Sandro Botticelli - Knowledge

1894: 2102: 2090: 2856: 900: 2643: 775: 1779: 1002: 1690: 727: 1825: 1800: 1562: 1258: 818: 2126: 2114: 1478: 2142: 6156: 2078: 3999: 2493: 2628:, 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. 361:, 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 1871: 1502: 6603: 1309: 183: 2453:) 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 1923: 916:, 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 2812: 1530: 2797: 1631:(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. 1104: 2064:

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.

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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.

1976: 1763: 758: 2019: 196: 1949: 5248: 2225: 1384: 40: 5758: 966: 455: 378: 2597: 2381:, 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 6168: 2280: 1605: 595: 2519:. 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. 1725:

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.

1132:, 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 576:(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 393:("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. 2523:

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.

632:), 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 931:. 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. 1305:, 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. 3406: 1893: 479:, 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 2552:

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",

2410:, 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. 2304:

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

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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.

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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

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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

1337:. 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 1332:

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

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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

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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

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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

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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

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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

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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

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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

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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,

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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

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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

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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

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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

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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.

1627:'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 1588:

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.

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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

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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

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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.

716:. 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 445:

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.

2564:, 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 2442:", 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. 1279:, 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 591:, 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. 1157:

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.

712:; 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 3390: 1706:

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

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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".

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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

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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.

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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

2261:, 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. 845:'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 2276:, 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. 1597:

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

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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

652:. 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. 2322:

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

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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.

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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

1092:, 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 927:-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 2607:

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

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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.

516:. 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." 304:

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

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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

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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.

1991:, 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 413:

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,

1799: 2568: – 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. 2265:

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

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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

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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".

1740:. 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 726: 396:

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.

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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.

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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".

6531: 2639:". 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. 2515:

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

340:, 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 774: 6662: 5540: 3831: 4324: 720:, 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". 6895: 1073:. 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 6707: 6657: 2579:(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 3419:

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.

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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.

6767: 6692: 2705:, 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 1662:, 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. 3504: 6838: 6712: 6697: 4368: 2182:

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

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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

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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.

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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

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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.

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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

2770:'s monograph in English from 1908 is still recognised as of exceptional quality and thoroughness, "one of the most stupendous achievements in Renaissance studies". 1729:

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.

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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

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

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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

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

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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

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

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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.

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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

2200:. Possibly they had been introduced by a Vespucci who had tutored Soderini's son. Antonio Pucci, another Medici ally, probably commissioned the London 1922: 1732:

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

673:". 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 5617: 5587: 2015:

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.

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

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

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

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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.

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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,

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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

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

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

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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

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

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

3823: 887:(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 5572: 1785: 1388: 899: 841:. This large project was to be the main decoration of the chapel. Most of the frescos remain but are greatly overshadowed and disrupted by 4321: 2011:

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

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

5725: 5579: 5208: 1854: 2642: 2406:), clearly relates to the state, and fate, of Florence, shown in the background behind Christ on the Cross, beside which an angel whips a 1196:

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

5452: 5125: 3747: 2766:'s seminal dissertation on the mythologies; then, between 1900 and 1920 more books were written on Botticelli than on any other painter. 5072: 1451:, with Christ on the cross, supported from behind by God the Father. Angels surround the Trinity, which is flanked by two saints, with 869:, together suggesting the supremacy of the Papacy. Botticelli's contribution included three of the original fourteen large scenes: the 6588: 6299: 6281: 6054: 2026:, illustrating canto XVIII in the eighth circle of Hell. Dante and Virgil descending through the ten chasms of the circle via a ridge. 150: 4598: 2666:

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

5853: 5732: 5625: 2721: 1831: 1592:

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

912:

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

573: 2796: 2007:, engraved from drawings by Botticelli: "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and 5683: 5284: 5263: 5000: 2419:, witnessed a diminution of scale, expressively distorted figures, and a non-naturalistic use of colour reminiscent of the work of 677:

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

609: 599: 491:. There has been much speculation as to whether Botticelli spent a shorter period of time in another workshop, such as that of the 50: 5027: 4360: 6260: 5459: 5437: 5270: 5199: 2624:

