Sandro Botticelli - Knowledge

1905: 2113: 2101: 2867: 911: 2654: 786: 1790: 1013: 1701: 738: 1836: 1811: 1573: 1269: 829: 2137: 2125: 1489: 2153: 6167: 2089: 4010: 2504: 2639:, another Florentine painter of the day. Vasari saw Botticelli as a firm partisan of the anti-Medici faction influenced by Savonarola, while Vasari himself relied heavily on the patronage of the returned Medicis of his own day. Vasari also saw him as an artist who had abandoned his talent in his last years, which offended his high idea of the artistic vocation. He devotes a good part of his text to rather alarming anecdotes of practical jokes by Botticelli. Vasari was born the year after Botticelli's death, but would have known many Florentines with memories of him. 372:, London) is inscribed with a date (1501), but others can be dated with varying degrees of certainty on the basis of archival records, so the development of his style can be traced with some confidence. He was an independent master for all the 1470s, which saw his reputation soar. The 1480s were his most successful decade, the one in which his large mythological paintings were completed along with many of his most famous Madonnas. By the 1490s, his style became more personal and to some extent mannered. His last works show him moving in a direction opposite to that of 1882: 1513: 6614: 1320: 194: 2464:) until at least October 1505; the tentative date ranges assigned to his late paintings run no further than this. By then he was aged sixty or more, in this period definitely into old age. Vasari, who lived in Florence from around 1527, says that Botticelli died "ill and decrepit, at the age of seventy-eight", after a period when he was "unable to stand upright and moving around with the help of crutches". He died in May 1510, but is now thought to have been something under seventy at the time. He was buried with his family outside the 1934: 927:, the first artist to be employed, was given this role, if anyone was. The subjects and many details to be stressed in their execution were no doubt handed to the artists by the Vatican authorities. The schemes present a complex and coherent programme asserting Papal supremacy, and are more unified in this than in their artistic style, although the artists follow a consistent scale and broad compositional layout, with crowds of figures in the foreground and mainly landscape in the top half of the scene. Allowing for the painted 2823: 1541: 2808: 1642:(the patron saint of Florence). Some feature flowers, and none the detailed landscape backgrounds that other artists were developing. Many exist in several versions of varying quality, often with the elements other than the Virgin and Child different. Many of these were produced by Botticelli or, especially, his workshop, and others apparently by unconnected artists. When interest in Botticelli revived in the 19th century, it was initially largely in his Madonnas, which then began to be forged on a considerable scale. 1115: 2075:

that most of the drawings are late; the main scribe can be identified as Niccolò Mangona, who worked in Florence between 1482 and 1503, whose work presumably preceded that of Dante. Botticelli then appears to have worked on the drawings over a long period, as stylistic development can be seen, and matched to his paintings. Although other patrons have been proposed (inevitably including Medicis, in particular the younger Lorenzo, or il Magnifico), some scholars think that Botticelli made the manuscript for himself.

2364: 807: 1859: 2846: 2052:

that are pasted into place. This suggests that the production of the engravings lagged behind the printing, and the later illustrations were pasted into the stock of printed and bound books, and perhaps sold to those who had already bought the book. Unfortunately, Baldini was neither very experienced nor talented as an engraver, and was unable to express the delicacy of Botticelli's style in his plates. Two religious engravings are also generally accepted to be after designs by Botticelli.

1987: 1774: 769: 2030: 207: 1960: 5259: 2236: 1395: 51: 5769: 977: 466: 389: 2608: 2392:, a relatively small and very personal painting, perhaps for his own use, appears to be dated to the end of 1500. It takes to an extreme the abandonment of consistent scale among the figures that had been a feature of Botticelli's religious paintings for some years, with the Holy Family much larger than the other figures, even those well in front of them in the picture space. This may be seen as a partial reversion to Gothic conventions. The 6179: 2291: 1616: 606: 2530:. By 1480 there were three, none of them subsequently of note. Other names occur in the record, but only Lippi became a well-known master. A considerable number of works, especially Madonnas, are attributed to Botticelli's workshop, or the master and his workshop, generally meaning that Botticelli did the underdrawing, while the assistants did the rest, or drawings by him were copied by the workshop. 1736:

Even when the head is facing more or less straight ahead, the lighting is used to create a difference between the sides of the face. Backgrounds may be plain, or show an open window, usually with nothing but sky visible through it. A few have developed landscape backgrounds. These characteristics were typical of Florentine portraits at the beginning of his career, but old-fashioned by his last years.

1143:, a painting made to fitted into either furniture, or more likely in this case, wood panelling. The wasps buzzing around Mars' head suggest that it may have been painted for a member of his neighbours the Vespucci family, whose name means "little wasps" in Italian, and who featured wasps in their coat of arms. Mars lies asleep, presumably after lovemaking, while Venus watches as infant 587:(London, National Gallery). Though Botticelli's saint is very similar in pose to that by the Pollaiuolo, he is also calmer and more poised. The almost nude body is very carefully drawn and anatomically precise, reflecting the young artist's close study of the human body. The delicate winter landscape, referring to the saint's feast-day in January, is inspired by contemporary 404:("All Saints"). Sandro was one of several children to the tanner Mariano di Vanni d'Amedeo Filipepi and his wife Smeralda Filipepi, and the youngest of the four who survived into adulthood. The date of his birth is not known, but his father's tax returns in following years give his age as two in 1447 and thirteen in 1458, meaning he must have been born between 1444 and 1446. 2534:

distinguishing the share of work between master and workshop. Lightbown believed that "the division between Botticelli's autograph works and the paintings from his workshop and circle is a fairly sharp one", and that in only one major work on panel "do we find important parts executed by assistants"; but others might disagree.

643:), was singled out for praise by Vasari, and was in a much-visited church, so spreading his reputation. It can be thought of as marking the climax of Botticelli's early style. Despite being commissioned by a money-changer, or perhaps money-lender, not otherwise known as an ally of the Medici, it contains the portraits of 942:. The thirty invented portraits of the earliest popes seem to have been mainly Botticelli's responsibility, at least as far as producing the cartoons went. Of those surviving, most scholars agree that ten were designed by Botticelli, and five probably at least partly by him, although all have been damaged and restored. 1316:, had returned to Florence from over twenty years as a banker and wool merchant in London, where he was known as "John de Barde", and aspects of the painting may reflect north European and even English art and popular devotional trends. There may have been other panels in the altarpiece, which are now missing. 3417: 1904: 490:, one of the leading Florentine painters and a favorite of the Medici. It was from Lippi that Botticelli learned how to create intimate compositions with beautiful, melancholic figures drawn with clear contours and only slight contrasts of light and shadow. For much of this period Lippi was based in 2563:

Botticelli never married, and apparently expressed a strong dislike of the idea of marriage. An anecdote records that his patron Tommaso Soderini, who died in 1485, suggested he marry, to which Botticelli replied that a few days before he had dreamed that he had married, woke up "struck with grief",

2421:, the heraldic lion that is a symbol of the city. This can be connected more directly to the convulsions of the expulsion of the Medici, Savonarola's brief supremacy, and the French invasion. Unfortunately it is very damaged, such that it may not be by Botticelli, while it is certainly in his style. 2315:

wanted a painting done in Florence. Her agent Francesco Malatesta wrote to inform her that her first choice, Perugino, was away, Filippino Lippi had a full schedule for six months, but Botticelli was free to start at once, and ready to oblige. She preferred to wait for Perugino's return. This again

1735:

With one or two exceptions his small independent panel portraits show the sitter no further down the torso than about the bottom of the rib-cage. Women are normally in profile, full or just a little turned, whereas men are normally a "three-quarters" pose, but never quite seen completely frontally.

2051:

and the printed text left space for one engraving for each canto. However, only 19 illustrations were engraved, and most copies of the book have only the first two or three. The first two, and sometimes three, are usually printed on the book page, while the later ones are printed on separate sheets

2189:

became the head of the family in 1469, just around the time Botticelli started his own workshop. He was a great patron of both the visual and literary arts, and encouraged and financed the humanist and Neoplatonist circle from which much of the character of Botticelli's mythological painting seems

1348:. Six saints stand in line below the throne. Several figures have rather large heads, and the infant Jesus is again very large. While the faces of the Virgin, child and angels have the linear beauty of his tondos, the saints are given varied and intense expressions. Four small and rather simple 1343:

of about 1487, now in the Uffizi, where elements of Botticelli's emotional late style begin to appear. Here the setting is a palatial heavenly interior in the latest style, showing Botticelli taking a new degree of interest in architecture, possibly influenced by Sangallo. The Virgin and Child are

2319:

Many datings of works have a range up to 1505, though he did live a further five years. But Botticelli apparently produced little work after 1501, or perhaps earlier, and his production had already reduced after about 1495. This may be partly because of the time he devoted to the drawings for the

2074:

Once again, the project was never completed, even at the drawing stage, but some of the early cantos appear to have been at least drawn but are now missing. The pages that survive have always been greatly admired, and much discussed, as the project raises many questions. The general consensus is

1308:

or ribbons carrying biblical verses elucidate the rather complex theological meaning of the work, for which Botticelli must have had a clerical advisor, but do not intrude on a simpler appreciation of the painting and its lovingly detailed rendering, which Vasari praised. It is somewhat typical of

1206:

Botticelli returned from Rome in 1482 with a reputation considerably enhanced by his work there. As with his secular paintings, many religious commissions are larger and no doubt more expensive than before. Altogether more datable works by Botticelli come from the 1480s than any other decade, and

2482:

Vasari mentions that Botticelli produced very fine drawings, which were sought out by artists after his death. Apart from the Dante illustrations, only a small number of these survive, none of which can be connected with surviving paintings, or at least not their final compositions, although they

2222:

of 1478 (Lorenzo narrowly escaped, saved by his bank manager), and a portrait said to be Giuliano which survives in several versions may be posthumous, or with at least one version from not long before his death. He is also a focus for theories that figures in the mythological paintings represent

1739:

Many portraits exist in several versions, probably most mainly by the workshop; there is often uncertainty in their attribution. Often the background changes between versions while the figure remains the same. His male portraits have also often held dubious identifications, most often of various

1607:

format, with the painted area typically some 115 to 145 cm across (about four to five feet). This format was more associated with paintings for palaces than churches, though they were large enough to be hung in churches, and some were later donated to them. Several Madonnas use this format,

2554:

According to Vasari's perhaps unreliable account, Botticelli "earned a great deal of money, but wasted it all through carelessness and lack of management". He continued to live in the family house all his life, also having his studio there. On his father's death in 1482 it was inherited by his

1079:

Though all carry differing degrees of complexity in their meanings, they also have an immediate visual appeal that accounts for their enormous popularity. All show dominant and beautiful female figures in an idyllic world of feeling, with a sexual element. Continuing scholarly attention mainly

2594:

abused each other. Opinion remains divided on whether this is evidence of homosexuality or not. Many have backed Mesnil. Art historian Scott Nethersole has suggested that a quarter of Florentine men were the subject of similar accusations, which "seems to have been a standard way of getting at

444:

In 1464, his father bought a house in the nearby Via Nuova (now called Via della Porcellana) in which Sandro lived from 1470 (if not earlier) until his death in 1510. Botticelli both lived and worked in the house (a rather unusual practice) despite his brothers Giovanni and Simone also being

906:

now is. He may have also done a fourth scene on the end wall opposite the altar, now destroyed. Each painter brought a team of assistants from his workshop, as the space to be covered was considerable; each of the main panels is some 3.5 by 5.7 metres, and the work was done in a few months.

1638:'s main strictures were against secular art, he also complained of the paintings in Florentine churches that "You have made the Virgin appear dressed as a whore", which may have had an effect on Botticelli's style. They are often accompanied by equally beautiful angels, or an infant Saint 1599:

type to small paintings for the home. They also often hung in offices, public buildings, shops and clerical institutions. These smaller paintings were a steady source of income for painters at all levels of quality, and many were probably produced for stock, without a specific commission.

2533:

Botticelli's linear style was relatively easy to imitate, making different contributions within one work hard to identify, though the quality of the master's drawing makes works entirely by others mostly identifiable. The attribution of many works remains debated, especially in terms of

2009:

Botticelli's attempt to design the illustrations for a printed book was unprecedented for a leading painter, and though it seems to have been something of a flop, this was a role for artists that had an important future. Vasari wrote disapprovingly of the first printed Dante in 1481 with

1390:

that share its sombre background colouring, and the rather exaggerated expressiveness of the bending poses of the figures. It does have an unusually detailed landscape, still in dark colours, seen through the window, which seems to draw on north European models, perhaps from prints.

727:. The open book above the saint contains one of the practical jokes for which Vasari says he was known. Most of the "text" is scribbles, but one line reads: "Where is Brother Martino? He went out. And where did he go? He is outside Porta al Prato", probably dialogue overheard from the 456:

The nickname Botticelli, meaning "little barrel", derives from the nickname of Sandro's brother, Giovanni, who was called Botticello apparently because of his round stature. A document of 1470 refers to Sandro as "Sandro Mariano Botticelli", meaning that he had fully adopted the name.

2575:, to be portrayed in several of his works and to have served as the inspiration for many of the female figures in the artist's paintings. It is possible that he was at least platonically in love with Simonetta, given his request to have himself buried at the foot of her tomb in the 2453:", which he attributed to Savonarola's influence (also pushing back the dating of some of these Madonnas.) More recent scholars are reluctant to assign direct influence, though there is certainly a replacement of elegance and sweetness with forceful austerity in the last period. 1290:, who was just becoming Lorenzo il Magnifico's favourite architect. An enthroned Madonna and (rather large) Child sit on an elaborately-carved raised stone bench in a garden, with plants and flowers behind them closing off all but small patches of sky, to give a version of the 602:, who spent nearly twenty years on it. Various payments up to September are recorded, but no work survives, and it seems that whatever Botticelli started was not finished. Nevertheless, that Botticelli was approached from outside Florence demonstrates a growing reputation. 1168:

is clearly connected with the Medici by the symbol on Pallas' dress. The two figures are roughly life-size, and a number of specific personal, political or philosophic interpretations have been proposed to expand on the basic meaning of the submission of passion to reason.

723:; both saints were shown writing in their studies, which are crowded with objects. As in other cases, such direct competition "was always an inducement to Botticelli to put out all his powers", and the fresco, now his earliest to survive, is regarded as his finest by 3401: 1717:

Botticelli painted a number of portraits, although not nearly as many as have been attributed to him. There are a number of idealized portrait-like paintings of women which probably do not represent a specific person (several closely resemble the Venus in his

2598:

The Renaissance art historian, James Saslow, has noted that: "His homo-erotic sensibility surfaces mainly in religious works where he imbued such nude young saints as Sebastian with the same androgynous grace and implicit physicality as Donatello's David".

1447:

Early records mentioned, without describing it, an altarpiece by Botticelli for the Convertite, an institution for ex-prostitutes, and various surviving unprovenanced works were proposed as candidates. It is now generally accepted that a painting in the

2866: 967:

in Washington. In 1482 he returned to Florence, and apart from his lost frescos for the Medici villa at Spedaletto a year or so later, no further trips away from home are recorded. He had perhaps been away from July 1481 to, at the latest, May 1482.

2630:

is relatively short and, especially in the first edition of 1550, rather disapproving. According to the Ettlingers "he is clearly ill at ease with Sandro and did not know how to fit him into his evolutionary scheme of the history of art running from

2272:, the snivellers, as they were called then, and abandoning his work; so finally, as an old man, he found himself so poor that if Lorenzo de' Medici ... and then his friends and ... had not come to his assistance, he would have almost died of hunger. 856:'s work of the next century, as some of the earlier frescos were destroyed to make room for his paintings. The Florentine contribution is thought to be part of a peace deal between Lorenzo Medici and the papacy. After Sixtus was implicated in the 2287:, Botticelli's only painting to carry an actual date, if one cryptically expressed, comes from late 1500, eighteen months after Savonarola died, and the development of his style can be traced through a number of late works, as discussed below. 1608:

usually with a seated Virgin shown down to the knees, and though rectangular pictures of the Madonna outnumber them, Madonnas in tondo form are especially associated with Botticelli. He used the tondo format for other subjects, such as an early

1362:

With the phase of painting large secular works probably over by the late 1480s, Botticelli painted several altarpieces, and this appears to have been a peak period for his workshop's production of Madonnas. Botticelli's largest altarpiece, the

663:. There are also portraits of the donor and, in the view of most, Botticelli himself, standing at the front on the right. The painting was celebrated for the variety of the angles from which the faces are painted, and of their expressions. 2333:

Botticelli returned to subjects from antiquity in the 1490s, with a few smaller works on subjects from ancient history containing more figures and showing different scenes from each story, including moments of dramatic action. These are the

2555:

brother Giovanni, who had a large family. By the end of his life it was owned by his nephews. From the 1490s he had a modest country villa and farm at Bellosguardo (now swallowed up by the city), which was leased with his brother Simone.

