r d ncing nge s Virtues, lders be ing the Open books of the Gospels in their ha nds ; the upwa r d flight of Bea trice a n d the
- r a n d poet through the wind blown t ees, the different scenes in which hi s a dored mistr ess is
t a a n d a i r seen, with lif ed h nd serious , expound ing the mysteries of the Fa ith t othe listening ’ a re a ll a a poet, conceived in S ndro s h ppiest
a Ma O f a m nner. ny his f vourite motives, the
a i r single roses fluttering through the , the a ngels bea ring lighted ca ndlesticks a n d olive
‘ a a re r a su b br nches, int oduced in these l tter
An d 28th Ca a j e c t s . when in the nto we re ch
a a n d th e the higher spheres of he ven, poet ga zes with da zzled eyes o n the nine order s
a a r a a r of ser phim , Be t ice herself ppe s under
a a r r a the f mili r fo m Of Sp ing, with the s me
a r a n d a a a rippling h i the s me r di nt smile,
a n d . r immortal in her youth loveliness He e,
a l on the left of the centr l group, in the owest
O f a r o n e r tier ngels, we discove little che ub
a ca rtelli n hi s a holding o in h nd , on which we ’ r a a a — r Ma e d the rtist s n me Sand o di riano . Per
a r a h ps in these wo ds , written in the s me minute ch ara cters a s the lines from Da nte which a re 187
SANDRO BOTTICELLI
Cr a a a n d a C r on c , Giov nni delle o niole, who car ved the portra it of Sa vona r ola on a well
r C a n d known gem, Pie o di osimo Baccio ’ d A n Ol o r a t g were all p esent the meeting, which D took place in the Opera del uomo . On this ’ occa sion Sa ndro supported Cosimo Rosselli s suggestion that the gia nt ought to stand in front of the Duomo in the following words Cosimo ha s sa id where in my Opinion the statue ought to be placed, to be seen by the
a - b ofJ on p ssers y, by the side udith, the steps
Ma a a Of Santa ri del Fiore, or else in the Loggi
ra a t r O f dei Signori, but ther the corne the
a n d t o church , this I judge be the best place .
a n d a Giuliano di San Gallo Leon rdo , on the
a r a contr y, were strongly in f vour of placing the
a a a ff st tue in the Loggi , fe ring the e ect that
a a a exposure to we ther would h ve on the m rble, while Filippino a n d Piero di Cosimo proposed tha t the choice of the spot should be left to
M a a s ichel ngelo himself, he will know better ’ 1 a th n us how it should be . This la st r e w a s a a n d solution unanimously ccepted, by ’ the sculptor s wish the gre a t statue was s e t
a up on the steps Of the P lazzo . 1 G a e Carte II . y , ggio 189 SANDRO BOTTICELLI
A a of r All fter this we he r no more Sand o . we ’ have is Va sa ri s mela ncholy picture O f the Old
a n d t o painter, infirm helpless, unable stand upright and supporting himself with t w o A M 0 . t 17 a 15 1 crutches length, on the th Of y , a t o de th came his release, and he was buried
a a O f a with his f thers in the v ult Ogniss nti, his
parish church . The great popularity which Botticelli had enjoyed during his lifetime did n ot long su r
a of a vive his de th . The influence new ims and
a a ide ls ; above all , the p ssion to emulate ’ M a a ichel ngelo s gr nd style, which swept like a wave over Florentine a rt in the ea rly yea rs
o f S the ixteenth century, all contributed to
o u t of a n d wipe the memory the past, before
of long the very name Botticelli was forgotten .
a When , a hundred years fter his death, the D of Grand uke Ferdinand, a member the
a of o f M younger br nch the house edici , issued a dec ree t o prohibit the remova l O f
a rt r of works Of f om the churches Florence , only two pa inte rs belonging t o the fifteenth i n century, Filippino and Perugino, were ’ w a s cluded in the list, and Botticelli s name D n ot even mentioned . uring the next four 190 SANDRO BOTTICELLI hundred yea rs his fa me rema ined buried in
a r f oblivion, and it was only tow ds the close o the nineteenth century tha t the high artistic excellence a n d ra r e genius of this grea t m a ster were once more fully recognised a n d a pp re d c i a t e .