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

2186:, and other families allied to the Medici. Tommaso Soderini, a close ally of Lorenzo, obtained the commission for the figure of 2125: 2113: 2056:, and only a few pages are fully illuminated. This manuscript has 93 surviving pages (32 x 47 cm), now divided between the 2045: 2023: 2008: 708: 7296: 7286: 5397: 2878: 2415: 1582:

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

502:

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

1870: 1601:

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

702:

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

7336: 7316: 7291: 7281: 6265: 4893: 4685: 4457: 4408: 2928: 4414: 2438:

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

6828: 4715: 5091:"Predella Panels from the High Altarpiece of Sant’Elisabetta delle Convertite, Florence by Sandro Botticelli (cat. 44—47)" 4954: 1061:, with the main themes being: the emulation of ancient painters and the context of wedding celebrations, the influence of 6515: 5554: 5532: 1689: 1001: 795: 2457:

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

7135: 5783: 5776: 5711: 5527: 5317: 5236: 5229: 5143: 4993: 2818: 2689: 2632: 2356: 2345: 2339: 2284: 2272: 1762: 944: 870: 155: 2715:

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

2077: 1847: 6930: 6442: 5846: 5827: 5445: 5430: 4934: 4907: 4876: 4862: 4828: 4811: 4776: 4759: 4634: 3993: 3400: 3379:

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

2973: 686: 271: 4186:

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

3804:

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

3307:

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

7321: 6732: 6205: 6075: 6014: 5277: 641: 423: 1561: 837:

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

7306: 6752: 5915: 5804: 5739: 5404: 5330: 5193: 5118: 4834: 4764: 3470: 3140:

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

2325: 2289: 2229: 1029: 904: 883: 649: 2615:

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

1187:, in four panels. The coats of arms of the Medici and the bride and groom's families appear in the third panel. 7331: 7326: 7311: 6536: 6452: 4747: 2834: 1413: 1257: 569: 7068: 6467: 6240: 5946: 5939: 5080: 2811: 1744:

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

637: 2267: 667:

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

5908: 5746: 5676: 5292: 4276:

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

3742: 3431: 2431:

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

2389:

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

1717:, who died aged twenty-two in 1476, but this seems unlikely. These figures represent a secular link to his 577: 300:. Botticelli's posthumous reputation suffered until the late 19th century, when he was rediscovered by the 297: 693:, headquarters of the Florentine state, was lost in the next century when Vasari remodelled the building. 6994: 6905: 6788: 6632: 6342: 5927: 5179: 2779: 2707: 1709: 1659: 1617: 1122: 1108: 1046: 674: 20: 2909: 817: 7301: 7266: 6722: 6567: 6352: 6332: 6049: 5511: 5111: 2745: 2497: 1464: 1334: 764: 564: 538: 415: 301: 4786: 4599:"Botticelli Portrait Goes for $ 92 M., Becoming Second-Most Expensive Old Masters Work Ever Auctioned" 3870:

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

2732:

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

2305:

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

6637: 6562: 6327: 5497: 2744:

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

1948: 1655: 1239:

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

1062: 2667: 1651: 757: 583:

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

6900: 6642: 6347: 5790: 4390: 4214: 2702: 2677: 2386: 2369: 1362: 1148: 1113: 856:

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

5066: 1459:

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

1275:, finished and framed by February 1485, and now in Berlin. The frame was by no less a figure than 1151:, which gave divine love as important a place in its philosophy as did Christianity. The fourth, 1140:

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

7243: 7105: 6793: 6647: 6457: 6368: 6337: 5669: 2694: 2141: 1228: 1112:, c. 1485, tempera on panel, 69 cm × 173 cm (27.17 in × 68.11 in), 953: 3555:

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

1243:, receiving the next year three payments for a design for a scheme, eventually abortive, to put 7140: 7021: 6462: 6431: 6322: 6314: 6304: 6276: 6130: 5822: 5811: 5172: 5165: 5158: 4626: 2212:

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

2183: 2146: 1913: 1806: 1153: 1053: 892: 504: 7052: 2733: 369:

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

7271: 6940: 6798: 6572: 6250: 6245: 5383: 5360: 5337: 4989: 2737: 2377: 2167: 2163: 1536: 1484: 1443: 1376: 1371: 1240: 1173: 857: 496: 427: 353: 4331:; see Davies, 97 for a slightly different view, and Lightbown, 311 for a very different one. 3505:"Scenes from The Story of Nastagio degli Onesti – The Collection – Museo Nacional del Prado" 3095:

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

1375:(1489–90, Uffizi) forms a natural grouping with other late paintings, especially two of the 7276: 7026: 7001: 6984: 6974: 6823: 6235: 6198: 6109: 6059: 5865: 2684: 2565: 2454: 2315: 2249: 2197: 2190:

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

2175: 1276: 1216: 1070: 1023: 970: 703: 513: 487:. Botticelli probably left Lippi's workshop by April 1467, when the latter went to work in 390: 328: 138: 79: 3551:

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

3460:

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

8: 7233: 7187: 6373: 6160: 6114: 5797: 5650: 5504: 4846: 4470: 2647: 2625: 2492: 2245: 2159: 1741: 1613: 1584: 1520: 1422: 1290: 1042: 1038: 975: 939: 733: 614: 555: 492: 306: 165: 2060:(8 sheets) and Berlin (83), and represents the bulk of Botticelli's surviving drawings. 1126:

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

974:(c. 1482), icon of the springtime renewal of the Florentine Renaissance. Left to right: 7238: 6859: 6480: 6172: 5642: 5390: 5186: 5090: 5035: 4689: 3109: 2774: 2755: 2557: 2403: 2394: 2301: 1932: 1905: 1714: 1636: 1566: 1178: 1006: 523:, son of his master. Botticelli and Filippino's works from these years, including many 322: 201: 144: 6602: 6500: 5054: 4752:

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

4645:

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

2435:

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

182: 7006: 6667: 6495: 6485: 4930: 4912: 4903: 4889: 4872: 4858: 4824: 4807: 4799: 4772: 4755: 4630: 4453: 4404: 3989: 3396: 2979: 2969: 2636: 2450: 2309:

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

1640:

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

1575: 1548: 1438: 1308: 1197: 1144: 1089: 669: 645: 362: 7228: 7218: 7177: 6687: 6510: 6425: 6394: 6291: 6270: 6032: 5971: 4881: 4782: 3462: 2741: 2428: 2208: 1811: 1790: 1669:(1485/1490) was destroyed during World War II. It was stored in the Friedrichshain 1628: 1286: 1281: 1205: 846: 713: 664: 633: 542: 435: 419: 366: 358: 288: 233: 5085:, a Metropolitan Museum of Art (New York) collection catalog (see pages: 159–167). 5009: 1103: 434:

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

7089: 7073: 6505: 6214: 6191: 6125: 6120: 6104: 6094: 4958: 4841: 4816: 4793: 4394: 4328: 3474: 2865: 2399: 2242: 2057: 1988: 1955: 1456: 1393: 1220: 1033:(c. 1485) are not a pair, but are inevitably discussed together; both are in the 987: 983: 913: 850: 690: 588: 520: 484: 439: 5096: 4528:

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

2423:

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

2352: 7213: 7208: 7031: 6926: 6885: 6737: 6490: 6146: 5718: 5693: 5324: 5313: 5299: 4947: 4939: 2609: 2572: 2424: 2004: 1980: 1647: 877: 838: 834: 827: 822: 659:

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

397: 345: 7260: 6803: 6624: 6064: 5985: 5978: 5964: 5490: 5061: 5045:

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

4981: 4922: 4646: 4450:

Forbidden Friendships: Homosexuality and Male Culture in Renaissance Florence

2767: 2712: 2516: 2446: 2192: 2171: 2067:

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

2032: 1975: 1733: 1460: 1452: 1183: 1065:, and the identity of the commissioners and possible models for the figures. 1058: 685:

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

509: 476: 117: 45: 5661: 4917:

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

2983: 7172: 6989: 6947: 6935: 6808: 6772: 6135: 6069: 5992: 4400: 3675:

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

2936: 2751: 2726: 2427:, some ten years older, whose later work also veers away from the imminent 2420: 2310: 2241:

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

2053: 2018: 1909: 1769: 1448: 1447:, dating to about 1491–93. Its subject, unusual for an altarpiece, is the 1302: 1037:. They are among the most famous paintings in the world, and icons of the 842: 678: 2697:

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

2680:, London only bought a Madonna (now regarded as by his workshop) in 1855. 195: 7182: 7156: 7110: 6921: 6436: 6399: 5065: 3552: 2963: 2763: 2561: 2439: 2382: 2213: 2012: 1593: 1579: 1426: 1285:

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

1137: 1074: 682: 365:(seven years his junior) and the new generation of painters creating the 317: 6890: 5757: 5247: 2477: 2224: 1383: 39: 7016: 6419: 6389: 6255: 4964: 3467: 2996:

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

2754:

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

2698: 2580: 1670: 1642: 1624: 1333:

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

1236: 965: 584: 454: 377: 6875: 4686:"Daniel Sharman and Bradley James Join Netflix's 'Medici' (EXCLUSIVE)" 2596: 1096:

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

689:; this perhaps spread awareness of his work to Rome. A fresco in the 572:, Florence. This work was painted soon after the Pollaiuolo brothers' 7130: 7047: 7011: 2759: 2445:

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

2432: 2049: 2000: 1455:

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

1430: 1356:(378 x 258 cm, Uffizi), is the only one to remain with its full 1294: 1163: 1136:

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

1128: 717: 407: 5103: 3485:

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

1235:. Botticelli painted many Madonnas, covered in a section below, and 923:

Botticelli differs from his colleagues in imposing a more insistent

853:

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

6167: 3271:

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

2473: 2407: 2337:, which he may have intended for his personal use, and the pair of 2330: 2279: 2068: 1339: 1232: 1224: 1015: 995: 979: 924: 917: 406:

of Botticelli, reported that Botticelli was initially trained as a

386: 337: 75: 6183: 5048: 1604: 483:, a few miles west of Florence, frescoing the apse of what is now 7223: 6140: 3316:

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

2621: 2334: 1168: 991: 888: 660: 529: 488: 4785:, Oxford Art Online. Oxford University Press. Web. 15 May 2017. 2719:, sold at Christie's for US$ 10.4 million, and in 2021 the 1987:

Botticelli had a lifelong interest in the great Florentine poet

5767: 5042: 2576: 2293: 2234: 2151: 1753: 1244: 1209: 1034: 1011: 745: 656: 625: 594: 534: 469: 333: 4823:, (2nd ed.) 1987, Thames & Hudson (U.S. Harry N. Abrams), 2957: 2955: 5702: 4927:

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

4510:

Ganymede in the Renaissance: Homosexuality in art and society

4484:

Art et humanisme a Florence au temps de Laurent le Magnifique

2037: 1699: 1201: 1133: 865: 480: 254: 5216:

Venus and the Three Graces Presenting Gifts to a Young Woman

5097:

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

696:

In 1480 the Vespucci family commissioned a fresco figure of

508:(Florence, Galleria degli Uffizi) to accompany a set of all 2952: 2413:

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

1412:, it was painted for the side of a pillar in the Church of 1200:, who scoffed at Botticelli's landscapes, left in 1481 for 519:

In 1472 Botticelli took on his first apprentice, the young

341: 263: 257: 3954:

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

2968:. Miklós. Boskovits. Washington: National Gallery of Art. 1463:, then taken as a reformed prostitute herself, are in the 1215:

The remaining leaders of Florentine painting, Botticelli,

242: 3432:"Web Gallery of Art, searchable fine arts image database" 2600:

Portrait, probably imagined, of Botticelli from Vasari's

1408:

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

320:

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

248: 5100:, a Philadelphia Museum of Art free digital publication. 2899:

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

2300:

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

1088:

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

438:, after whom the Americas were named. The Vespucci were 2961: 2929:"Botticelli in the Florence of Lorenzo the Magnificent" 2166:, a movement historians would later characterize as a " 1713:). Traditional gossip links these to the famous beauty 1100:

was commissioned by someone else for a different site.

475:

From around 1461 or 1462 Botticelli was apprenticed to

5548:

Virgin and Child with the Young Saint John the Baptist

5223:

A Young Man Being Introduced to the Seven Liberal Arts

5016:, Prestel, 2015 (2nd ed.), with complete illustrations 4853:

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

4623:

Pre-Raphaelite Art in the Victoria & Albert Museum

2762:

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

1654:) where it is spoken by Mary upon the occasion of her 1343:

panels survive; there were probably originally seven.