2267:

Botticelli was a follower of Savonarola's, and this was why he gave up painting and then fell into considerable distress as he had no other source of income. None the less, he remained an obstinate member of the sect, becoming one of the

1103:, owned from 1477 by Lorenzo di Pierfrancesco de' Medici, and until the publication in 1975 of a Medici inventory of 1499, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the 938:-like composition, dividing each of his scenes into a main central group with two flanking groups at the sides, showing different incidents. In each the principal figure of Christ or Moses appears several times, seven in the case of the 2618:

After his death, Botticelli's reputation was eclipsed longer and more thoroughly than that of any other major European artist. His paintings remained in the churches and villas for which they had been created, and his frescos in the

2190:

to come. In general Lorenzo does not seem to have commissioned much from Botticelli, preferring Pollaiuolo and others, although views on this differ. A Botticello who was probably Sandro's brother Giovanni was close to Lorenzo.

527:. Botticelli's panel adopts the format and composition of Piero's, but features a more elegant and naturally posed figure and includes an array of "fanciful enrichments so as to show up Piero's poverty of ornamental invention." 315:

who stimulated a reappraisal of his work. Since then, his paintings have been seen to represent the linear grace of late Italian Gothic and some Early Renaissance painting, even though they date from the latter half of the

1431:

was painted for a chapel on the corner of Botticelli's street; it is now in Munich. In both the crowded, intertwined figures around the dead Christ take up nearly all the picture space, with only bare rock behind. The

1481:

After about 1493 or 1495 Botticelli seems to have painted no more large religious paintings, though production of Madonnas probably continued. The smaller narrative religious scenes of the last years are covered below.

2002:, which produced works in several media. He is attributed with an imagined portrait. According to Vasari, he "wrote a commentary on a portion of Dante", which is also referred to dismissively in another story in the 424:

The Ognissanti neighbourhood was "a modest one, inhabited by weavers and other workmen," but there were some rich families, most notably the Rucellai, a wealthy clan of bankers and wool-merchants. The family's head,

1810: 2579: – the church of the Vespucci – in Florence, although this was also Botticelli's church, where he had been baptized. When he died in 1510, his remains were placed as he requested. 2276:

The extent of Savonarola's influence on Botticelli remains uncertain; his brother Simone was more clearly a follower. The story, sometimes seen, that he had destroyed his own paintings on secular subjects in the

4076:

Lightbown, 58–65, believes it is Giuliano, and the Washington version probably pre-dates his death; the Ettlingers, 168, are sceptical it is Giuliano at all. The various museums with versions still support the

3994: 6552: 2564:

and for the rest of the night walked the streets to avoid the dream resuming if he slept again. The story concludes cryptically that Soderini understood "that he was not fit ground for planting vines".

1751:. Several figures in the Sistine Chapel frescos appear to be portraits, but the subjects are unknown, although fanciful guesses have been made. Large allegorical frescos from a villa show members of the 737: 407:

In 1460 Botticelli's father ceased his business as a tanner and became a gold-beater with his other son, Antonio. This profession would have brought the family into contact with a range of artists.

1444:

on the day, but not present at this scene), and gives the figures (except Christ) flat halos shown in perspective, which from now on Botticelli often uses. Both probably date from 1490 to 1495.

441:, between 1446 and 1451, Botticelli's earliest years. By 1458, Botticelli's family was renting their house from the Rucellai, which was just one of many dealings that involved the two families. 1789: 6483: 4800: 570:

of about 1470–72, now in the Uffizi. The painting shows Botticelli's early mastery of composition, with eight figures arranged with an "easy naturalness in a closed architectural setting".

6542: 2650:". That mistake is perhaps understandable, as although Leonardo was only some six years younger than Botticelli, his style could seem to a Baroque judge to be a generation more advanced. 2526:

In 1472, the records of the painter's guild record that Botticelli had only Filippino Lippi as an assistant, though another source records a twenty-eight-year old, who had trained with

351:, which holds many of Botticelli's works. Botticelli lived all his life in the same neighbourhood of Florence; his only significant times elsewhere were the months he spent painting in 785: 6673: 5551: 3842: 4335: 731:, the order who ran the church. Lightbown suggests that this shows Botticelli thought "the example of Jerome and Augustine likely to be thrown away on the Umiliati as he knew them". 6906: 1084:. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Their beauty was characterized by Vasari as exemplifying "grace" and by 6718: 6668: 2590:(homosexuality). No prosecution was brought. The painter would then have been about fifty-eight. Mesnil dismissed it as a customary slander by which partisans and adversaries of 3430:

During the colouring Botticelli strengthened many of the contours by means of a pointed instrument, probably to give them the bold clarity so characteristic of his linear style.

413: 3046:

He was still in school in February 1458 (Lightbown, 19). According to Vasari, 147, he was an able pupil, but easily grew restless, and was initially apprenticed as a goldsmith.

6778: 6703: 2716:, where among many other art works it was viewed by more than a million people. His only large painting with a mythological subject ever to be sold on the open market is the 1673:, some months before the birth of Jesus. She holds the baby Jesus, and is surrounded by wingless angels impossible to distinguish from fashionably-dressed Florentine youths. 3515: 6849: 6723: 6708: 4379: 2193:

Although the patrons of many works not for churches remain unclear, Botticelli seems to have been used more by Lorenzo il Magnifico's two young cousins, his younger brother

6824: 6713: 6683: 5226: 2112: 2100: 1760: 1512: 1131:

Botticelli painted only a small number of mythological subjects, but these are now probably his best known works. A much smaller panel than those discussed before is his

1835: 1488: 510:. However, although both artists had a strong impact on the young Botticelli's development, the young artist's presence in their workshops cannot be definitively proven. 6844: 6768: 6753: 6738: 4704: 2541:

of about 1470, which they describe as begun by Filippino Lippi but finished by Botticelli, noting how unusual it was for a master to take over a work begun by a pupil.

323:

In addition to the mythological subjects for which he is best known today, Botticelli painted a wide range of religious subjects (including dozens of renditions of the

6758: 959:. If he was apparently not spending his spare time in Rome drawing antiquities, as many artists of his day were very keen to do, he does seem to have painted there an 4734: 2281:

is not told by Vasari. Vasari's assertion that Botticelli produced nothing after coming under the influence of Savonarola is not accepted by modern art historians.

5485: 2646:

bought him a painting said to be a Botticelli out of historical interest "as from the hand of an artist by whom Your Highness has nothing, and who was the master of

2781:'s monograph in English from 1908 is still recognised as of exceptional quality and thoroughness, "one of the most stupendous achievements in Renaissance studies". 1740:

Medicis, for longer than the real evidence supports. Lightbown attributes him only with about eight portraits of individuals, all but three from before about 1475.

2487:

survive with embroidered designs by him, and he developed a new technique for decorating banners for religious and secular processions, apparently in some kind of

1088:

as possessing linear rhythm. The pictures feature Botticelli's linear style at its most effective, emphasized by the soft continual contours and pastel colours.

6773: 6728: 5605: 5529: 1826: 1182:

were commissioned from Botticelli by Antonio Pucci in 1483 on the occasion of the marriage of his son Giannozzo with Lucrezia Bini. The subject was the story of

3450: 6557: 5558: 5233: 1756: 6693: 5477: 5433: 5355: 5317: 2470: 1540: 1436:, and the other figures form a scrum to support her and Christ. The Munich painting has three less involved saints with attributes (somewhat oddly including 1428: 814: 709: 1634:

Botticelli's Virgins are always beautiful, in the same idealized way as his mythological figures, and often richly dressed in contemporary style. Although

5379: 4848: 1518: 1416: 949:

contains what was for Botticelli an unusually close, if not exact, copy of a classical work. This is the rendering in the centre of the north side of the

2784:

Botticelli appears as a character, sometimes a main one, in numerous fictional depictions of 15th-century Florence in various media. He was portrayed by

392:

Via Borgo Ognissanti in 2008, with the eponymous church halfway down on the right. Like the street, it has had a Baroque makeover since Botticelli's time.

7203: 6891: 5493: 2483:

appear to be preparatory drawings rather than independent works. Some may be connected with the work in other media that we know Botticelli did. Three

2211:. Possibly they had been introduced by a Vespucci who had tutored Soderini's son. Antonio Pucci, another Medici ally, probably commissioned the London 1933: 1743:

Botticelli often slightly exaggerates aspects of the features to increase the likeness. He also painted portraits in other works, as when he inserted a

684:". This was Botticelli's first major fresco commission (apart from the abortive Pisa excursion), and may have led to his summons to Rome. The figure of 5628: 5598: 2026:

had become far more important than in Botticelli's day, never takes it seriously, perhaps because his own paintings did not sell well in reproduction.

1705: 6865: 6829: 6688: 6663: 6458: 5620: 5363: 2185:

were effective rulers of Florence, which was nominally a republic, throughout Botticelli's lifetime up to 1494, when the main branch were expelled.

1911: 3908:

Dante's features were well-known, from his death mask and several earlier paintings. Botticelli's aquiline version influenced many later depictions.

2595:

people" but others have cautioned against hasty dismissal of the charge. Mesnil nevertheless concluded "woman was not the only object of his love".

1309:

Botticelli's relaxed approach to strict perspective that the top ledge of the bench is seen from above, but the vases with lilies on it from below.

5612: 1888: 2704:

in Italy, bringing it to London in 1799. But when he tried to sell it in 1811, no buyer could be found. After Ottley's death, its next purchaser,

1684:

in Berlin for safe keeping, but in May 1945, the tower was set on fire and most of the objects inside were destroyed. Also lost were Botticelli's

1377:

is taking place in a heavenly zone of gold and bright colours that recall his earlier works, with encircling angels dancing and throwing flowers.

5387: 1056:

on a very large scale they were virtually unprecedented in Western art since classical antiquity. Together with the smaller and less celebrated

400:

in a house on the street still called Borgo Ognissanti. He lived in the same area all his life and was buried in his neighbourhood church called

2586:

discovered a summary of a charge in the Florentine Archives for November 16, 1502, which read simply "Botticelli keeps a boy", an accusation of

538:

paintings, are often difficult to distinguish from one another. The two also routinely collaborated, as in the panels from a dismantled pair of

3834: 898:(or various other titles), as well as several of the imagined portraits of popes in the level above, and paintings of unknown subjects in the 5583: 1796: 1399: 910: 852:. This large project was to be the main decoration of the chapel. Most of the frescos remain but are greatly overshadowed and disrupted by 4332: 2022:

which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Vasari, who lived when

931:

that separate each scene, the level of the horizon matches between scenes, and Moses wears the same yellow and green clothes in his scenes.

5736: 5590: 5219: 1865: 2653: 2417:), clearly relates to the state, and fate, of Florence, shown in the background behind Christ on the Cross, beside which an angel whips a 1207:

most of these are religious. By the mid-1480s, many leading Florentine artists had left the city, some never to return. The rising star

5463: 5136: 3758: 2777:'s seminal dissertation on the mythologies; then, between 1900 and 1920 more books were written on Botticelli than on any other painter. 5083: 1462:, with Christ on the cross, supported from behind by God the Father. Angels surround the Trinity, which is flanked by two saints, with 880:, together suggesting the supremacy of the Papacy. Botticelli's contribution included three of the original fourteen large scenes: the 6599: 6310: 6292: 6065: 2037:, illustrating canto XVIII in the eighth circle of Hell. Dante and Virgil descending through the ten chasms of the circle via a ridge. 161: 4609: 2677:

was displayed in the Uffizi from 1815, but is little mentioned in travellers' accounts of the gallery over the next two decades. The

5864: 5743: 5636: 2732: 1842: 1603:

Botticelli painted Madonnas from the start of his career until at least the 1490s. He was one of the first painters to use the round

923:

Vasari implies that Botticelli was given overall artistic charge of the project, but modern art historians think it more likely that

584: 2807: 2018:, engraved from drawings by Botticelli: "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and 5694: 5295: 5274: 5011: 2430:, witnessed a diminution of scale, expressively distorted figures, and a non-naturalistic use of colour reminiscent of the work of 688:

was removed in 1479, after protests from the Pope, and the rest were destroyed after the expulsion of the Medici and return of the

620: 610: 502:. There has been much speculation as to whether Botticelli spent a shorter period of time in another workshop, such as that of the 61: 5038: 4371: 6271: 5470: 5448: 5281: 5210: 2635:

to Michelangelo". Nonetheless, this is the main source of information about his life, even though Vasari twice mixes him up with

2197:, and other families allied to the Medici. Tommaso Soderini, a close ally of Lorenzo, obtained the commission for the figure of 2136: 2124: 2067:, and only a few pages are fully illuminated. This manuscript has 93 surviving pages (32 x 47 cm), now divided between the 2056: 2034: 2019: 719: 7307: 7297: 5408: 2889: 2426: 1593:

and infant Jesus, were enormously popular in 15th-century Italy in a range of sizes and formats, from large altarpieces of the

513:

Lippi died in 1469. Botticelli must have had his own workshop by then, and in June of that year he was commissioned a panel of

1881: 1612:

in London, and was apparently more likely to paint a tondo Madonna himself, usually leaving rectangular ones to his workshop.

713:

for the Ognissanti, their parish church, and Botticelli's. Someone else, probably the order running the church, commissioned

7347: 7327: 7302: 7292: 6276: 4904: 4696: 4468: 4419: 2939: 4425: 2449:

Ernst Steinmann (d. 1934) detected in the later Madonnas a "deepening of insight and expression in the rendering of Mary's

6839: 4726: 5102:"Predella Panels from the High Altarpiece of Sant’Elisabetta delle Convertite, Florence by Sandro Botticelli (cat. 44—47)" 4965: 1072:, with the main themes being: the emulation of ancient painters and the context of wedding celebrations, the influence of 6526: 5565: 5543: 1700: 1012: 806: 2468:

in a spot the church has now built over. This had been his parish church since he was baptized there, and contained his

7146: 5794: 5787: 5722: 5538: 5328: 5247: 5240: 5154: 5004: 2829: 2700: 2643: 2367: 2356: 2350: 2295: 2283: 1773: 955: 881: 166: 2726:

by the National Gallery for a rather modest £1,050 in 1874. The rare 21st-century auction results include in 2013 the

2088: 1858: 6941: 6453: 5857: 5838: 5456: 5441: 4945: 4918: 4887: 4873: 4839: 4822: 4787: 4770: 4645: 4004: 3411: 3390:

Covered at length in: Lightbown, Ch. 7 & 8; Wind, Ch. V, VII and VIII; Ettlingers, Ch. 3; Dempsey; Hartt, 329–334

2984: 697: 282: 4197:

Lightbown, 242–247; Ettlingers, 103–105. Lightbown connects it more specifically to Savonarola than the Ettlingers.

3815:

Lightbown, 54. This appears to exclude the idealized females, and certainly the portraits included in larger works.

3318:

Hartt, 326–327; Lightbown, 92–94, thinks no one was, but that Botticelli set the style for the figures of the popes.

7332: 6743: 6216: 6086: 6025: 5288: 652: 434: 1572: 848:

summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the newly completed

7317: 6763: 5926: 5815: 5750: 5415: 5341: 5204: 5129: 4845: 4775: 3481: 3151:

Nelson, Jonathan Katz (2009). ""Botticelli" or "Filippino"? How to Define Authorship in a Renaissance Workshop".

2336: 2300: 2240: 1040: 915: 894: 660: 2626:

There are a few mentions of paintings and their location in sources from the decades after his death. Vasari's

1198:, in four panels. The coats of arms of the Medici and the bride and groom's families appear in the third panel. 7342: 7337: 7322: 6547: 6463: 4758: 2845: 1424: 1268: 580: 7079: 6478: 6251: 5957: 5950: 5091: 2822: 1755:

family together with gods and personifications; probably not all of these survive but ones with portraits of

648: 2278: 678:

of 1478 against the Medici. It was a Florentine custom to humiliate traitors in this way, by the so-called "

5919: 5757: 5687: 5303: 4287:

Lightbown, 213, 296–298: Ettlingers, 175–178, who are more ready to connect studies to surviving paintings.

3753: 3442: 2442:

style, instead choosing to "move into a distinctly Gothic idiom". Other scholars have seen premonitions of

2400:

is unique, with features including devils hiding in the rock below the scene, and must be highly personal.