19 1
SANDRO BOTTICELLI
Ufli zi Ga llery
3 The Bir t us M . h o Ven 9 f , from the edici
a a Ca a a a . Vill t stello . P inted on c nv s 115 4 Portr it de M dici . . a of Giova n ni i e a on P inted wood . 11 5 T n . 6 he Return o udith. a o . f J P inted wood 115 t H i n T n . 8 . olofern es lyi ng dea d his e
a P inted on wood .
11 Sa in t u stin e i n his ell a . A u 79 g C . P inted
on wood .
1182 The Al r C lumn on . le o o a g y f y . Painted
wood .
126 bis T h M d n n a o the M a t. 7 . e a o f agn ific
T nd a o o . , p inted on wood
1286 Th Ad a t o the M a r . e or ion i f g , f om the Church of Sa nta Ma ria Novella
a P inted on wood .
Th M d n n a o the Pome ra n t 1 . e a o a e 289 f g .
T n d a on o . o , p inted wood
L F rt 1 a o ezza . . 299 . Painted on wood
4 3 The Adora tion o the M a i or Chri s t 3 6 . f g , a dored a s Ki ng by the Sign ori a of
Fl r n a a o e ce (p rtly by Botticelli) . P inted
on wood .
a a Pa llas s ubdui n a Cen ta ur P l zzo Pitti g .
a on a a P inted c nv s . 19 3 SANDRO BOTTICELLI
Marchese Farinola — The L a st Commun i on of St m on . J ero e. Painted wood
a — i Au t a S us in e. r Ogniss nti g P inted in f esco .
RO M E .
Ca a S a a ppell istin , Vatic n Three frescoes : (1) The Temp ta tion of
Chri st a nd the Pur ca ti n o a L e er ifi o f p .
2 Sc en es r m the L e o M ses ( ) f o if f o .
3 The D es truc ti n o K ra h D a tha n a nd ( ) o f o ,
Abi ra m .
P t t t P a r ra s o he es . o i f op P inted in fresco .
B RG E AM O .
— 4 T St r o i r i n ia he V . Morelli Ga llery 8 . o y f g
a on P inted wood .
MILAN .
A a — 14 5 M a d n n a a nd Child wi th mbrosi na . o ,
An els T n d a on . g . o o, p inted wood
M — 1 M a d n n a a nd Poldi Pezzoli useum 5 6 . o
a on . Child . P inted wood
BER LIN .
M u se um
106 M ad n n a wi th St J hn the B a tist a n d . o , o p
i t a St J ohn the Eva ngel s . P inted on
194 SANDRO BOTTICELLI
wood ; from the Chur ch O f Sa n
r Spirito, Flo ence 112 t 8 . S Seba s ti a n from the Chur ch Of Sa nta
Ma r Ma F r a ia ggiore, lo ence . P inted on wood ( 14 73 )
R D D ES EN .
a r — 12 S m th L 0 St Z b . cen es ro e e en ius G lle y f if ] o . a P inted on wood .
D LON ON .
Nationa l Ga llery 2 T A t t M i 5 . he d ra ion o he a a 9 o f g . P inted od on W o .
626 P rtra i t o a Y uth o . . o f Painted on wood .
1 M d Ven us a W oo 5 . a rs a n d 9 . P inted on .
T e Ad ra tion o the M a i T n d h . o 103 3 . o o f g .
Pa inted on wood .
N ti i a The a v . 103 4 . ty P inted on wood — M don n a a nd Chi ld with Mr . a J . P Heseltine ,
r a St J ohn (pa tly by Botticelli) . P inted
on W ood . — Mr Ludwig Mond Sc enes from the Life of St
b u a . Zen o i s . P inted on wood I 9S
BI BLI OGRAPHY
FR M m or e ALBEETI NI . e . , i BALDINUCCI FILIPPO Not1z1e d e i Pro essor del , . f i Diseg no BERENSON B 1« R\IHARD The F oren t n e Pa n t ers Of , l i i th e Ren a iss an ce The Stu dy a n d Cr iticism of Italia n Art 1901-1902 A un n o di Dom en o Bu r l ic . ( li n gton Maga zin e) a Pa a s d e Bott e L ll ic lli . (Ga zette d es Beau x Arts) 1893 BORG I NI AFFAE LLO Il oso 1 8 H . 7 7 , R Rip B U CKH DT u n d BODE C eron e 1898 R AR . ic
CA TW IGHT J ULIA San dr o B ott e . Port o o 1882 R R , . ic lli ( f li ) The Pa in te rs Of Fl oren ce fr om t h e 13th t o th e 16th c en
t uri es
. B . CAVALCASELLE a n d J A O WE Stor a C . G . . R i de a P ttu ra n Ita a l VI i . 1894 Vo . ll i li . C V Pr o essor S EY B l Port o o 1 ott e . 8 1 OL IN f IDN . ic li ( f li ) 7 (En cyclop aedia Br tan n a i ic ) .