1728:, who died aged twenty-two in 1476, but this seems unlikely. These figures represent a secular link to his 588: 311:. Botticelli's posthumous reputation suffered until the late 19th century, when he was rediscovered by the 308: 704:, headquarters of the Florentine state, was lost in the next century when Vasari remodelled the building. 7005: 6916: 6799: 6643: 6353: 5938: 5190: 2790: 2718: 1720: 1670: 1628: 1133: 1119: 1057: 685: 31: 2920: 828: 7312: 7277: 6733: 6578: 6363: 6343: 6060: 5522: 5122: 2756: 2508: 1475: 1345: 775: 575: 549: 426: 312: 17: 4797: 4610:"Botticelli Portrait Goes for $ 92 M., Becoming Second-Most Expensive Old Masters Work Ever Auctioned" 3881:

The evidence for this identification is in fact slender to non-existent. Ettlingers, 168; Legouix, 64

2743:

The first nineteenth-century art historian to be enthusiastic about Botticelli's Sistine frescoes was

2316:

casts serious doubt on Vasari's assertion, but equally he does not seem to have been in great demand.

6648: 6573: 6338: 5508: 2755:

were alerted to Botticelli as well, and works by his hand began to appear in German collections. The

1959: 1666: 1250:

and frescos in Florentine churches. In 1491 he served on a committee to decide upon a façade for the

1073: 2678: 1662: 768: 594:

At the start of 1474 Botticelli was asked by the authorities in Pisa to join the work frescoing the

6911: 6653: 6358: 5801: 4401: 4225: 2713: 2688: 2397: 2380: 1373: 1159: 1124: 867:

The iconographic scheme was a pair of cycles, facing each other on the sides of the chapel, of the

5077: 1470:

addition, perhaps requested by the original donor. The four predella scenes, showing the life of

1286:, finished and framed by February 1485, and now in Berlin. The frame was by no less a figure than 1162:, which gave divine love as important a place in its philosophy as did Christianity. The fourth, 1151:

in his ear. The painting was no doubt given to celebrate a marriage, and decorate the bedchamber.

7254: 7116: 6804: 6658: 6468: 6379: 6348: 5680: 2705: 2152: 1239: 1123:, c. 1485, tempera on panel, 69 cm × 173 cm (27.17 in × 68.11 in), 964: 3566:

by claiming that a landscape could be begun by throwing a sponge loaded with paint at the panel.

1254:, receiving the next year three payments for a design for a scheme, eventually abortive, to put 7151: 7032: 6473: 6442: 6333: 6325: 6315: 6287: 6141: 5833: 5822: 5183: 5176: 5169: 4637: 2223:

specific individuals from Florentine high society, usually paired with Simonetta Vespucci, who

2194: 2157: 1924: 1817: 1164: 1064: 903: 515: 7063: 2744: 380:

style, and instead returning to a style that many have described as more Gothic or "archaic".

7282: 6951: 6809: 6583: 6261: 6256: 5394: 5371: 5348: 5000: 2748: 2388: 2178: 2174: 1547: 1495: 1454: 1387: 1382: 1251: 1184: 868: 507: 438: 364: 4342:; see Davies, 97 for a slightly different view, and Lightbown, 311 for a very different one. 3516:"Scenes from The Story of Nastagio degli Onesti – The Collection – Museo Nacional del Prado" 3106:

Lightbown, 26; but see Hartt, 324, saying "Botticelli was active in the shop of Verrocchio".

1386:(1489–90, Uffizi) forms a natural grouping with other late paintings, especially two of the 7287: 7037: 7012: 6995: 6985: 6834: 6246: 6209: 6120: 6070: 5876: 2695: 2576: 2465: 2326: 2260: 2208: 2201:

of 1470 which is Botticelli's earliest securely dated painting, completing a series of the

2186: 1287: 1227: 1081: 1034: 981: 714: 524: 498:. Botticelli probably left Lippi's workshop by April 1467, when the latter went to work in 401: 339: 149: 90: 3562:

Hartt, 329. According to Leonardo, Botticelli anticipated the method of some 18th century

3471:

Lightbown, 122–123; 152–153; Smith, Webster, "On the Original Location of the Primavera",

8: 7244: 7198: 6384: 6171: 6125: 5808: 5661: 5515: 4857: 4481: 2658: 2636: 2503: 2256: 2170: 1752: 1624: 1595: 1531: 1433: 1301: 1053: 1049: 986: 950: 744: 625: 566: 503: 317: 176: 2071:(8 sheets) and Berlin (83), and represents the bulk of Botticelli's surviving drawings. 1137:

in the National Gallery, London. This was of a size and shape to suggest that it was a

985:(c. 1482), icon of the springtime renewal of the Florentine Renaissance. Left to right: 7249: 6870: 6491: 6183: 5653: 5401: 5197: 5101: 5046: 4700: 3120: 2785: 2766: 2568: 2414: 2405: 2312: 1943: 1916: 1725: 1647: 1577: 1189: 1017: 534:, son of his master. Botticelli and Filippino's works from these years, including many 333: 212: 155: 6613: 6511: 5065: 4763:

Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries

4656:

Dempsey; Lightbown, 328–329, with a list marking which "are of a certain importance";

2446:

in the simplified expressionist depiction of emotions in his works of the last years.

193: 7017: 6678: 6506: 6496: 4941: 4923: 4914: 4900: 4883: 4869: 4835: 4818: 4810: 4783: 4766: 4641: 4464: 4415: 4000: 3407: 2990: 2980: 2647: 2461: 2320:

manuscript Dante. In 1504 he was a member of the committee appointed to decide where

1651:

in the Uffizi (118 cm or 46.5 inches across, c. 1483), Mary is writing down the

1586: 1559: 1449: 1319: 1208: 1155: 1100: 680: 656: 373: 7239: 7229: 7188: 6698: 6521: 6436: 6405: 6302: 6281: 6043: 5982: 4892: 4793: 3473: 2752: 2439: 2219: 1822: 1801: 1680:(1485/1490) was destroyed during World War II. It was stored in the Friedrichshain 1639: 1297: 1292: 1216: 857: 724: 675: 644: 553: 446: 430: 377: 369: 299: 244: 5096:, a Metropolitan Museum of Art (New York) collection catalog (see pages: 159–167). 5020: 1114: 445:

resident there. The family's most notable neighbours were the Vespucci, including

7100: 7084: 6516: 6225: 6202: 6136: 6131: 6115: 6105: 4969: 4852: 4827: 4804: 4405: 4339: 3485: 2876: 2410: 2253: 2068: 1999: 1966: 1467: 1404: 1231: 1044:(c. 1485) are not a pair, but are inevitably discussed together; both are in the 998: 994: 924: 861: 701: 599: 531: 495: 450: 5107: 4539:

remained in the Grand Ducal Medici villa of Castello until 1815. (Levey 1960:292

2434:

nearly a century earlier. Botticelli has been compared to the Venetian painter

2363: 7224: 7219: 7042: 6937: 6896: 6748: 6501: 6157: 5729: 5704: 5335: 5324: 5310: 4958: 4950: 2620: 2583: 2435: 2015: 1991: 1658: 888: 849: 845: 838: 833: 670:

for the customs house of Florence, that is now lost, depicted the execution by

408: 356: 7271: 6814: 6635: 6075: 5996: 5989: 5975: 5501: 5072: 5056:

Botticelli's Dante illustrations and interactive version in the Chart of Hell

4992: 4933: 4657: 4461:

Forbidden Friendships: Homosexuality and Male Culture in Renaissance Florence

2778: 2723: 2527: 2457: 2203: 2182: 2078:

There are hints that Botticelli may have worked on illustrations for printed

2043: 1986: 1744: 1471: 1463: 1194: 1076:, and the identity of the commissioners and possible models for the figures. 1069: 696:

of the Madonna ordered by a Florentine banker in Rome to present to Cardinal

520: 487: 128: 56: 5672: 4928:

The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960

2994: 7183: 7000: 6958: 6946: 6819: 6783: 6146: 6080: 6003: 4411: 3686:

Lightbown dates the Munich picture to 1490–92, and the Milan one to c. 1495

2947: 2762: 2737: 2438:, some ten years older, whose later work also veers away from the imminent 2431: 2321: 2252:

According to Vasari, Botticelli became a follower of the deeply moralistic

2064: 2029: 1920: 1780: 1459: 1458:, dating to about 1491–93. Its subject, unusual for an altarpiece, is the 1313: 1048:. They are among the most famous paintings in the world, and icons of the 853: 689: 2708:

of Stansted, allowed it to be exhibited in a major art exhibition held in

2691:, London only bought a Madonna (now regarded as by his workshop) in 1855. 206: 7193: 7167: 7121: 6932: 6447: 6410: 5076: 3563: 2974: 2774: 2572: 2450: 2393: 2224: 2023: 1604: 1590: 1437: 1296:

or closed garden, a very traditional setting for the Virgin Mary. Saints

1148: 1085: 693: 376:(seven years his junior) and the new generation of painters creating the 328: 6901: 5768: 5258: 2488: 2235: 1394: 50: 7027: 6430: 6400: 6266: 4975: 3478: 3007:

Ettlingers, 199; Lightbown, 53 on the Pisa work, which does not survive

2765:

created a literary picture of Botticelli, who was then taken up by the

2709: 2591: 1681: 1653: 1635: 1344:

raised high on a throne, at the same level as four angels carrying the

1247: 976: 595: 465: 388: 6886: 4697:"Daniel Sharman and Bradley James Join Netflix's 'Medici' (EXCLUSIVE)" 2607: 1107:

was painted for Lorenzo di Pierfrancesco's townhouse in Florence, and

700:; this perhaps spread awareness of his work to Rome. A fresco in the 583:, Florence. This work was painted soon after the Pollaiuolo brothers' 7141: 7058: 7022: 2770: 2456:

Botticelli continued to pay his dues to the Compagnia di San Luca (a

2443: 2060: 2011: 1466:

on a far smaller scale right in the foreground. This was probably a

1441: 1367:(378 x 258 cm, Uffizi), is the only one to remain with its full 1305: 1174: 1147:

play with his military gear, and one tries to rouse him by blowing a

1139: 728: 418: 5114: 3496:

Lightbown, 164–168; Dempsey; Ettlingers, 138–141, with a later date.

1246:. Botticelli painted many Madonnas, covered in a section below, and 934:

Botticelli differs from his colleagues in imposing a more insistent

864:

for Lorenzo and other Florentine officials and a small "Pazzi War".

6178: 3282:

Shearman, 47; Hartt, 326; Martines, Chapter 10 for the hostilities.

2484: 2418: 2348:, which he may have intended for his personal use, and the pair of 2341: 2290: 2079: 1350: 1243: 1235: 1026: 1006: 990: 935: 928: 417:

of Botticelli, reported that Botticelli was initially trained as a

397: 348: 86: 6194: 5059: 1615: 494:, a few miles west of Florence, frescoing the apse of what is now 7234: 6151: 3327:

Lightbown, 90–92, 97–99, 105–106; Hartt, 327; Shearman, 47, 50–75

2632: 2345: 1179: 1002: 899: 671: 540: 499: 4796:, Oxford Art Online. Oxford University Press. Web. 15 May 2017. 2730:, sold at Christie's for US$ 10.4 million, and in 2021 the 1998:

Botticelli had a lifelong interest in the great Florentine poet

5778: 5053: 2587: 2304: 2245: 2162: 1764: 1255: 1220: 1045: 1022: 756: 667: 636: 605: 545: 480: 344: 4834:, (2nd ed.) 1987, Thames & Hudson (U.S. Harry N. Abrams), 2968: 2966: 5713: 4938:

The Sistine Chapel: The Art, the History, and the Restoration

4521:

Ganymede in the Renaissance: Homosexuality in art and society

4495:

Art et humanisme a Florence au temps de Laurent le Magnifique

2048: 1710: 1212: 1144: 876: 491: 265: 5227:

Venus and the Three Graces Presenting Gifts to a Young Woman

5108:

The John G. Johnson Collection: A History and Selected Works

707:

In 1480 the Vespucci family commissioned a fresco figure of

519:(Florence, Galleria degli Uffizi) to accompany a set of all 2963: 2424:

His later work, especially as seen in the four panels with

1423:, it was painted for the side of a pillar in the Church of 1211:, who scoffed at Botticelli's landscapes, left in 1481 for 530:

In 1472 Botticelli took on his first apprentice, the young

352: 274: 268: 3965:

Lightbown, 280; some are drawn on both sides of the sheet.

2979:. Miklós. Boskovits. Washington: National Gallery of Art. 1474:, then taken as a reformed prostitute herself, are in the 1226:

The remaining leaders of Florentine painting, Botticelli,

253: 3443:"Web Gallery of Art, searchable fine arts image database" 2611:

Portrait, probably imagined, of Botticelli from Vasari's

1419:

is in an unusual vertical format, because, like his 1474

331:

shape) and also some portraits. His best-known works are

259: 5111:, a Philadelphia Museum of Art free digital publication. 2910:

Ettlingers, 7. Other sources give 1446, 1447 or 1444–45.

2311:

In late 1502, some four years after Savonarola's death,

1099:

were both seen by Vasari in the mid-16th century at the

449:, after whom the Americas were named. The Vespucci were 2972: 2940:"Botticelli in the Florence of Lorenzo the Magnificent" 2177:, a movement historians would later characterize as a " 1724:). Traditional gossip links these to the famous beauty 1111:

was commissioned by someone else for a different site.

486:

From around 1461 or 1462 Botticelli was apprenticed to

5559:

Virgin and Child with the Young Saint John the Baptist

5234:

A Young Man Being Introduced to the Seven Liberal Arts

5027:, Prestel, 2015 (2nd ed.), with complete illustrations 4864:

Landau, David, in Landau, David, and Parshall, Peter.

4634:

Pre-Raphaelite Art in the Victoria & Albert Museum

2773:

on the artist was published in 1893, the same year as

1665:) where it is spoken by Mary upon the occasion of her 1354:

panels survive; there were probably originally seven.

564:

Botticelli's earliest surviving altarpiece is a large

5552:

Virgin and Child with the Infant St. John the Baptist

4911:

April Blood: Florence and the Plot Against the Medici

4782:, National Gallery Catalogues, 1961, reprinted 1986, 1371:, of five panels. In the air above four saints, the 1280:

The first major church commission after Rome was the

1080:

focuses on the poetry and philosophy of contemporary

971: 453:

allies and eventually regular patrons of Botticelli.

283: 247: 3264:

Lightbown, 77 (different translation to same effect)

2169:

Botticelli became associated by historians with the

271: 256: 250: 3754:

Madonna and Child with Angels Carrying Candlesticks

2801:discovered on 9 February 1996, is named after him. 2082:

by Savonarola, almost all destroyed after his fall.

1678:

Madonna and Child with Angels Carrying Candlesticks

598:, a large prestigious project mostly being done by 262: 5599:Portrait of a Man with a Medal of Cosimo the Elder 4107:Hartt, 335–336; Davies, 105–106; Ettlingers, 13–14 3993:Classics, Delphi; Russell, Peter (April 7, 2017). 2759:incorporated elements of his work into their own. 1981: 1706:Portrait of a Man with a Medal of Cosimo the Elder 4400: 4086:Ettlingers, 164; Clark, 372 note for p. 92 quote. 3273:Shearman, 38–42, 47; Lightbown, 90–92; Hartt, 326 3210:Lightbown, 65–69; Vasari, 150–152; Hartt, 324–325 3153:Sandro Botticelli and Herbert Horne: New Research 2571:(1453–1476), who has been claimed, especially by 2227:persuaded himself had posed nude for Botticelli. 1304:stand in the foreground. Small and inconspicuous 1201: 30:"Botticelli" redirects here. For other uses, see 7269: 5087:. Vol. 4 (11th ed.). pp. 306–309. 4957:, Penguin 1965 (page nos. from BCA ed., 1979). 4662:Journal of the Warburg and Courtauld Institutes 4188:Lightbown, 248–253; Dempsey; Ettlingers, 96–103 3992: 3399: 3119:, a tribunal of six judges, chosen by the main 2259:, who preached in Florence from 1490 until his 1258:on some interior roof vaults in the cathedral. 1215:, the Pollaiolo brothers in 1484 for Rome, and 5888:The Fall and Expulsion from the Garden of Eden 4733:. Jet Propulsion Laboratories. April 9, 2012. 4660:, "Botticelli and Nineteenth-Century England" 3406:. University of California Press. p. 25. 1154:Three of these four large mythologies feature 6210: 5702: 5688: 5130: 4407:Amerigo: The Man Who Gave His Name to America 2063:, most of which was taken only as far as the 1797:Portrait of a Lady Known as Smeralda Brandini 1761:a young woman with Venus and the Three Graces 5220:The Story of Nastagio Degli Onesti, part one 4817:, 1976, Thames & Hudson (World of Art), 4523:, Yale University Press, New Haven, 1986, 88 2814:The Virgin Adoring the Sleeping Christ Child 2567:He might have had a close relationship with 2218:Giuliano de' Medici was assassinated in the 1623:, c. 1490, tempera, oil, and gold on panel. 1621:Virgin and Child with Saint John the Baptist 1337:A larger and more crowded altarpiece is the 953:in Rome, which he repeated in about 1500 in 614:, 1475, 111 cm × 134 cm (44 in × 53 in) 591:, widely-appreciated in Florentine circles. 2033:One of the few fully coloured pages of the 655:(all these by now dead), and his grandsons 470:Madonna and Child with St. John the Baptist 210:Detail from Botticelli's most famous work, 6600:Genealogical tables of the House of Medici 6217: 6203: 6066:Restoration of the Sistine Chapel frescoes 5695: 5681: 5530:Madonna Adoring the Child with Five Angels 5137: 5123: 4372:"The Face That Launched A Thousand Prints" 2976:Italian paintings of the fifteenth century 2921:"Sandro Botticelli – Biography and Legacy" 1188:from the eighth novel of the fifth day of 49: 5865:The Creation of the Sun, Moon, and Plants 5637:Portrait of a Young Man holding a Roundel 5068:at the Victoria and Albert Museum, London 4940:, 1986, Harmony Books/Nippon Television, 4667:.3/4 (July 1960:291–306); Ettlingers, 205 4549: 4547: 4545: 4247: 4245: 4094: 4092: 3835:"The Adoration of the Magi by Botticelli" 3393: 3132:Lightbown, 46 (quoted); Ettlingers, 19–22 2937: 2733:Portrait of a Young Man Holding a Roundel 1843:Portrait of a Young Man Holding a Roundel 1330: 579:in Berlin, painted in 1474 for a pier in 4792:Dempsey, Charles, "Botticelli, Sandro", 4780:Catalogue of the Earlier Italian Schools 4607: 4497:, Presses Universitaires de France, 1959 3703: 3701: 3574: 3572: 3549: 3547: 3545: 3066: 3064: 3054: 3052: 2652: 2623:were upstaged by those of Michelangelo. 2606: 2502: 2362: 2289: 2234: 2151: 2028: 1985: 1699: 1686:Madonna and Child with Infant Saint John 1614: 1571: 1393: 1318: 1267: 1113: 1011: 975: 909: 827: 604: 585:much larger altarpiece of the same saint 464: 387: 362:Only one of Botticelli's paintings, the 309:Italian painter of the Early Renaissance 205: 5282:The Discovery of the Body of Holofernes 3952: 3950: 3228:Hartt, 325–326; Ettlingers, 10; Dempsey 3024: 3022: 2360:, which are probably from around 1500. 2035:Divine Comedy Illustrated by Botticelli 1757:a young man with the Seven Liberal Arts 1567: 1068:, they have been endlessly analysed by 228:Alessandro di Mariano di Vanni Filipepi 75:Alessandro di Mariano di Vanni Filipepi 27:Italian Renaissance painter (1445–1510) 14: 7270: 5409:Scenes from the Life of Saint Zenobius 5071: 4953:, selected and edited by George Bull, 4737:from the original on February 20, 2017 4694: 4542: 4242: 4089: 3734:Ettlingers, 80; Lightbown, 82, 185–186 3150: 2938:Edelstein, Bruce (December 21, 2020). 2906: 2904: 2890:List of paintings by Sandro Botticelli 2788:in the second season of the TV series 2427:Scenes from the Life of Saint Zenobius 1234:, worked on a major fresco cycle with 686:Francesco Salviati, Archbishop of Pisa 559: 556:and the Galleria Pallavicini in Rome. 6198: 5858:The Separation of Light from Darkness 5676: 5144: 5118: 4676:Lightbown, 328; Dempsey, Legouix, 127 4428:from the original on December 7, 2020 4382:from the original on November 9, 2020 3698: 3677:Lightbown, 207–209; Legouix, 107, 109 3605:Lightbown, 180–185; Ettlingers, 72–74 3569: 3542: 3061: 3049: 2683: 2340:(c. 1494–95), a recreation of a lost 1506:, 150 x 156 cm, Uffizi, Florence 1172:A series of panels in the form of an 573:Another work from this period is the 460: 298: 5093:Italian Paintings: Florentine School 5012:"Botticelli, Beyond the Renaissance" 4930:, 1961, Barrie and Rockliffe, London 4846:"Before Bowie, there was Botticelli" 4608:Gleadell, Colin (January 28, 2021). 3947: 3935:Vasari, 152, a different translation 3420:from the original on August 19, 2020 3019: 792:Madonna with Lilies and Eight Angels 6224: 5751:The Punishment of the Sons of Korah 5003:(published in association with the 4882:, 2004 (rev'd ed.), Chaucer Press, 4695:Clarke, Stewart (August 10, 2017). 4369: 3944:Lightbown, 89; Landau, 108; Dempsey 3845:from the original on March 29, 2019 3650:Lightbown, 187–190; Legouix, 31, 42 3477:, vol. 57, no. 1, 1975, pp. 31–40. 3453:from the original on August 7, 2020 3363:Lightbown, 106–108; Ettlingers, 202 3183:Lightbown, 51–52; Ettlingers, 22–23 2901: 2602: 1261: 523:commissioned one year earlier from 396:Botticelli was born in the city of 24: 7147:Crown of the Grand Duke of Tuscany 6979:Painters, sculptors and architects 5388:The Last Communion of Saint Jerome 5005:Fine Arts Museums of San Francisco 4986: 4980:Pagan Mysteries in the Renaissance 4832:History of Italian Renaissance Art 4707:from the original on March 1, 2020 4161:Lightbown, 260–269; Legouix, 82–83 3996:The History of Art in 50 Paintings 3659:Lightbown, 198–200; Legouix, 42–44 2644:Ferdinando Gonzaga, Duke of Mantua 2642:In 1621 a picture-buying agent of 1052:. As depictions of subjects from 972:Mythological subjects of the 1480s 25: 7359: 5031: 4936:, in Pietrangeli, Carlo, et al., 4571:Lightbown, 16–17; Vasari, 147–155 4463:, Oxford University Press, 1996, 4152:Lightbown, 230–237; Legouix, 114; 4013:from the original on July 6, 2020 3806:Ettlingers, 156, 163–164, 168–172 3788:Ettlingers, 171; Lightbown, 54–57 2006:, but no such text has survived. 1709:, 1474; the medal is an inserted 823: 692:in 1494. Another lost work was a 237:– May 17, 1510), better known as 7052:Poets and other literary figures 6612: 6177: 6165: 5871:The Separation of Land and Water 5767: 5486:Virgin and Child with Two Angels 5478:Virgin and Child with Two Angels 5380:Lamentation over the Dead Christ 5356:Lamentation over the Dead Christ 5289:The Return of Judith to Bethulia 5257: 5062:, 200 works by Sandro Botticelli 4897:Sandro Botticelli: Life and Work 4719: 4688: 4679: 4670: 4650: 4627: 4601: 4592: 4583: 4574: 4565: 4556: 4526: 4513: 4500: 4487: 4474: 4453: 4440: 4394: 4363: 4354: 4345: 4326: 4317: 4308: 4299: 4290: 4281: 4272: 4263: 4254: 4233: 4218: 4209: 4200: 4191: 4182: 4173: 4164: 4155: 4146: 4137: 4128: 4119: 4110: 4101: 4080: 4070: 4061: 4052: 4043: 4034: 3974:Dempsey; Lightbown, 280–282, 290 3668:Lightbown, 194–198; Legouix, 103 3505:Lightbown, 148–152; Legouix, 113 3403:Sandro Botticelli: Life and work 2973:National Gallery of Art (2003). 2865: 2844: 2821: 2806: 2544: 2135: 2123: 2111: 2099: 2087: 2055:Botticelli later began a luxury 1958: 1932: 1903: 1880: 1857: 1834: 1809: 1788: 1772: 1539: 1520:Lamentation over the Dead Christ 1511: 1487: 805: 784: 767: 736: 435:Italian Renaissance architecture 243: 192: 5606:Portrait of Giuliano de' Medici 5342:Punishment of the Sons of Korah 4731:JPL Small-Body Database Browser 4296:Legouix, 8; Lightbown, 311, 314 4025: 3986: 3977: 3968: 3959: 3938: 3929: 3920: 3911: 3902: 3893: 3884: 3875: 3866: 3857: 3827: 3818: 3809: 3800: 3791: 3782: 3773: 3764: 3746: 3737: 3728: 3719: 3710: 3689: 3680: 3671: 3662: 3653: 3644: 3635: 3626: 3617: 3608: 3599: 3590: 3581: 3556: 3533: 3508: 3499: 3490: 3465: 3435: 3384: 3375: 3366: 3357: 3348: 3339: 3330: 3321: 3312: 3303: 3294: 3291:Shearman, 70–75; Hartt, 326–327 3285: 3276: 3267: 3258: 3249: 3240: 3231: 3222: 3213: 3204: 3195: 3186: 3177: 3168: 3159: 3144: 3141:Dempsey, Hartt, 324; Legouix, 8 3135: 3126: 3109: 3100: 3091: 3082: 3073: 3040: 2403:Another painting, known as the 2301:Isabella Stewart Gardner Museum 1982:Dante, printing and manuscripts 1326:, c. 1487, Uffizi, 268 x 280 cm 947:Punishment of the Sons of Corah 916:Punishment of the Sons of Corah 895:Punishment of the Sons of Corah 860:hostilities had escalated into 5494:Virgin and Child with an Angel 5464:Madonna in Glory with Seraphim 5434:Virgin and Child with an Angel 5043:Panopticon Virtual Art Gallery 4448:Homosexuality and Civilization 4260:Lightbown, 305; Ettlingers, 15 3623:Lightbown, 180; Ettlingers, 73 3031: 3010: 3001: 2954: 2931: 2913: 2477: 1821:, who was assassinated in the 1747:and the Medici into his early 1425:Santa Maria Maggiore, Florence 1357: 1202:Religious paintings after Rome 111:Florence, Republic of Florence 13: 1: 7308:16th-century Italian painters 7298:15th-century Italian painters 7230:Stories set to music: "opera" 5584:Portrait of Smeralda Brandini 4899:, 1989, Thames & Hudson, 4752: 3115:Lightbown, 52; they were the 2960:Ettlingers, 134; Legouix, 118 2855: 2834: 2663: 2537:The National Gallery have an 2517: 2373: 2344:by the ancient Greek painter 2230: 2147: 1971: 1947: 1923:on her necklace was owned by 1892: 1869: 1846: 1552: 1524: 1500: 1242:'s villa at Spedalletto near 795: 749: 629: 473: 383: 300:[ˈsandrobottiˈtʃɛlli] 231: 217: 78: 7348:Sistine Chapel wall frescoes 7328:Italian Renaissance painters 7303:16th-century apocalypticists 7293:15th-century apocalypticists 5802:The Vocation of the Apostles 5758:Testament and Death of Moses 5744:The Descent from Mount Sinai 5364:Saint Augustine in His Study 5318:Saint Augustine in His Study 4972:(in a different translation) 4727:"29361 Botticelli (1996 CY)" 4143:Legouix, 18; Ettlingers, 203 2558: 2471:Saint Augustine in His Study 2279:1497 bonfire of the vanities 2057:manuscript illustrated Dante 1695: 1312:The donor, from the leading 902:above, where Michelangelo's 589:Early Netherlandish painting 7: 7006:Michelangelo and the Medici 6850:Palazzo Medici di Ottaviano 6800:Casino Mediceo di San Marco 5737:The Crossing of the Red Sea 4982:, 1967 ed., Peregrine Books 4851:September 30, 2017, at the 4685:Ettlingers, 205 quoted, 208 4125:Ettlingers, 14; Legouix, 18 4116:Ettlingers, 14; Vasari, 152 3255:Lightbown, 73–78, 74 quoted 2883: 2791:Medici: Masters of Florence 2740:for US$ 92.2 million. 