OW A. C E J . S n d ro B tt e ze t e a o . a t d es R , ic lli (G Bea u x Ar ts ) I 97 BIBLIO GRAPHY
EPHRUSSI CHA LES . Les d e u res u es d u Mu sée , R x f q d u Louvre a tt ribu ées a Sa n d ro Bott e ic lli . (G a zette d es Bea u x Ar ts ) La D ne Com ed c u strée ivi i , ill p a r Sa n dro Botticelli ’ FABRICZY C DE 11 od e d e An on m o . . C a dd a n o , ic ll i G i . (Archivio St orico Italia n o) I l L bro di An t on o B Ar h o i i illi . ( c ivi Storico Ita lia n o)
FO TE ER . es h ht e der ta en s h en RS R, NST G c ic i li i c Ku n st F R ER ICH D Di V rl um du n des A e es A . e e a O ST , R R g p ll i n d e r en a ssa n e J ah rb u h d er on R i c . ( c k ig . n m un n Vol VII I reuss u stsa m e . p . K l g , ’ Z O r vo Art e I ta a n a d el n a s FRI Z NI Gus A . L , li Ri ci m en to ' A YE Ca rt e o n e d t o d a rti sti dei se o x 1v G , G . ggi i i c li
xv . , xvi . H R E HERBER ue u es Sou en rs d e Sa n d ro O N , T . " lq v i B t e ue Ar heo ot icelli . (R v c logiq ue ) Th e St ory of a fam ous Botti Mon th e e c elli . ( ly R vi w) A Los t Ad orat on O f th e Ma i gi , ' e Bu r by Sa n d ro Bottic lli . ( lin gt ou Ma ga zin e ) A E I L A e or a d e a Pr m a era di J COBS N EM . , ll g i ll i v ’ l Ar h o d ell Art e Sa n d ro Bot ticel i . ( c ivi )
P n tur e I ta en n e Vol . I LAFENESTRE . La e , G i li , m m V B ot e at th e V a Le . LEE ER N. t , NO ic lli ill i (J u ven ilia ) h n u n en von Sa n d ro Bott L M Dr FR . Ze IPP ANN, ic g i ' n Kom Odi e c e lli zu Da n t es gottliebe I 98 BIBLIOGRAPHY
’ M NTZ P UL Les Ch e s d CEuvres d e la Pe n t ur e A A . , f i Italien n e MEYER L Zu r es h ht e d er floren ti n i sch en , JU IUS . G c ic Ma er d ahrhun r s h u h r e es "V de t . J a rb c d e l i . J (
on reu ss . un st . k ig. p K ) M RE It a an Pa n t r c b e s et . C. O LLI , GIOVANNI . li i , , y J F ou es . f lk MU TZ E L Pr é urs eu rs de l U E E . es a en a s N , G N c R i san ce ’ Histoir e d e l Ar t p en d an t l a Re n aissan ce z Aprop os d e Botticelli . (G a ett e d es B ea u x Ar ts ) Les Ar ts a l a Cou r d es Pap es ER W ER d es Ofthe en a ssa n e P . Stu AT , ALT i R i c PL NKET Cou n t N San dro B ott e U C. . , ic lli P GGI La ostra Med ea d el 14 5 e O . 7 , GIOVANNI Gi ic ’ P lla d l Bo t L Art e la a dc e t icelli . ( ) RE M N A FRE VON Lor en zo d ei Med U O T , L D . ici P L tu res on th e Na t on al R HTER Dr . e IC , J c i Ga llery Dr E San dr o Bott e Kn ackfu ss S E M . T IN ANN, ic lli ( Series) r t Ma st ers i n Pa n t n E T R A Bott e . ea S R E E . T , ic lli (G i i g an d Scu lp tu re ) Di ht Ze hn u n en STRZ YGOWSKI Dr SEF . e a , JO c ic g
’ von San d ro B otticelli zu Dan tes gOttli c h en
' K om Odi e im Vatica n n d r ott e P J . B Sa o B S . U INO , ic lli A Th en a san e i n S YM H . e s ONDS, JO N DDINGTON R i c I a Th e F n e Art s t ly . " i )