2549: 2498: 1629:Williamstown, Massachusetts 32:Botticelli (disambiguation) 10: 7364: 7073:Humanists and philosophers 6825:Palazzo Medici Tornaquinci 6061:Art patronage of Julius II 5523:Madonna of the Pomegranate 5471:Madonna of the Rose Garden 5078:"Botticelli, Sandro" 4955:Artists of the Renaissance 4450:, Harvard University, 2003 4040:Lightbown, 11, 58; Dempsey 2757:Pre-Raphaelite Brotherhood 2509:Madonna of the Pomegranate 1476:Philadelphia Museum of Art 1429:The other, horizontal, one 1346:Instruments of the Passion 550:National Gallery of Canada 544:, now divided between the 429:, commissioned the famous 427:Giovanni di Paolo Rucellai 29: 7212: 7176: 7160: 7134: 7109: 7093: 7072: 7051: 6978: 6971: 6925: 6879: 6858: 6792: 6634: 6627: 6610: 6592: 6574:Giovanni delle Bande Nere 6566: 6535: 6419: 6393: 6372: 6324: 6301: 6257:Lorenzo "The Magnificent" 6239: 6232: 6097: 6087:The Agony and the Ecstasy 6053: 6035: 6017: 5967: 5911: 5847: 5832: 5795:The Temptations of Christ 5776: 5765: 5711: 5646: 5575: 5509:Madonna of the Magnificat 5425: 5266: 5255: 5161: 5152: 4813:with Helen S. Ettlinger, 4803:January 22, 2020, at the 4402:Fernandez-Armesto, Felipe 4067:Lightbown, 42–50; Dempsey 1912:Portrait of a young woman 1829:, all perhaps posthumous. 1440:, usually regarded as in 1300:and an unusually elderly 1074:Renaissance Neo-Platonism 200: 191: 186: 182: 172: 162:The Adoration of the Magi 142: 134: 124: 116: 100: 70: 48: 41: 5816:The Delivery of the Keys 5275:Sant'Ambrogio Altarpiece 4913:, 2003, Johnathan Cape, 3400:R. W. Lightbown (1978). 3309:Hartt, 327; Shearman, 47 2895: 2714:Art Treasures Exhibition 1374:Coronation of the Virgin 1160:Renaissance Neoplatonism 554:Musée Condé in Chantilly 7333:Italian Roman Catholics 6805:Palazzo Medici Riccardi 6536:Bishops and archbishops 6172:Vatican City portal 5903:The Drunkenness of Noah 5809:The Sermon on the Mount 5723:Moses Leaving for Egypt 5099:Carl Brandon Strehlke, 5084:Encyclopædia Britannica 4968:April 30, 2011, at the 4206:Legouix, 11–12; Dempsey 3899:Lightbown, 16–17, 86–87 2797:The main belt asteroid 2706:William Fuller Maitland 2514:Madonna della Melagrana 2398:subject of the Nativity 2173:under the patronage of 2020:illustrated the Inferno 1889:Portrait of a Young Man 1866:Portrait of a Young Man 1619:Botticelli and Studio, 1427:; it is now in Milan. 1276:, 1484–85, 185 x 180 cm 1240:Lorenzo the Magnificent 965:National Gallery of Art 7318:Painters from Florence 7152:Order of Saint Stephen 7033:Antonio del Pollaiuolo 6326:Grand Dukes of Tuscany 6184:Catholicism portal 6142:Bartolomeo della Gatta 5566:Madonna del Padiglione 5321:(Florence: Ognissanti) 5184:Pallas and the Centaur 4638:Suzanne Fagence Cooper 4338:June 19, 2017, at the 3839:Virtual Uffizi Gallery 3484:April 1, 2016, at the 2694:The English collector 2670: 2615: 2539:Adoration of the Kings 2523: 2384: 2308: 2274: 2249: 2166: 2158:Pallas and the Centaur 2038: 1995: 1714: 1631: 1582: 1408: 1340:San Barnaba Altarpiece 1332:San Barnaba Altarpiece 1327: 1324:San Barnaba Altarpiece 1277: 1165:Pallas and the Centaur 1158:, a central figure in 1128: 1065:Pallas and the Centaur 1029: 1009: 920: 904:Sistine Chapel ceiling 841: 674:of the leaders of the 615: 483: 393: 224: 59:of Botticelli, in his 7343:Quattrocento painters 7338:Mythological painters 7323:Italian male painters 6952:Cappella dei Principi 6859:Fountains and gardens 6311:Alessandro "The Moor" 6293:Alessandro "The Moor" 5893:The Sacrifice of Noah 5788:The Baptism of Christ 5395:The Mystical Nativity 5372:Pala delle Convertite 5349:Cestello Annunciation 5330:Temptations of Christ 5296:Adoration of the Magi 5248:The Story of Lucretia 5241:The Story of Virginia 5211:Illustrations to the 5066:Botticelli Reimagined 5001:Yale University Press 4866:The Renaissance Print 4798:subscription required 4333:National Gallery page 3872:Campbell, 56, 136–136 2852:The Outcast (Despair) 2749:Anna Brownell Jameson 2701:The Mystical Nativity 2656: 2610: 2506: 2389:The Mystical Nativity 2369:The Mystical Nativity 2366: 2357:The Story of Lucretia 2351:The Story of Virginia 2296:The Story of Lucretia 2293: 2284:The Mystical Nativity 2265: 2238: 2213:Adoration of the Magi 2155: 2032: 1989: 1942:, also said to be of 1749:Adoration of the Magi 1713:cast of a real medal. 1703: 1618: 1610:Adoration of the Magi 1575: 1558:, 215 × 192 cm, 1548:Pala delle Convertite 1496:Cestello Annunciation 1455:Pala delle Convertite 1400:Lamentation of Christ 1397: 1388:Lamentation of Christ 1383:Cestello Annunciation 1322: 1271: 1252:Cathedral of Florence 1185:Nastagio degli Onesti 1117: 1082:Renaissance humanists 1015: 979: 961:Adoration of the Magi 956:The Story of Lucretia 913: 883:Temptations of Christ 831: 761:Pala di Sant'Ambrogio 639:, and the first of 8 621:Adoration of the Magi 611:Adoration of the Magi 608: 508:Andrea del Verrocchio 468: 439:Leon Battista Alberti 391: 209: 62:Adoration of the Magi 7117:Emilio de' Cavalieri 7080:Pico della Mirandola 7038:Jacopo della Quercia 7013:Bernardo Buontalenti 6996:Filippo Brunelleschi 6986:Bartolomeo Ammannati 6835:Palazzo delle Vedove 6267:Giovanni, Pope Leo X 6121:Domenico Ghirlandaio 6071:Sistine Chapel Choir 5877:The Creation of Adam 5457:Madonna delle Grazie 5442:Madonna della Loggia 5060:sandrobotticelli.net 5017:, December 28, 2023. 4134:Legouix, 18; Dempsey 3520:www.museodelprado.es 2698:bought Botticelli's 2696:William Young Ottley 2215:, also around 1470. 2209:Piero del Pollaiuolo 2187:Lorenzo il Magnifico 1657:, a speech from the 1568:Madonnas, and tondos 1530:, 107 × 71 cm, 1464:Tobias and the Angel 1365:San Marco Altarpiece 1288:Giuliano da Sangallo 1228:Domenico Ghirlandaio 715:Domenico Ghirlandaio 581:Santa Maria Maggiore 525:Piero del Pollaiuolo 359:in Rome in 1481–82. 327:, many in the round 91:Republic of Florence 7142:Medici coat of arms 7064:Niccolò Machiavelli 6527:Vincenzo II Gonzaga 5883:The Creation of Eve 5662:Botticelli (crater) 5516:Madonna of the Book 4997:Botticelli Drawings 4858:The Daily Telegraph 4598:Reitlinger, 99, 127 4484:), quoted in Hudson 4482:Courtauld Institute 3999:. Delphi Classics. 3863:Ettlingers, 156–164 3117:Sei della Mercanzia 2745:Alexis-François Rio 2728:Rockefeller Madonna 2659:Madonna of the Book 2637:Francesco Botticini 2257:Girolamo Savonarola 2207:left unfinished by 2142:Inferno, Canto XXXI 2130:Paradise, Canto XXX 1818:Giuliano de' Medici 1625:Clark Art Institute 1596:sacra conversazione 1532:Museo Poldi Pezzoli 1302:John the Evangelist 1054:classical mythology 1050:Italian Renaissance 951:Arch of Constantine 745:Sacra conversazione 626:Santa Maria Novella 567:sacra conversazione 560:Key early paintings 504:Pollaiuolo brothers 318:Italian Renaissance 177:Italian Renaissance 6871:Villa di Pratolino 6247:Cosimo "The Elder" 5730:The Youth of Moses 5657:(2016 documentary) 5655:Botticelli Inferno 5616:(Washington, D.C.) 5416:The Man of Sorrows 5402:Mystic Crucifixion 5367:(Florence: Uffizi) 5205:Calumny of Apelles 5198:The Birth of Venus 5015:The New York Times 5010:Rosenberg, Karen, 4924:Reitlinger, Gerald 4861:, 14 February 2016 4537:The Birth of Venus 4480:Scott Nethersole ( 4239:Lightbown, 303–304 4224:Steinmann, Ernst, 4179:Lightbown, 221–223 3695:Lightbown, 202–207 3587:Lightbown, 211–213 3372:Lightbown, 111–113 3121:Guilds of Florence 2873:Mystic Crucifixion 2786:Sebastian de Souza 2767:Aesthetic movement 2671: 2616: 2569:Simonetta Vespucci 2524: 2491:technique (called 2415:Harvard University 2406:Mystic Crucifixion 2385: 2337:Calumny of Apelles 2309: 2250: 2241:Calumny of Apelles 2175:Lorenzo de' Medici 2167: 2039: 1996: 1944:Simonetta Vespucci 1940:La Bella Simonetta 1925:Lorenzo de’ Medici 1919:, 1484. The Roman 1917:Simonetta Vespucci 1783:, perhaps 1470-73. 1726:Simonetta Vespucci 1715: 1648:Magnificat Madonna 1632: 1583: 1578:Magnificat Madonna 1434:Virgin has swooned 1409: 1328: 1278: 1129: 1109:The Birth of Venus 1041:The Birth of Venus 1030: 1018:The Birth of Venus 1010: 921: 842: 818:, Ognissanti, 1480 616: 484: 461:Career before Rome 394: 334:The Birth of Venus 225: 213:The Birth of Venus 156:The Birth of Venus 7313:Catholic painters 7278:Sandro Botticelli 7265: 7264: 7204:Arazzeria Medicea 7130: 7129: 7018:Leonardo da Vinci 6991:Sandro Botticelli 6967: 6966: 6907:San Piero a Sieve 6608: 6607: 6507:Bernardo Salviati 6497:Giovanni Salviati 6303:Dukes of Florence 6262:Piero "The Brief" 6252:Piero "The Gouty" 6240:Lords of Florence 6192: 6191: 6111:Sandro Botticelli 6026:The Last Judgment 6013: 6012: 5670: 5669: 5449:Madonna and Child 5146:Sandro Botticelli 5049:on June 21, 2007. 5025:Sandro Botticelli 4909:Martines, Lauro, 4905:978-0-500-09206-4 4893:Lightbown, Ronald 4811:Leopold Ettlinger 4469:978-0-19-506975-4 4421:978-1-4000-6281-2 4370:Harness, Brenda. 4351:Ettlingers, 12–14 3743:Ettlingers, 81–84 3381:Lightbown, 90, 94 3345:Lightbown, 99–105 3097:Lightbown, 22, 25 2687:in 1829, but the 2648:Leonardo da Vinci 2466:Ognissanti Church 2330:would be placed. 2171:Florentine School 2014:by the goldsmith 1802:shown as pregnant 1587:Madonna and Child 1585:Paintings of the 1560:Courtauld Gallery 1452:in London is the 1450:Courtauld Gallery 1380:In contrast, the 1209:Leonardo da Vinci 1101:Villa di Castello 1032:The masterpieces 698:Francesco Gonzaga 681:pittura infamante 536:Madonna and Child 488:Fra Filippo Lippi 374:Leonardo da Vinci 325:Madonna and Child 239:Sandro Botticelli 204: 203: 108:(aged 64–65) 43:Sandro Botticelli 16:(Redirected from 7355: 7240:Pazzi conspiracy 7199:Venus de' Medici 7189:Medici porcelain 7059:Agnolo Poliziano 6976: 6975: 6734:Poggio Imperiale 6632: 6631: 6622: 6616: 6548:Bernardo Antonio 6522:Ferrante Gonzaga 6373:Queens of France 6237: 6236: 6219: 6212: 6205: 6196: 6195: 6182: 6181: 6170: 6169: 6168: 6126:Biagio d'Antonio 6044:Raphael Cartoons 5983:Erythraean Sibyl 5845: 5844: 5771: 5697: 5690: 5683: 5674: 5673: 5261: 5139: 5132: 5125: 5116: 5115: 5088: 5080: 5050: 5045:. Archived from 4878:Legouix, Susan, 4828:Hartt, Frederick 4794:Grove Art Online 4747: 4746: 4744: 4742: 4723: 4717: 4716: 4714: 4712: 4692: 4686: 4683: 4677: 4674: 4668: 4654: 4648: 4631: 4625: 4624: 4622: 4620: 4605: 4599: 4596: 4590: 4587: 4581: 4578: 4572: 4569: 4563: 4560: 4554: 4551: 4540: 4530: 4524: 4517: 4511: 4506:Jacques Mesnil, 4504: 4498: 4491: 4485: 4478: 4472: 4471:; Lightbown, 302 4457: 4451: 4446:Louis Crompton, 4444: 4438: 4437: 4435: 4433: 4398: 4392: 4391: 4389: 4387: 4367: 4361: 4358: 4352: 4349: 4343: 4330: 4324: 4321: 4315: 4312: 4306: 4303: 4297: 4294: 4288: 4285: 4279: 4276: 4270: 4267: 4261: 4258: 4252: 4249: 4240: 4237: 4231: 4222: 4216: 4213: 4207: 4204: 4198: 4195: 4189: 4186: 4180: 4177: 4171: 4168: 4162: 4159: 4153: 4150: 4144: 4141: 4135: 4132: 4126: 4123: 4117: 4114: 4108: 4105: 4099: 4096: 4087: 4084: 4078: 4074: 4068: 4065: 4059: 4058:Lightbown, 58–59 4056: 4050: 4047: 4041: 4038: 4032: 4029: 4023: 4022: 4020: 4018: 3990: 3984: 3981: 3975: 3972: 3966: 3963: 3957: 3954: 3945: 3942: 3936: 3933: 3927: 3924: 3918: 3917:Vasari, 152, 154 3915: 3909: 3906: 3900: 3897: 3891: 3888: 3882: 3879: 3873: 3870: 3864: 3861: 3855: 3854: 3852: 3850: 3831: 3825: 3822: 3816: 3813: 3807: 3804: 3798: 3795: 3789: 3786: 3780: 3777: 3771: 3768: 3762: 3750: 3744: 3741: 3735: 3732: 3726: 3725:Lightbown, 47–50 3723: 3717: 3714: 3708: 3705: 3696: 3693: 3687: 3684: 3678: 3675: 3669: 3666: 3660: 3657: 3651: 3648: 3642: 3639: 3633: 3630: 3624: 3621: 3615: 3612: 3606: 3603: 3597: 3594: 3588: 3585: 3579: 3576: 3567: 3560: 3554: 3551: 3540: 3537: 3531: 3530: 3528: 3526: 3512: 3506: 3503: 3497: 3494: 3488: 3474:The Art Bulletin 3469: 3463: 3462: 3460: 3458: 3439: 3433: 3432: 3427: 3425: 3397: 3391: 3388: 3382: 3379: 3373: 3370: 3364: 3361: 3355: 3354:Lightbown, 96–97 3352: 3346: 3343: 3337: 3334: 3328: 3325: 3319: 3316: 3310: 3307: 3301: 3298: 3292: 3289: 3283: 3280: 3274: 3271: 3265: 3262: 3256: 3253: 3247: 3244: 3238: 3235: 3229: 3226: 3220: 3217: 3211: 3208: 3202: 3199: 3193: 3190: 3184: 3181: 3175: 3174:Lightbown, 50–51 3172: 3166: 3163: 3157: 3156: 3148: 3142: 3139: 3133: 3130: 3124: 3113: 3107: 3104: 3098: 3095: 3089: 3088:Lightbown, 20–26 3086: 3080: 3077: 3071: 3070:Lightbown, 18–19 3068: 3059: 3056: 3047: 3044: 3038: 3035: 3029: 3026: 3017: 3016:Lightbown, 17–19 3014: 3008: 3005: 2999: 2998: 2970: 2961: 2958: 2952: 2951: 2935: 2929: 2928: 2917: 2911: 2908: 2869: 2860: 2857: 2848: 2839: 2836: 2825: 2810: 2799:29361 Botticelli 2753:Charles Eastlake 2689:National Gallery 2684:Bardi Altarpiece 2668: 2665: 2603:Later reputation 2522: 2519: 2460:rather than the 2440:High Renaissance 2396:of the familiar 2381:National Gallery 2378: 2375: 2307:, Massachusetts. 