LM N Dr HERM n dro Bott e U A N . Sa , ANN ic lli S I RG L r n n u o An n ota VA A . e O e e c o e R , GIO IO p v zion i e Com m en ti di Ga eta n o Milan es i 1878 1885 I 99
I NDE"
(The ti tles ofPi ctu r es a r e pr i n ted i n i ta li cs)
’ Abun da n ce A l le or O Ba o d A n Ol O 189 , g g f cci g , . h Bar t o om m e o di C a n t 124. o a n n ( illy) , l Gi v i , Ad ora ti on of the M agi N e n a on r NO . B o n n t a a e a 53 . ( i l G ll y, lli i , Gi v i , 12 6 Bemb o P etr o 3 3 . 5 . , , i , Ador a ti on o the M a i Ben i vi en i ro am o 126 f g , Gi l
159 . Na t on a Gal er NO . ( i l l y , er en son Mr 36 . B 2 11 124 , , , , , Ad ora ti on "f the M a gi
St Pet ersb u r 84 85 . B er en son Mrs ( g) , , , , 77 Ador a ti on o the M a i Ber am o Mor elh a er f g g , G ll y , z - 1 P t I Uffi i 35 43 50 00. ure s n 3 1 181 ( ), , , ic , , . B ett n 3 Adora ti on o the M a i 6 . f g i i , U fii zi u n fin shed i c B a o Tu Botti c elh s ( , i p i gi cci , u r 8-1 1 u 10 0 15 6 . 1 8 11 1 t e 7 3 15 . ), p pil , , , ,
A bert n 13 49. B an a Ca e o ra n d l i i , , i c p ll , G ’ A b er t Tr eat se on Pa n t Du hess 1 s 7 . l i i i c , i n B An t on o 6 13 49 51 g, illi , i , , , , , Albi zzi o a n n a de 117 180 , Gi v gli, , B n P er Fra n es 12 o 3. i i , i c c , VI Po e 1 3 Bor hi n i 1 A e a n d er . . 7 7. l x , p , g , A on so Of Na es n B or a Caesa r 113 lf p l , Ki g , gi , ,
173 . Bott e Sa n dro hi s a e ic lli , , p l c Am o di Sa n dr o 32 125 i n Ar t 1 . 191 ic , , , ; A n n u n c i a t i on red e a b r th a n d en ron m en t (p ll i vi ,
a n e 157. 3 5 a ren t a e a n d am p l), p g f ily , An on m o add a n o 6 13 4 6 b o h ood 5 7 a r e n i G i , , , ; y , , pp 18 49 51 84 111 158 t ed t o Fra F o L , , , , , , ic ilipp ippi ,
180. a t Pra t o r e r 7 , t u n s
20 1 INDE"
t o F ore n e 8 ta es Ma n ifi co 113 a n ts th e l c , ; k g , p i Fili p in o Lipp i in t o hi s fr es coes of th e Villa stu i o 11 ear or Lem m 118 th e n flu en e , ; ly w k , i , i c 11 12 n fluen e d b a n d O f Sa on a ro a on him , i c y , v l , ’ or s th the Pollai u oli 125 -130 Vasar s st or w k wi , , i y 12 13 the Fortezza 13 Of hi s o ert 129 hi s , ; , ; p v y , ; r en dsh w th Leon a rd o Ma don n as 130-151 the r f i ip i , , i 22 25 his r o n am e o u ar t 145 146 hi s , ; g wi g f , p p l i y, , ; ’ 25 i s ts P sa 26 a n ts dra n s for Dan te s ; v i i , ; p i wi g a n A ssu m ti on th er e 26 D n e Com ed 163 183 p , ivi y , , works for Loren zo d ei 188 ; rem a in s i n Flor en ce Med 18 29 hi s ba n n er d u r n th e troub es 163 , , ; g , ici ” i l for the i ostr a 29 30 166 the Ca lum n o g , , ; y f ost ort ra ts b 3 1 32 A el l es 166-173 hi s a th l p i y , , ; p , f i or tra ts Of h m se 45 i n Sa on a ro a 173 the p i i lf, , v l , ; 100 the hosen a n te r N a ti vi t 175 -180 hi s ; c p i y, O f the Med 50 a n ts a ter ea rs 180 191 ici , ; p i l y , the Pr i m a rer a 54 -62 : a ss sts i n hoos n s t e , i c i g i ’ a n ts effi i es ofthe Pa zz for M h e an e o s Da d p i g i ic l g l vi , on s ra t ors 64 th e 188 189 hi s d ea th a n d c pi , ; , ; P a l las 64-68 the Bi r th bur a 190 ra d d e a , ; i l, ; pi c y o Ven us 71-75 m ses Ofhi s o u a r t 190 i t s f , ; gli p p p l i y, Of his p riva te life a n d re viva l i n th e 19th c en - a m a a rs 8082 164 tur 191. f ily ff i , , y, in vit ed by Pope Sixtu s I o o 8 -84 hi s Ca lu mn o A el l es th e V. t m e 2 R , ; y f p , , - fresc oes i n the Si stin e 166 173 . - Cha e 87 103 hi s or Ca sta n o An d rea d el 169. p l , ; p g , , t ra t b F n o L Ca ste o Med a at 28 i y ilippi ip pi , ll , ici vill , , ’ 104 Vasa r s a ou n t Of 51 52 5 4 63 71 82. ; i cc , , , , , hi s e tra a an e 104 hi s Chri st r isi n r om the x v g c , g f en t em er a n d o u Se u lchr e rede a an e g ia l p p p p (p ll p l), 39 lari t 104 a n e dot es Of 1 . y, ; c
hi s m err h u m our 10 Cor on a ti on, o the Vi r i n y , 7, f g 108 111 hi s n ter est i n A a dem a F oren e , i , ( cc i , l c ), - a n d st u d Of Da n te 108 152 15 . y , , , 7
111 183 hi s ers on a Cron a a I1 189 . , ; p l c , , ha ra ter 111 re tu rn s c c , ;
t o F oren e 112 c om Da n te 3 67 108 164 183 . l c , ; , , , , ,
m ss on ed b the S n or a Der eli tta The 182 183 . i i y ig i , , , ,
113 a a n w or s for th e D a m an t e Fra 25 . ; g i k i , ,
20 2 INDE"
Mr H P 11 46 Don at e o 50 169 Hor n e . 5 ll , , , , , 1 1 Dra w n s b Bottl c elli 124 6 . i g y , , - Hom er H m n 1 2 14 1 9 180 1 4 188 7 . 6 8 . 7 , 7 , , ic y , , Dr esd en a er t ur e i n G ll y, p ic , a c o o di Vo terra 86 2 . 18 . J p l , J udi th a n d H ol o ern es tw o ’ f , Este I sa be a d 5 3. , ll , n e s i n th e Uffizi 1 18 a 7 . p l , , Fa b o Mon d 49 ra on e . i g , K ora h D a tha n a n d Abi r a m Fed eri hi Ben zz 1 , o o 5 . g , , 7 the P u n i shmen t o res o i n F n o M r 4 2 1 f(f c a s o 3 8 26. ici , ili , , , , the S st n e h a e 96 -100 C . Fili e i An ton o b rother Of i i p l), p p , i , ra n th e Ar hb sho Of Bott e 5 81 K i , c i p , 6 . ic lli , , , 99 Fili e i o a n n Il B ott . p p , Gi v i ( i e o b r th r o e 5 80. c ll ), , , La m o an n 49 Fi li e i Ma r a n o di Va n n i , Gi v i , . p p , i i La n d n Cr s to oro 184 d ei a th er 4 80 i i , i f , . , f , , . Lan du Lu a 123 166 Fili e i S m on e broth er 5 cci, c , , . p p , i , , , Lem m re s oe s of th e V l a 81 164 ; hi s Chr on e of i , f c i l , , icl 3 11 122 7 . the Ti m e 164-166 1 3 -1 , , , , 7 75 . Leon ar d o 2 6 12 22 114 F n o L 11 104 113 , , , , , , ilipp i ipp i , , , , 159 169 hi s n flu en e on 114 188 189 hi s ortra t , ; i c , , p i Bott e 22 25 62 158 of Bott e 4 ic lli , , , , 5 . ic lli , F o L Fra 7 54 ilipp ippi , , , ; Lou r e M ad on n a a n d Chi ld hi s res oes at Pra t o 7 8 v , f c , , wi th St J ohn i n 12 hi s r es oes a t S o eto , . f c p l , Lu an 76 169 . 