2220:Pazzi conspiracy 2139: 2127: 2115: 2103: 2094:Purgatory X (10) 2091: 2047:consists of 100 1994:after Botticelli 1976: 1973: 1962: 1952: 1949: 1936: 1907: 1897: 1894: 1884: 1874: 1871: 1861: 1851: 1848: 1838: 1827:Several versions 1823:Pazzi conspiracy 1813: 1792: 1776: 1640:John the Baptist 1557: 1554: 1543: 1529: 1526: 1515: 1505: 1502: 1491: 1298:John the Baptist 1293:hortus conclusus 1283:Bardi Altarpiece 1274:Bardi Altarpiece 1263:Bardi Altarpiece 1217:Andrea Verrochio 1125:National Gallery 919:, Sistine Chapel 858:Pazzi conspiracy 809: 800: 797: 788: 771: 754: 751: 740: 725:Ronald Lightbown 676:Pazzi conspiracy 645:Cosimo de Medici 635:–76, now in the 634: 631: 478: 475: 447:Amerigo Vespucci 433:, a landmark in 431:Palazzo Rucellai 378:High Renaissance 370:National Gallery 355:in 1474 and the 302: 297: 290: 286: 281: 280: 277: 276: 273: 270: 267: 264: 261: 258: 255: 252: 249: 236: 233: 222: 221: 1484–1486 219: 196: 145: 107: 95: 83: 80: 53: 39: 38: 21: 7363: 7362: 7358: 7357: 7356: 7354: 7353: 7352: 7268: 7267: 7266: 7261: 7208: 7172: 7156: 7126: 7105: 7101:Galileo Galilei 7089: 7085:Marsilio Ficino 7068: 7047: 6963: 6921: 6875: 6866:Medici fountain 6854: 6788: 6674:Poggio a Caiano 6623: 6618: 6617: 6604: 6588: 6562: 6531: 6517:Lorenzo Strozzi 6512:Niccolò Ridolfi 6492:Luigi de' Rossi 6486: 6479:Francesco Maria 6415: 6389: 6368: 6320: 6297: 6228: 6226:House of Medici 6223: 6193: 6188: 6176: 6166: 6164: 6154: 6137:Luca Signorelli 6132:Piero di Cosimo 6128: 6116:Cosimo Rosselli 6106:Pietro Perugino 6093: 6049: 6031: 6009: 5963: 5907: 5849: 5836: 5828: 5823:The Last Supper 5772: 5763: 5707: 5701: 5671: 5666: 5642: 5571: 5421: 5304:Saint Sebastian 5262: 5253: 5157: 5148: 5143: 5037: 5034: 4989: 4987:Further reading 4970:Wayback Machine 4853:Wayback Machine 4805:Wayback Machine 4759:Campbell, Lorne 4755: 4750: 4740: 4738: 4725: 4724: 4720: 4710: 4708: 4693: 4689: 4684: 4680: 4675: 4671: 4655: 4651: 4632: 4628: 4618: 4616: 4606: 4602: 4597: 4593: 4588: 4584: 4579: 4575: 4570: 4566: 4562:Ettlingers, 203 4561: 4557: 4553:Ettlingers, 204 4552: 4543: 4531: 4527: 4518: 4514: 4505: 4501: 4493:Andre Chastel, 4492: 4488: 4479: 4475: 4459:Michael Rocke, 4458: 4454: 4445: 4441: 4431: 4429: 4422: 4414:. p. 231. 4399: 4395: 4385: 4383: 4368: 4364: 4359: 4355: 4350: 4346: 4340:Wayback Machine 4331: 4327: 4322: 4318: 4313: 4309: 4304: 4300: 4295: 4291: 4286: 4282: 4277: 4273: 4268: 4264: 4259: 4255: 4250: 4243: 4238: 4234: 4223: 4219: 4215:Hartt, 334, 337 4214: 4210: 4205: 4201: 4196: 4192: 4187: 4183: 4178: 4174: 4170:Davies, 103–106 4169: 4165: 4160: 4156: 4151: 4147: 4142: 4138: 4133: 4129: 4124: 4120: 4115: 4111: 4106: 4102: 4097: 4090: 4085: 4081: 4077:identification. 4075: 4071: 4066: 4062: 4057: 4053: 4048: 4044: 4039: 4035: 4030: 4026: 4016: 4014: 4007: 3991: 3987: 3982: 3978: 3973: 3969: 3964: 3960: 3955: 3948: 3943: 3939: 3934: 3930: 3925: 3921: 3916: 3912: 3907: 3903: 3898: 3894: 3889: 3885: 3880: 3876: 3871: 3867: 3862: 3858: 3848: 3846: 3833: 3832: 3828: 3823: 3819: 3814: 3810: 3805: 3801: 3797:Ettlingers, 156 3796: 3792: 3787: 3783: 3779:Ettlingers, 164 3778: 3774: 3769: 3765: 3751: 3747: 3742: 3738: 3733: 3729: 3724: 3720: 3715: 3711: 3706: 3699: 3694: 3690: 3685: 3681: 3676: 3672: 3667: 3663: 3658: 3654: 3649: 3645: 3640: 3636: 3631: 3627: 3622: 3618: 3613: 3609: 3604: 3600: 3595: 3591: 3586: 3582: 3577: 3570: 3564:watercolourists 3561: 3557: 3552: 3543: 3538: 3534: 3524: 3522: 3514: 3513: 3509: 3504: 3500: 3495: 3491: 3486:Wayback Machine 3470: 3466: 3456: 3454: 3441: 3440: 3436: 3423: 3421: 3414: 3398: 3394: 3389: 3385: 3380: 3376: 3371: 3367: 3362: 3358: 3353: 3349: 3344: 3340: 3335: 3331: 3326: 3322: 3317: 3313: 3308: 3304: 3299: 3295: 3290: 3286: 3281: 3277: 3272: 3268: 3263: 3259: 3254: 3250: 3245: 3241: 3236: 3232: 3227: 3223: 3218: 3214: 3209: 3205: 3200: 3196: 3191: 3187: 3182: 3178: 3173: 3169: 3164: 3160: 3149: 3145: 3140: 3136: 3131: 3127: 3114: 3110: 3105: 3101: 3096: 3092: 3087: 3083: 3078: 3074: 3069: 3062: 3057: 3050: 3045: 3041: 3036: 3032: 3027: 3020: 3015: 3011: 3006: 3002: 2987: 2971: 2964: 2959: 2955: 2936: 2932: 2925:theartstory.org 2919: 2918: 2914: 2909: 2902: 2898: 2886: 2879: 2877:Fogg Art Museum 2870: 2861: 2858: 2849: 2840: 2837: 2826: 2817: 2811: 2666: 2605: 2561: 2552: 2547: 2520: 2501: 2480: 2411:Fogg Art Museum 2376: 2313:Isabella d'Este 2254:Dominican friar 2233: 2150: 2143: 2140: 2131: 2128: 2119: 2118:Purgatorio XXXI 2116: 2107: 2106:Purgatorio XVII 2104: 2095: 2092: 2069:Vatican Library 2000:Dante Alighieri 1984: 1977: 1974: 1967:Dante Alighieri 1963: 1954: 1950: 1937: 1928: 1908: 1899: 1895: 1885: 1876: 1872: 1862: 1853: 1849: 1839: 1830: 1814: 1805: 1793: 1784: 1777: 1763:are now in the 1698: 1589:, that is, the 1570: 1563: 1555: 1544: 1535: 1527: 1516: 1507: 1503: 1492: 1421:Saint Sebastian 1405:Alte Pinakothek 1403:, early 1490s, 1360: 1335: 1266: 1232:Filippino Lippi 1204: 974: 925:Pietro Perugino 862:excommunication 826: 819: 815:Saint Augustine 810: 801: 798: 789: 780: 772: 763: 752: 741: 717:to do a facing 710:Saint Augustine 702:Palazzo Vecchio 632: 600:Benozzo Gozzoli 576:Saint Sebastian 562: 532:Filippino Lippi 496:Prato Cathedral 476: 463: 386: 365:Mystic Nativity 313:Pre-Raphaelites 295: 288: 284: 246: 242: 234: 220: 165: 159: 153: 143: 112: 109: 105: 96: 93: 84: 81: 77: 76: 66: 44: 35: 28: 23: 22: 15: 12: 11: 5: 7361: 7351: 7350: 7345: 7340: 7335: 7330: 7325: 7320: 7315: 7310: 7305: 7300: 7295: 7290: 7285: 7280: 7263: 7262: 7260: 7259: 7258: 7257: 7247: 7242: 7237: 7232: 7227: 7225:Galilean moons 7222: 7220:Medici giraffe 7216: 7214: 7210: 7209: 7207: 7206: 7201: 7196: 7191: 7186: 7180: 7178: 7174: 7173: 7171: 7170: 7164: 7162: 7158: 7157: 7155: 7154: 7149: 7144: 7138: 7136: 7132: 7131: 7128: 7127: 7125: 7124: 7119: 7113: 7111: 7107: 7106: 7104: 7103: 7097: 7095: 7091: 7090: 7088: 7087: 7082: 7076: 7074: 7070: 7069: 7067: 7066: 7061: 7055: 7053: 7049: 7048: 7046: 7045: 7043:Giorgio Vasari 7040: 7035: 7030: 7025: 7020: 7015: 7010: 7009: 7008: 6998: 6993: 6988: 6982: 6980: 6973: 6969: 6968: 6965: 6964: 6962: 6961: 6956: 6955: 6954: 6949: 6938:Medici Chapels 6935: 6929: 6927: 6923: 6922: 6920: 6919: 6914: 6909: 6904: 6899: 6894: 6889: 6883: 6881: 6877: 6876: 6874: 6873: 6868: 6862: 6860: 6856: 6855: 6853: 6852: 6847: 6842: 6837: 6832: 6827: 6822: 6817: 6812: 6810:Palazzo Madama 6807: 6802: 6796: 6794: 6790: 6789: 6787: 6786: 6781: 6776: 6771: 6766: 6764:Montevettolini 6761: 6756: 6751: 6746: 6741: 6736: 6731: 6726: 6721: 6716: 6711: 6706: 6701: 6696: 6691: 6686: 6681: 6676: 6671: 6666: 6661: 6656: 6651: 6646: 6640: 6638: 6629: 6625: 6624: 6611: 6609: 6606: 6605: 6603: 6602: 6596: 6594: 6590: 6589: 6587: 6586: 6581: 6576: 6570: 6568: 6564: 6563: 6561: 6560: 6555: 6550: 6545: 6539: 6537: 6533: 6532: 6530: 6529: 6524: 6519: 6514: 6509: 6504: 6502:Innocenzo Cybo 6499: 6494: 6481: 6476: 6471: 6466: 6461: 6456: 6451: 6445: 6440: 6434: 6423: 6421: 6417: 6416: 6414: 6413: 6408: 6403: 6397: 6395: 6391: 6390: 6388: 6387: 6382: 6376: 6374: 6370: 6369: 6367: 6366: 6361: 6356: 6351: 6346: 6341: 6336: 6330: 6328: 6322: 6321: 6319: 6318: 6313: 6307: 6305: 6299: 6298: 6296: 6295: 6290: 6285: 6279: 6274: 6269: 6264: 6259: 6254: 6249: 6243: 6241: 6234: 6230: 6229: 6222: 6221: 6214: 6207: 6199: 6190: 6189: 6187: 6186: 6174: 6161: 6160: 6158:Pope Sixtus IV 6155: 6149: 6144: 6139: 6134: 6129: 6123: 6118: 6113: 6108: 6098: 6095: 6094: 6092: 6091: 6083: 6078: 6073: 6068: 6063: 6057: 6055: 6051: 6050: 6048: 6047: 6039: 6037: 6033: 6032: 6030: 6029: 6021: 6019: 6015: 6014: 6011: 6010: 6008: 6007: 6000: 5993: 5986: 5979: 5971: 5969: 5965: 5964: 5962: 5961: 5954: 5947: 5942: 5935: 5930: 5923: 5915: 5913: 5909: 5908: 5906: 5905: 5900: 5895: 5890: 5885: 5880: 5873: 5868: 5861: 5853: 5851: 5842: 5830: 5829: 5827: 5826: 5819: 5812: 5805: 5798: 5791: 5783: 5781: 5774: 5773: 5766: 5764: 5762: 5761: 5754: 5747: 5740: 5733: 5726: 5718: 5716: 5709: 5708: 5705:Sistine Chapel 5700: 5699: 5692: 5685: 5677: 5668: 5667: 5665: 5664: 5659: 5650: 5648: 5644: 5643: 5641: 5640: 5633: 5625: 5617: 5609: 5602: 5595: 5587: 5579: 5577: 5573: 5572: 5570: 5569: 5562: 5555: 5548: 5547: 5546: 5541: 5533: 5526: 5519: 5512: 5505: 5498: 5490: 5482: 5474: 5467: 5460: 5453: 5445: 5438: 5429: 5427: 5423: 5422: 5420: 5419: 5412: 5405: 5398: 5391: 5384: 5376: 5368: 5360: 5352: 5345: 5336:Youth of Moses 5325:Sistine Chapel 5322: 5314: 5311:Life of Esther 5307: 5300: 5292: 5285: 5278: 5270: 5268: 5264: 5263: 5256: 5254: 5252: 5251: 5244: 5237: 5230: 5223: 5216: 5208: 5201: 5194: 5191:Venus and Mars 5187: 5180: 5173: 5165: 5163: 5159: 5158: 5153: 5150: 5149: 5142: 5141: 5134: 5127: 5119: 5113: 5112: 5097: 5089: 5073:Colvin, Sidney 5069: 5063: 5057: 5054:World of Dante 5051: 5033: 5032:External links 5030: 5029: 5028: 5021:Zollner, Frank 5018: 5008: 4993:Rinaldi, Furio 4988: 4985: 4984: 4983: 4973: 4948: 4934:Shearman, John 4931: 4921: 4907: 4890: 4876: 4868:, Yale, 1996, 4862: 4844:Hudson, Mark, 4842: 4825: 4809:"Ettlingers": 4807: 4790: 4776:Davies, Martin 4773: 4765:, 1990, Yale, 4754: 4751: 4749: 4748: 4718: 4687: 4678: 4669: 4649: 4626: 4600: 4591: 4582: 4573: 4564: 4555: 4541: 4525: 4519:James Saslow, 4512: 4499: 4486: 4473: 4452: 4439: 4420: 4393: 4376:Fine Art Touch 4362: 4353: 4344: 4325: 4323:Lightbown, 312 4316: 4314:Ettlingers, 79 4307: 4305:Lightbown, 314 4298: 4289: 4280: 4271: 4262: 4253: 4241: 4232: 4217: 4208: 4199: 4190: 4181: 4172: 4163: 4154: 4145: 4136: 4127: 4118: 4109: 4100: 4088: 4079: 4069: 4060: 4051: 4042: 4033: 4024: 4005: 3985: 3976: 3967: 3958: 3956:Lightbown, 302 3946: 3937: 3928: 3926:Landau, 35, 38 3919: 3910: 3901: 3892: 3883: 3874: 3865: 3856: 3826: 3817: 3808: 3799: 3790: 3781: 3772: 3763: 3745: 3736: 3727: 3718: 3709: 3697: 3688: 3679: 3670: 3661: 3652: 3643: 3641:Ettlingers, 73 3634: 3632:Lightbown, 184 3625: 3616: 3607: 3598: 3596:Lightbown, 182 3589: 3580: 3578:Ettlingers, 11 3568: 3555: 3541: 3539:Lightbown, 180 3532: 3507: 3498: 3489: 3464: 3434: 3412: 3392: 3383: 3374: 3365: 3356: 3347: 3338: 3329: 3320: 3311: 3302: 3293: 3284: 3275: 3266: 3257: 3248: 3239: 3230: 3221: 3219:Ettlingers, 10 3212: 3203: 3194: 3185: 3176: 3167: 3158: 3143: 3134: 3125: 3108: 3099: 3090: 3081: 3079:Ettlingers, 12 3072: 3060: 3048: 3039: 3030: 3018: 3009: 3000: 2985: 2962: 2953: 2930: 2912: 2899: 2897: 2894: 2893: 2892: 2885: 2882: 2881: 2880: 2871: 2864: 2862: 2850: 2843: 2841: 2827: 2820: 2818: 2812: 2805: 2719:Venus and Mars 2679:Berlin gallery 2675:Birth of Venus 2621:Sistine Chapel 2604: 2601: 2584:Jacques Mesnil 2560: 2557: 2551: 2548: 2546: 2543: 2500: 2497: 2479: 2476: 2462:artist's guild 2436:Carlo Crivelli 2244:(c. 1494–95). 2232: 2229: 2149: 2146: 2145: 2144: 2141: 2134: 2132: 2129: 2122: 2120: 2117: 2110: 2108: 2105: 2098: 2096: 2093: 2086: 2016:Baccio Baldini 1992:Baccio Baldini 1983: 1980: 1979: 1978: 1964: 1957: 1955: 1938: 1931: 1929: 1909: 1902: 1900: 1886: 1879: 1877: 1863: 1856: 1854: 1840: 1833: 1831: 1815: 1808: 1806: 1794: 1787: 1785: 1778: 1771: 1721:Venus and Mars 1697: 1694: 1669:to her cousin 1659:Gospel of Luke 1569: 1566: 1565: 1564: 1556: 1491-93 1545: 1538: 1536: 1528: 1490-95 1517: 1510: 1508: 1504: 1489-90 1493: 1486: 1359: 1356: 1334: 1329: 1265: 1260: 1203: 1200: 1134:Venus and Mars 1120:Venus and Mars 1070:art historians 1059:Venus and Mars 1038:(c. 1482) and 973: 970: 940:Youth of Moses 889:Youth of Moses 870:Life of Christ 850:Sistine Chapel 846:Pope Sixtus IV 839:Sistine Chapel 834:Youth of Moses 825: 824:Sistine Chapel 822: 821: 820: 811: 804: 802: 790: 783: 781: 773: 766: 764: 742: 735: 561: 558: 462: 459: 409:Giorgio Vasari 385: 382: 357:Sistine Chapel 343:, both in the 202: 201: 198: 197: 189: 188: 184: 183: 180: 179: 174: 170: 169: 146: 140: 139: 136: 135:Known for 132: 131: 126: 122: 121: 118: 114: 113: 110: 102: 98: 97: 85: 74: 72: 68: 67: 54: 46: 45: 42: 26: 9: 6: 4: 3: 2: 7360: 7349: 7346: 7344: 7341: 7339: 7336: 7334: 7331: 7329: 7326: 7324: 7321: 7319: 7316: 7314: 7311: 7309: 7306: 7304: 7301: 7299: 7296: 7294: 7291: 7289: 7286: 7284: 7281: 7279: 7276: 7275: 7273: 7256: 7253: 7252: 7251: 7248: 7246: 7243: 7241: 7238: 7236: 7233: 7231: 7228: 7226: 7223: 7221: 7218: 7217: 7215: 7211: 7205: 7202: 7200: 7197: 7195: 7192: 7190: 7187: 7185: 7182: 7181: 7179: 7175: 7169: 7166: 7165: 7163: 7159: 7153: 7150: 7148: 7145: 7143: 7140: 7139: 7137: 7133: 7123: 7120: 7118: 7115: 7114: 7112: 7108: 7102: 7099: 7098: 7096: 7092: 7086: 7083: 7081: 7078: 7077: 7075: 7071: 7065: 7062: 7060: 7057: 7056: 7054: 7050: 7044: 7041: 7039: 7036: 7034: 7031: 7029: 7026: 7024: 7021: 7019: 7016: 7014: 7011: 7007: 7004: 7003: 7002: 6999: 6997: 6994: 6992: 6989: 6987: 6984: 6983: 6981: 6977: 6974: 6970: 6960: 6957: 6953: 6950: 6948: 6945: 6944: 6943: 6939: 6936: 6934: 6931: 6930: 6928: 6924: 6918: 6915: 6913: 6910: 6908: 6905: 6903: 6900: 6898: 6895: 6893: 6890: 6888: 6885: 6884: 6882: 6878: 6872: 6869: 6867: 6864: 6863: 6861: 6857: 6851: 6848: 6846: 6843: 6841: 6838: 6836: 6833: 6831: 6828: 6826: 6823: 6821: 6818: 6816: 6815:Palazzo Pitti 6813: 6811: 6808: 6806: 6803: 6801: 6798: 6797: 6795: 6791: 6785: 6782: 6780: 6777: 6775: 6772: 6770: 6767: 6765: 6762: 6760: 6757: 6755: 6752: 6750: 6747: 6745: 6742: 6740: 6737: 6735: 6732: 6730: 6727: 6725: 6722: 6720: 6719:Cerreto Guidi 6717: 6715: 6712: 6710: 6707: 6705: 6702: 6700: 6697: 6695: 6692: 6690: 6687: 6685: 6682: 6680: 6677: 6675: 6672: 6670: 6669:Collesalvetti 6667: 6665: 6662: 6660: 6657: 6655: 6652: 6650: 6647: 6645: 6642: 6641: 6639: 6637: 6633: 6630: 6626: 6621: 6620:Festina Lente 6615: 6601: 6598: 6597: 6595: 6591: 6585: 6582: 6580: 6577: 6575: 6572: 6571: 6569: 6565: 6559: 6556: 6554: 6551: 6549: 6546: 6544: 6541: 6540: 6538: 6534: 6528: 6525: 6523: 6520: 6518: 6515: 6513: 6510: 6508: 6505: 6503: 6500: 6498: 6495: 6493: 6489: 6485: 6482: 6480: 6477: 6475: 6472: 6470: 6467: 6465: 6462: 6460: 6457: 6455: 6452: 6449: 6446: 6444: 6441: 6439:(Clement VII) 6438: 6435: 6432: 6428: 6425: 6424: 6422: 6418: 6412: 6409: 6407: 6404: 6402: 6399: 6398: 6396: 6392: 6386: 6383: 6381: 6378: 6377: 6375: 6371: 6365: 6362: 6360: 6357: 6355: 6354:Ferdinando II 6352: 6350: 6347: 6345: 6342: 6340: 6337: 6335: 6332: 6331: 6329: 6327: 6323: 6317: 6314: 6312: 6309: 6308: 6306: 6304: 6300: 6294: 6291: 6289: 6286: 6284:(Clement VII) 6283: 6280: 6278: 6275: 6273: 6270: 6268: 6265: 6263: 6260: 6258: 6255: 6253: 6250: 6248: 6245: 6244: 6242: 6238: 6235: 6231: 6227: 6220: 6215: 6213: 6208: 6206: 6201: 6200: 6197: 6185: 6180: 6175: 6173: 6163: 6162: 6159: 6156: 6153: 6150: 6148: 6145: 6143: 6140: 6138: 6135: 6133: 6130: 6127: 6124: 6122: 6119: 6117: 6114: 6112: 6109: 6107: 6103: 6100: 6099: 6096: 6089: 6088: 6084: 6082: 6079: 6077: 6076:Room of Tears 6074: 6072: 6069: 6067: 6064: 6062: 6059: 6058: 6056: 6052: 6046: 6045: 6041: 6040: 6038: 6034: 6028: 6027: 6023: 6022: 6020: 6016: 6006: 6005: 6001: 5999: 5998: 5997:Cumaean Sibyl 5994: 5992: 5991: 5990:Delphic Sibyl 5987: 5985: 5984: 5980: 5978: 5977: 5976:Persian Sibyl 5973: 5972: 5970: 5966: 5960: 5959: 5955: 5953: 5952: 5948: 5946: 5943: 5941: 5940: 5936: 5934: 5931: 5929: 5928: 5924: 5922: 5921: 5917: 5916: 5914: 5910: 5904: 5901: 5899: 5896: 5894: 5891: 5889: 5886: 5884: 5881: 5879: 5878: 5874: 5872: 5869: 5867: 5866: 5862: 5860: 5859: 5855: 5854: 5852: 5846: 5843: 5840: 5835: 5831: 5825: 5824: 5820: 5818: 5817: 5813: 5811: 5810: 5806: 5804: 5803: 5799: 5797: 5796: 5792: 5790: 5789: 5785: 5784: 5782: 5780: 5775: 5770: 5760: 5759: 5755: 5753: 5752: 5748: 5746: 5745: 5741: 5739: 5738: 5734: 5732: 5731: 5727: 5725: 5724: 5720: 5719: 5717: 5715: 5710: 5706: 5698: 5693: 5691: 5686: 5684: 5679: 5678: 5675: 5663: 5660: 5658: 5656: 5652: 5651: 5649: 5645: 5639: 5638: 5634: 5631: 5630: 5626: 5623: 5622: 5618: 5615: 5614: 5610: 5608: 5607: 5603: 5601: 5600: 5596: 5593: 5592: 5588: 5586: 5585: 5581: 5580: 5578: 5574: 5568: 5567: 5563: 5561: 5560: 5556: 5554: 5553: 5549: 5545: 5542: 5540: 5537: 5536: 5535:Annunciation 5534: 5532: 5531: 5527: 5525: 5524: 5520: 5518: 5517: 5513: 5511: 5510: 5506: 5504: 5503: 5502:Bardi Madonna 5499: 5496: 5495: 5491: 5488: 5487: 5483: 5480: 5479: 5475: 5473: 5472: 5468: 5466: 5465: 5461: 5459: 5458: 5454: 5451: 5450: 5446: 5444: 5443: 5439: 5436: 5435: 5431: 5430: 5428: 5424: 5418: 5417: 5413: 5411: 5410: 5406: 5404: 5403: 5399: 5397: 5396: 5392: 5390: 5389: 5385: 5382: 5381: 5377: 5374: 5373: 5369: 5366: 5365: 5361: 5358: 5357: 5353: 5351: 5350: 5346: 5344: 5343: 5338: 5337: 5332: 5331: 5326: 5323: 5320: 5319: 5315: 5313: 5312: 5308: 5306: 5305: 5301: 5298: 5297: 5293: 5291: 5290: 5286: 5284: 5283: 5279: 5277: 5276: 5272: 5271: 5269: 5265: 5260: 5250: 5249: 5245: 5243: 5242: 5238: 5236: 5235: 5231: 5229: 5228: 5224: 5222: 5221: 5217: 5215: 5214: 5213:Divine Comedy 5209: 5207: 5206: 5202: 5200: 5199: 5195: 5193: 5192: 5188: 5186: 5185: 5181: 5179: 5178: 5174: 5172: 5171: 5167: 5166: 5164: 5160: 5156: 5155:List of works 5151: 5147: 5140: 5135: 5133: 5128: 5126: 5121: 5120: 5117: 5110: 5109: 5104: 5103: 5098: 5095: 5094: 5090: 5086: 5085: 5079: 5074: 5070: 5067: 5064: 5061: 5058: 5055: 5052: 5048: 5044: 5040: 5036: 5035: 5026: 5022: 5019: 5016: 5013: 5009: 5006: 5002: 4998: 4994: 4991: 4990: 4981: 4977: 4974: 4971: 4967: 4964: 4962: 4956: 4952: 4949: 4947: 4946:0-517-56274-X 4943: 4939: 4935: 4932: 4929: 4925: 4922: 4920: 4919:0-224-06167-4 4916: 4912: 4908: 4906: 4902: 4898: 4894: 4891: 4889: 4888:1-904449-21-2 4885: 4881: 4877: 4875: 4874:0-300-06883-2 4871: 4867: 4863: 4860: 4859: 4854: 4850: 4847: 4843: 4841: 4840:0-500-23510-4 4837: 4833: 4829: 4826: 4824: 4823:0-500-20153-6 4820: 4816: 4812: 4808: 4806: 4802: 4799: 4795: 4791: 4789: 4788:0-901791-29-6 4785: 4781: 4777: 4774: 4772: 4771:0-300-04675-8 4768: 4764: 4760: 4757: 4756: 4736: 4732: 4728: 4722: 4706: 4702: 4698: 4691: 4682: 4673: 4666: 4663: 4659: 4658:Michael Levey 4653: 4647: 4646:1-85177-394-0 4643: 4639: 4635: 4630: 4615: 4611: 4604: 4595: 4586: 4580:Lightbown, 14 4577: 4568: 4559: 4550: 4548: 4546: 4538: 4534: 4529: 4522: 4516: 4510:, Paris, 1938 4509: 4503: 4496: 4490: 4483: 4477: 4470: 4466: 4462: 4456: 4449: 4443: 4432:September 13, 4427: 4423: 4417: 4413: 4409: 4408: 4403: 4397: 4381: 4377: 4373: 4366: 4360:Lightbown, 44 4357: 4348: 4341: 4337: 4334: 4329: 4320: 4311: 4302: 4293: 4284: 4275: 4269:Lightbown, 17 4266: 4257: 4248: 4246: 4236: 4230: 4228: 4221: 4212: 4203: 4194: 4185: 4176: 4167: 4158: 4149: 4140: 4131: 4122: 4113: 4104: 4095: 4093: 4083: 4073: 4064: 4055: 4049:Lightbown, 58 4046: 4037: 4028: 4012: 4008: 4006:9781786565082 4002: 3998: 3997: 3989: 3980: 3971: 3962: 3953: 3951: 3941: 3932: 3923: 3914: 3905: 3896: 3890:Davies, 98-99 3887: 3878: 3869: 3860: 3844: 3840: 3836: 3830: 3821: 3812: 3803: 3794: 3785: 3776: 3767: 3761: 3760: 3755: 3749: 3740: 3731: 3722: 3716:Lightbown, 47 3713: 3707:Lightbown, 82 3704: 3702: 3692: 3683: 3674: 3665: 3656: 3647: 3638: 3629: 3620: 3611: 3602: 3593: 3584: 3575: 3573: 3565: 3559: 3550: 3548: 3546: 3536: 3521: 3517: 3511: 3502: 3493: 3487: 3483: 3480: 3476: 3475: 3468: 3452: 3448: 3444: 3438: 3431: 3419: 3415: 3413:0-520-03372-8 3409: 3405: 3404: 3396: 3387: 3378: 3369: 3360: 3351: 3342: 3333: 3324: 3315: 3306: 3297: 3288: 3279: 3270: 3261: 3252: 3246:Lightbown, 77 3243: 3237:Lightbown, 70 3234: 3225: 3216: 3207: 3198: 3192:Lightbown, 52 3189: 3180: 3171: 3165:Lightbown, 50 3162: 3154: 3147: 3138: 3129: 3122: 3118: 3112: 3103: 3094: 3085: 3076: 3067: 3065: 3058:Lightbown, 18 3055: 3053: 3043: 3037:Lightbown, 19 3034: 3028:Ettlingers, 7 3025: 3023: 3013: 3004: 2996: 2992: 2988: 2986:0-89468-305-5 2982: 2978: 2977: 2969: 2967: 2957: 2949: 2945: 2941: 2934: 2926: 2922: 2916: 2907: 2905: 2900: 2891: 2888: 2887: 2878: 2874: 2868: 2863: 2853: 2847: 2842: 2832: 2831: 2824: 2819: 2815: 2809: 2804: 2803: 2802: 2800: 2795: 2793: 2792: 2787: 2782: 2780: 2779:Herbert Horne 2776: 2772: 2768: 2764: 2760: 2758: 2754: 2750: 2746: 2741: 2739: 2735: 2734: 2729: 2725: 2721: 2720: 2715: 2712:in 1857, the 2711: 2707: 2703: 2702: 2697: 2692: 2690: 2686: 2685: 2680: 2676: 2661: 2660: 2655: 2651: 2649: 2645: 2640: 2638: 2634: 2629: 2624: 2622: 2614: 2609: 2600: 2596: 2593: 2589: 2585: 2580: 2578: 2574: 2570: 2565: 2556: 2545:Personal life 2542: 2540: 2535: 2531: 2529: 2528:Neri di Bicci 2515: 2511: 2510: 2505: 2496: 2494: 2490: 2486: 2475: 2473: 2472: 2467: 2463: 2459: 2458:confraternity 2454: 2452: 2447: 2445: 2441: 2437: 2433: 2429: 2428: 2422: 2420: 2416: 2412: 2408: 2407: 2401: 2399: 2395: 2391: 2390: 2382: 2371: 2370: 2365: 2361: 2359: 2358: 2353: 2352: 2347: 2343: 2339: 2338: 2331: 2329: 2328: 2323: 2317: 2314: 2306: 2302: 2298: 2297: 2292: 2288: 2286: 2285: 2280: 2273: 2271: 2264: 2262: 2258: 2255: 2247: 2243: 2242: 2237: 2228: 2226: 2221: 2216: 2214: 2210: 2206: 2205: 2204:Seven Virtues 2200: 2196: 2191: 2188: 2184: 2183:Medici family 2180: 2176: 2172: 2164: 2160: 2159: 2154: 2138: 2133: 2126: 2121: 2114: 2109: 2102: 2097: 2090: 2085: 2084: 2083: 2081: 2076: 2072: 2070: 2066: 2065:underdrawings 2062: 2058: 2053: 2050: 2046: 2045: 2044:Divine Comedy 2036: 2031: 2027: 2025: 2021: 2017: 2013: 2007: 2005: 2001: 1993: 1990:Engraving by 1988: 1969: 1968: 1961: 1956: 1945: 1941: 1935: 1930: 1926: 1922: 1918: 1914: 1913: 1906: 1901: 1891: 1890: 1883: 1878: 1868: 1867: 1860: 1855: 1845: 1844: 1837: 1832: 1828: 1824: 1820: 1819: 1812: 1807: 1803: 1799: 1798: 1791: 1786: 1782: 1775: 1770: 1769: 1768: 1766: 1762: 1758: 1754: 1750: 1746: 1745:self-portrait 1741: 1737: 1733: 1731: 1727: 1723: 1722: 1712: 1708: 1707: 1702: 1693: 1691: 1687: 1683: 1679: 1676:Botticelli's 1674: 1672: 1668: 1664: 1660: 1656: 1655: 1650: 1649: 1643: 1641: 1637: 1630: 1626: 1622: 1617: 1613: 1611: 1606: 1601: 1598: 1597: 1592: 1588: 1580: 1579: 1574: 1561: 1550: 1549: 1542: 1537: 1533: 1522: 1521: 1514: 1509: 1498: 1497: 1490: 1485: 1484: 1483: 1479: 1477: 1473: 1472:Mary Magdalen 1469: 1465: 1461: 1457: 1456: 1451: 1445: 1443: 1439: 1435: 1430: 1426: 1422: 1418: 1414: 1406: 1402: 1401: 1396: 1392: 1389: 1385: 1384: 1378: 1376: 1375: 1370: 1366: 1355: 1353: 1352: 1347: 1342: 1341: 1333: 1325: 1321: 1317: 1315: 1310: 1307: 1303: 1299: 1295: 1294: 1289: 1285: 1284: 1275: 1270: 1264: 1259: 1257: 1253: 1249: 1245: 1241: 1237: 1233: 1229: 1224: 1222: 1218: 1214: 1210: 1199: 1197: 1196: 1191: 1187: 1186: 1181: 1177: 1176: 1170: 1167: 1166: 1161: 1157: 1152: 1150: 1146: 1142: 1141: 1136: 1135: 1126: 1122: 1121: 1116: 1112: 1110: 1106: 1102: 1098: 1094: 1089: 1087: 1083: 1077: 1075: 1071: 1067: 1066: 1061: 1060: 1055: 1051: 1047: 1043: 1042: 1037: 1036: 1028: 1024: 1020: 1019: 1014: 1008: 1004: 1000: 996: 992: 988: 984: 983: 978: 969: 966: 963:, now in the 962: 958: 957: 952: 948: 943: 941: 937: 932: 930: 926: 918: 917: 912: 908: 905: 901: 897: 896: 891: 890: 885: 884: 879: 878: 872: 871: 865: 863: 859: 855: 851: 847: 840: 836: 835: 830: 817: 816: 808: 803: 793: 787: 782: 778: 777: 776:St. Sebastian 770: 765: 762: 759:, called the 758: 747: 746: 739: 734: 733: 732: 730: 726: 722: 721: 716: 712: 711: 705: 703: 699: 695: 691: 687: 683: 682: 677: 673: 669: 664: 662: 658: 654: 650: 646: 642: 638: 627: 623: 622: 613: 612: 607: 603: 601: 597: 592: 590: 586: 582: 578: 577: 571: 569: 568: 557: 555: 551: 547: 543: 542: 537: 533: 528: 526: 522: 521:Seven