8 28 ci , , , . L ucr eti a the D ea th o a sson e F or tezza L a 13 14 , f c , , , . an e 181 p l), . h L u r t us 61 r do m n atur s 2 e . e a r t 16 . G , i i i , c i , h r an da o 78 79 85 113 G i l j , , , , , M ko k H r r H n 114 118 hi s r e s oes i n ac ws e a s 77. , ; f c y , , S Mar a No e a 54 hi s M a don na a n d Chi ld Po d . i v ll , ; ( l i St J erom e i n th e O u s Pezzo Co e t on M la n g i li ll c i , i ) , 140 n 9 . sa t 7 . i , h r an da o th e brothers M a d on n a a n d Chi ld wi th G i l j , , 1 2 A n el Chi i M don n 6 . a a g ( g ) , ott o 54 Gi , . o a n n d el e Cor n o e 189 i ll a don n a a n d Chi ld wi th Gi v i l i l , . o a n n n o d ei Do ar h A n els Amb r os an a Gi v i lci , c i g ( i , M a n 40 te et 86 1 . , . il ), Gozzoli Ben ozzo 26 36 [Ma don n a a n d Chi ld wi th , , , . 20 3
INDE"
P tt Pa a e tu res i n th e Ru c ell ai o a n n 3 . i i l c , p ic , , Gi v i ,
Ru c e ll ai Pa o o 5 . , l , h F r zza Po S n or o an n 29 . us n 2 on t e o te ggi , ig Gi v i , R ki , ; ,
Po o a Ga an o th e Med 14 . ggi j , ici a t 2 a 5 . vill , Po z a n o An e o 3 31 52 St Ambrose the D ea th o re li i , g l , , , f (p
54 63 71 117 d e a a n e 139 . , , , , ll p l), Pollai u oli the r n flu en e on St A u usti e r es o O u s , i i c g (f c , g i B ott e 12 13 18 22 san t 7 n ic lli , , , , , i) , 35 36 68 186 th e Vi rtu es St A u us ti n e i n hi s Cell r e , , , g (p i n th e Mer c ata n zi a 13 d e a an el1 , ; ll p ), ’ th e L a bours of H er cu l es i n St Augusti n e s Visi on of the
the Me d Pa a e 50. Chi ld r ede a a n e ici l c , (p ll p l) , 12 18 1 9 Po a u o o An t on i o 3 . ll i l , , , , 36 St A u usti n e wri ti n re . g g (p d n Po a u o o P ero 13 . e a a e 0 18 . ll i l , i , ll p l), P a es P ortra i ts o res oes St E li i us re de a an e , f (f c , g (p ll p l), ‘
i sti n e Ch a e 87. 158 p l), P rtr a i t o Youn M a n S t J er m 1 0 o a o e 8 . f g , 2 J m ’ Na t on a l a er 3 35 . St ero e h r an da o s ( i G ll y) , , (G i l j A m P ri m a ver a the ade a res o 79. , ( cc i , f c ) , F oren e 3 51 53 62 St J erome re de a a n e l c ), , , , , (p ll p l),
71. 157 Lu r z 2 t h Pu e a 1 3 . S J o n i n Pa tmos re de a cci , c i , (p ll
Pu the 36 . a n e 1 57 . cci , , p l) , Lu Pu 53 63 . St Seba sti a n Ber n 18 21 lci , igi , , ( li ), ,
Pu n i hmen t o K ora h etc . 2 s f , 9
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