Virtues 518: 517: 511: 509: 505: 501: 497: 493: 489: 482: 471: 467: 458: 454: 452: 448: 442: 440: 436: 432: 428: 422: 420: 416: 415: 410: 405: 403: 399: 390: 381: 379: 375: 371: 367: 366: 360: 358: 354: 350: 346: 342: 341: 336: 335: 330: 326: 321: 319: 314: 310: 306: 301: 293: 292: 279: 240: 229: 215: 214: 208: 199: 195: 190: 185: 181: 178: 175: 171: 168: 164: 163: 158: 157: 152: 151: 147: 141: 137: 133: 130: 129:Filippo Lippi 127: 123: 119: 115: 103: 99: 92: 88: 73: 69: 64: 63: 58: 57:self-portrait 52: 47: 40: 37: 33: 19: 7283:1440s births 7184:Medici lions 7161:Institutions 7001:Michelangelo 6990: 6959:Old Sacristy 6947:New Sacristy 6820:Villa Medici 6744:L'Ambrogiana 6729:Arena Metato 6619: 6579:Don Giovanni 6487: 6469:Giovan Carlo 6459:Ferdinando I 6426: 6364:Gian Gastone 6344:Ferdinando I 6147:Michelangelo 6110: 6101: 6085: 6081:Vatican City 6042: 6024: 6004:Libyan Sibyl 6002: 5995: 5988: 5981: 5974: 5956: 5949: 5944: 5937: 5932: 5925: 5918: 5902: 5897: 5892: 5887: 5882: 5875: 5870: 5863: 5856: 5821: 5814: 5807: 5800: 5793: 5786: 5756: 5749: 5742: 5735: 5728: 5721: 5654: 5635: 5627: 5619: 5611: 5604: 5597: 5589: 5582: 5564: 5557: 5550: 5528: 5521: 5514: 5507: 5500: 5492: 5489:(Strasbourg) 5484: 5476: 5469: 5462: 5455: 5447: 5440: 5432: 5414: 5407: 5400: 5393: 5386: 5378: 5370: 5362: 5354: 5347: 5340: 5334: 5329: 5316: 5309: 5302: 5294: 5287: 5280: 5273: 5246: 5239: 5232: 5225: 5218: 5212: 5203: 5196: 5189: 5182: 5175: 5168: 5145: 5106: 5100: 5092: 5082: 5047:the original 5042: 5039:"Botticelli" 5024: 5014: 4996: 4979: 4960: 4954: 4937: 4927: 4910: 4896: 4879: 4865: 4856: 4831: 4814: 4779: 4762: 4741:February 19, 4739:. Retrieved 4730: 4721: 4709:. Retrieved 4690: 4681: 4672: 4664: 4661: 4652: 4633: 4629: 4617:. Retrieved 4613: 4603: 4594: 4585: 4576: 4567: 4558: 4536: 4532: 4528: 4520: 4515: 4507: 4502: 4494: 4489: 4476: 4460: 4455: 4447: 4442: 4430:. Retrieved 4412:Random House 4406: 4396: 4384:. Retrieved 4375: 4365: 4356: 4347: 4328: 4319: 4310: 4301: 4292: 4283: 4274: 4265: 4256: 4235: 4226: 4220: 4211: 4202: 4193: 4184: 4175: 4166: 4157: 4148: 4139: 4130: 4121: 4112: 4103: 4082: 4072: 4063: 4054: 4045: 4036: 4027: 4015:. Retrieved 3995: 3988: 3979: 3970: 3961: 3940: 3931: 3922: 3913: 3904: 3895: 3886: 3877: 3868: 3859: 3847:. Retrieved 3838: 3829: 3824:Campbell, 12 3820: 3811: 3802: 3793: 3784: 3775: 3766: 3756: 3748: 3739: 3730: 3721: 3712: 3691: 3682: 3673: 3664: 3655: 3646: 3637: 3628: 3619: 3610: 3601: 3592: 3583: 3558: 3535: 3523:. Retrieved 3519: 3510: 3501: 3492: 3472: 3467: 3455:. Retrieved 3446: 3437: 3429: 3424:December 12, 3422:. Retrieved 3402: 3395: 3386: 3377: 3368: 3359: 3350: 3341: 3332: 3323: 3314: 3305: 3300:Shearman, 47 3296: 3287: 3278: 3269: 3260: 3251: 3242: 3233: 3224: 3215: 3206: 3197: 3188: 3179: 3170: 3161: 3152: 3146: 3137: 3128: 3116: 3111: 3102: 3093: 3084: 3075: 3042: 3033: 3012: 3003: 2975: 2956: 2944:sothebys.com 2943: 2933: 2924: 2915: 2872: 2851: 2830:Annunciation 2828: 2813: 2798: 2796: 2789: 2783: 2769:. The first 2763:Walter Pater 2761: 2742: 2731: 2727: 2722:, bought at 2717: 2699: 2693: 2682: 2674: 2672: 2657: 2641: 2627: 2625: 2617: 2612: 2597: 2581: 2566: 2562: 2553: 2538: 2536: 2532: 2525: 2513: 2507: 2492: 2481: 2469: 2455: 2448: 2432:Fra Angelico 2425: 2423: 2404: 2402: 2387: 2386: 2368: 2355: 2349: 2335: 2332: 2325: 2322:Michelangelo 2318: 2310: 2294: 2282: 2275: 2269: 2266: 2251: 2239: 2217: 2212: 2202: 2198: 2192: 2168: 2156: 2077: 2073: 2054: 2042: 2040: 2008: 2003: 1997: 1965: 1939: 1921:engraved gem 1910: 1887: 1864: 1841: 1816: 1795: 1781:Pitti Palace 1748: 1742: 1738: 1734: 1729: 1719: 1716: 1704: 1690:Annunciation 1689: 1685: 1677: 1675: 1652: 1646: 1644: 1633: 1620: 1609: 1602: 1594: 1584: 1576: 1546: 1519: 1494: 1480: 1460:Holy Trinity 1453: 1446: 1420: 1413:Lamentations 1412: 1410: 1398: 1381: 1379: 1372: 1368: 1364: 1361: 1349: 1339: 1338: 1336: 1331: 1323: 1314:Bardi family 1311: 1291: 1282: 1281: 1279: 1273: 1262: 1225: 1219:in 1485 for 1205: 1193: 1183: 1173: 1171: 1163: 1153: 1138: 1132: 1130: 1118: 1108: 1104: 1096: 1092: 1090: 1078: 1063: 1058: 1039: 1033: 1031: 1016: 991:Three Graces 980: 960: 954: 946: 944: 939: 933: 922: 914: 893: 887: 882: 874: 869: 866: 854:Michelangelo 843: 832: 813: 791: 774: 760: 748:altarpiece, 743: 720:Saint Jerome 718: 708: 706: 690:Pazzi family 679: 665: 640: 619: 617: 609: 593: 574: 572: 565: 563: 539: 535: 529: 514: 512: 485: 469: 455: 443: 423: 412: 406: 395: 363: 361: 338: 332: 324: 322: 304: 303:) or simply 238: 227: 226: 211: 160: 154: 148: 144:Notable work 106:(1510-05-17) 104:May 17, 1510 60: 36: 7288:1510 deaths 7194:Medici Vase 7168:Medici Bank 7122:Jacopo Peri 6942:San Lorenzo 6933:Magi Chapel 6567:Condottieri 6488:female line 6406:Clement VII 6339:Francesco I 6090:(1965 film) 5848:Scenes from 5703:Art of the 5624:(Frankfurt) 5621:Young Woman 4976:Wind, Edgar 4619:February 1, 4614:ARTnews.com 4589:Davies, 106 4278:Vasari, 155 4251:Vasari, 154 4098:Vasari, 152 3770:Campbell, 6 3614:Legouix, 38 3457:December 7, 2859: 1496 2838: 1490 2775:Aby Warburg 2681:bought the 2667: 1480 2573:John Ruskin 2521: 1487 2478:Other media 2451:physiognomy 2394:iconography 2377: 1500 2299:, c. 1500. 2248:, Florence. 2225:John Ruskin 2165:, Florence. 2161:, c. 1482. 2024:printmaking 1975: 1495 1951: 1480 1915:, possibly 1896: 1482 1873: 1480 1850: 1480 1779:Young Man, 1591:Virgin Mary 1438:Saint Peter 1411:Of the two 1358:Other works 1248:altarpieces 1149:conch shell 1086:John Ruskin 1021:, c. 1485. 799: 1478 753: 1470 647:, his sons 633: 1475 477: 1470 235: 1445 167:Other works 117:Nationality 94:(now Italy) 82: 1445 7272:Categories 7245:Savonarola 7094:Scientists 7028:Michelozzo 6880:Fortresses 6724:Marignolle 6704:Camugliano 6699:La Petraia 6694:Spedaletto 6684:Mezzomonte 6644:Cafaggiolo 6448:Alessandro 6359:Cosimo III 6277:Lorenzo II 6036:Tapestries 6018:Altar wall 5632:(Florence) 5437:(Florence) 5299:(Florence) 4880:Botticelli 4815:Botticelli 4753:References 4711:August 11, 4640:, p.95-96 4508:Botticelli 4386:August 10, 4227:Botticelli 4031:Hartt, 323 3983:Landau, 95 3525:January 8, 3447:www.wga.hu 3336:Hartt, 327 3201:Hartt, 324 3155:: 137–167. 2736:, sold at 2724:Christie's 2710:Manchester 2592:Savonarola 2577:Ognissanti 2231:Last years 2179:golden age 2148:The Medici 2012:engravings 1753:Tornabuoni 1682:flak tower 1667:Visitation 1654:Magnificat 1636:Savonarola 1306:banderoles 641:Adorations 596:Camposanto 402:Ognissanti 384:Early life 305:Botticelli 18:Botticelli 7250:TV series 7110:Musicians 7023:Donatello 6972:Patronage 6779:Seravezza 6714:La Topaia 6664:La Quiete 6628:Buildings 6593:Genealogy 6484:Francesco 6427:male line 6420:Cardinals 6349:Cosimo II 5945:Zechariah 5898:The Flood 5629:Young Man 5613:Young Man 5591:Young Man 5576:Portraits 5452:(Avignon) 5375:(Trinity) 5267:Religious 5177:Primavera 5170:Fortitude 4533:Primavera 3849:March 29, 2948:Sotheby's 2771:monograph 2738:Sotheby's 2582:In 1938, 2559:Sexuality 2485:vestments 2444:Mannerism 2383:, London. 2263:in 1498: 2261:execution 2199:Fortitude 2080:pamphlets 2061:parchment 1800:, 1470s, 1696:Portraits 1671:Elizabeth 1581:, c. 1483 1442:Jerusalem 1407:, Munich. 1195:Decameron 1190:Boccaccio 1175:spalliera 1140:spalliera 1105:Primavera 1093:Primavera 1035:Primavera 982:Primavera 929:pilasters 844:In 1481, 516:Fortitude 419:goldsmith 411:, in his 340:Primavera 307:, was an 187:Signature 150:Primavera 125:Education 55:Probable 7255:episodes 7135:Heraldry 6917:Volterra 6897:Piombino 6892:Grosseto 6845:Materdei 6769:Artimino 6749:La Màgia 6679:Castello 6553:Giuliano 6474:Leopoldo 6454:Giovanni 6450:(Leo XI) 6443:Ippolito 6431:Giovanni 6380:Caterina 6334:Cosimo I 6316:Cosimo I 6288:Ippolito 6272:Giuliano 5927:Jeremiah 5912:Prophets 5777:Life of 5712:Life of 5594:(London) 5544:New York 5497:(Boston) 5481:(Naples) 5426:Madonnas 5359:(Munich) 5075:(1911). 4966:Archived 4849:Archived 4801:Archived 4735:Archived 4705:Archived 4426:Archived 4404:(2007). 4380:Archived 4336:Archived 4011:Archived 3843:Archived 3482:Archived 3451:Archived 3418:Archived 2995:52687917 2884:See also 2550:Finances 2499:Workshop 2493:commesso 2489:appliqué 2419:marzocco 2342:allegory 2270:piagnoni 2195:Giuliano 2181:". The 1730:Madonnas 1562:, London 1369:predella 1351:predella 1244:Volterra 1236:Perugino 1127:, London 1095:and the 1027:Florence 1007:Zephyrus 936:triptych 900:lunettes 875:Life of 873:and the 729:Umiliati 666:A large 661:Giuliano 653:Giovanni 398:Florence 349:Florence 320:period. 296:Italian: 173:Movement 138:Painting 87:Florence 7235:Albizzi 7213:Related 6926:Chapels 6902:Pistoia 6830:Livorno 6793:Palaces 6759:Coltano 6754:Liliano 6739:Lapeggi 6709:Stabbia 6659:Fiesole 6654:Careggi 6649:Trebbio 6584:Mattias 6543:Filippo 6433:(Leo X) 6152:Raphael 6054:Related 5933:Ezekiel 5850:Genesis 5839:Gallery 5834:Ceiling 5647:Related 5539:Glascow 5383:(Milan) 5162:Secular 5007:), 2023 4963:on-line 4959:Vasari 4701:Variety 4229:, 26–28 4017:July 4, 3553:Dempsey 2633:Cimabue 2346:Apelles 1688:and an 1663:1:46–55 1645:In the 1534:, Milan 1256:mosaics 1180:cassone 1003:Chloris 987:Mercury 812:Fresco 672:hanging 657:Lorenzo 541:cassoni 500:Spoleto 479:–1475, 437:, from 120:Italian 65:(1475). 6887:Arezzo 6784:Madama 6689:Agnano 6636:Villas 6558:Zanobi 6437:Giulio 6411:Leo XI 6282:Giulio 6233:People 5968:Sibyls 5958:Daniel 5951:Isaiah 5779:Christ 4951:Vasari 4944: 4917: 4903: 4886: 4872: 4838: 4821: 4786: 4769: 4644: 4467: 4418: 4003: 3410: 2993: 2983: 2816:, 1490 2588:sodomy 2305:Boston 2246:Uffizi 2163:Uffizi 2049:cantos 1875:-1485. 1765:Louvre 1468:votive 1238:, for 1221:Venice 1145:satyrs 1046:Uffizi 1023:Uffizi 989:, the 779:, 1474 757:Uffizi 668:fresco 637:Uffizi 552:, the 548:, the 546:Louvre 481:Louvre 451:Medici 345:Uffizi 6912:Siena 6464:Carlo 6401:Leo X 6394:Popes 6385:Maria 5920:Jonah 5714:Moses 3759:image 3479:JSTOR 2896:Notes 2409:(now 2379:–01) 2327:David 1953:–1485 1898:-1485 1852:–1485 1711:gesso 1605:tondo 1213:Milan 1156:Venus 1097:Birth 999:Flora 995:Venus 877:Moses 755:-72, 694:tondo 649:Piero 492:Prato 329:tondo 6840:Pisa 6774:Buti 5939:Joel 5339:and 4961:Life 4942:ISBN 4915:ISBN 4901:ISBN 4884:ISBN 4870:ISBN 4836:ISBN 4819:ISBN 4784:ISBN 4767:ISBN 4743:2014 4713:2017 4642:ISBN 4621:2021 4535:and 4465:ISBN 4434:2020 4416:ISBN 4388:2009 4019:2020 4001:ISBN 3851:2019 3527:2021 3459:2020 3426:2015 3408:ISBN 2991:OCLC 2981:ISBN 2751:and 2673:The 2628:Life 2613:Life 2354:and 2041:The 2004:Life 1759:and 1272:The 1230:and 1091:The 1062:and 945:The 892:and 659:and 651:and 624:for 618:The 414:Life 353:Pisa 337:and 289:CHEL 287:-ih- 101:Died 71:Born 7177:Art 6104:: 6102:Key 5105:in 2669:–3. 2516:), 2495:). 2413:at 2324:'s 2059:on 1417:one 1192:'s 1178:or 506:or 347:in 291:-ee 285:BOT 7274:: 6940:, 6490:: 6429:: 5333:, 5327:: 5081:. 5041:. 5023:, 4999:, 4995:, 4978:, 4926:; 4895:, 4855:, 4830:, 4778:, 4761:, 4729:. 4703:. 4699:. 4665:23 4636:, 4612:. 4544:^ 4424:. 4410:. 4378:. 4374:. 4244:^ 4091:^ 4009:. 3949:^ 3841:. 3837:. 3757:; 3700:^ 3571:^ 3544:^ 3518:. 3449:. 3445:. 3428:. 3416:. 3063:^ 3051:^ 3021:^ 2989:. 2965:^ 2946:. 2942:. 2923:. 2903:^ 2875:, 2856:c. 2854:, 2835:c. 2833:, 2794:. 2747:; 2664:c. 2662:, 2518:c. 2474:. 2374:c. 2303:, 1972:c. 1970:, 1948:c. 1946:, 1893:c. 1870:c. 1847:c. 1825:. 1767:. 1732:. 1692:. 1627:, 1553:c. 1551:, 1525:c. 1523:, 1501:c. 1499:, 1478:. 1415:, 1223:. 1025:, 1005:, 1001:, 997:, 993:, 886:, 837:, 796:c. 794:, 750:c. 630:c. 474:c. 472:, 421:. 294:; 266:tʃ 232:c. 218:c. 89:, 79:c. 6218:e 6211:t 6204:v 5841:) 5837:( 5696:e 5689:t 5682:v 5138:e 5131:t 5124:v 4745:. 4715:. 4623:. 4436:. 4390:. 4021:. 3853:. 3752:" 3529:. 3461:. 3123:. 2997:. 2950:. 2927:. 2512:( 2372:( 1927:. 1804:. 1661:( 628:( 368:( 278:/ 275:i 272:l 269:ɛ 263:ˈ 260:ɪ 257:t 254:ɒ 251:b 248:ˌ 245:/ 241:( 230:( 223:) 216:( 34:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index