553:

Botticelli's earliest surviving altarpiece is a large

5541:

Virgin and Child with the Infant St. John the Baptist

4900:

April Blood: Florence and the Plot Against the Medici

4771:, National Gallery Catalogues, 1961, reprinted 1986, 1360:, of five panels. In the air above four saints, the 1269:

The first major church commission after Rome was the

1069:

focuses on the poetry and philosophy of contemporary

960: 442:

allies and eventually regular patrons of Botticelli.

272: 236: 3253:

Lightbown, 77 (different translation to same effect)

2158:

Botticelli became associated by historians with the

260: 245: 239: 3743:

Madonna and Child with Angels Carrying Candlesticks

2790:discovered on 9 February 1996, is named after him. 2071:

by Savonarola, almost all destroyed after his fall.

1667:

Madonna and Child with Angels Carrying Candlesticks

587:, a large prestigious project mostly being done by 251: 5588:Portrait of a Man with a Medal of Cosimo the Elder 4096:Hartt, 335–336; Davies, 105–106; Ettlingers, 13–14 3982:Classics, Delphi; Russell, Peter (April 7, 2017). 2748:incorporated elements of his work into their own. 1970: 1695:Portrait of a Man with a Medal of Cosimo the Elder 4389: 4075:Ettlingers, 164; Clark, 372 note for p. 92 quote. 3262:Shearman, 38–42, 47; Lightbown, 90–92; Hartt, 326 3199:Lightbown, 65–69; Vasari, 150–152; Hartt, 324–325 3142:Sandro Botticelli and Herbert Horne: New Research 2560:(1453–1476), who has been claimed, especially by 2216:persuaded himself had posed nude for Botticelli. 1293:stand in the foreground. Small and inconspicuous 1190: 19:"Botticelli" redirects here. For other uses, see 7258: 5076:. Vol. 4 (11th ed.). pp. 306–309. 4946:, Penguin 1965 (page nos. from BCA ed., 1979). 4651:Journal of the Warburg and Courtauld Institutes 4177:Lightbown, 248–253; Dempsey; Ettlingers, 96–103 3981: 3388: 3108:, a tribunal of six judges, chosen by the main 2248:, who preached in Florence from 1490 until his 1247:on some interior roof vaults in the cathedral. 1204:, the Pollaiolo brothers in 1484 for Rome, and 5877:The Fall and Expulsion from the Garden of Eden 4722:. Jet Propulsion Laboratories. April 9, 2012. 4649:, "Botticelli and Nineteenth-Century England" 3395:. University of California Press. p. 25. 1143:Three of these four large mythologies feature 6199: 5691: 5677: 5119: 4396:Amerigo: The Man Who Gave His Name to America 2052:, most of which was taken only as far as the 1786:Portrait of a Lady Known as Smeralda Brandini 1750:a young woman with Venus and the Three Graces 5209:The Story of Nastagio Degli Onesti, part one 4806:, 1976, Thames & Hudson (World of Art), 4512:, Yale University Press, New Haven, 1986, 88 2803:The Virgin Adoring the Sleeping Christ Child 2556:He might have had a close relationship with 2207:Giuliano de' Medici was assassinated in the 1612:, c. 1490, tempera, oil, and gold on panel. 1610:Virgin and Child with Saint John the Baptist 1326:A larger and more crowded altarpiece is the 942:in Rome, which he repeated in about 1500 in 603:, 1475, 111 cm × 134 cm (44 in × 53 in) 580:, widely-appreciated in Florentine circles. 2022:One of the few fully coloured pages of the 644:(all these by now dead), and his grandsons 459:Madonna and Child with St. John the Baptist 199:Detail from Botticelli's most famous work, 6589:Genealogical tables of the House of Medici 6206: 6192: 6055:Restoration of the Sistine Chapel frescoes 5684: 5670: 5519:Madonna Adoring the Child with Five Angels 5126: 5112: 4361:"The Face That Launched A Thousand Prints" 2965:Italian paintings of the fifteenth century 2910:"Sandro Botticelli – Biography and Legacy" 1177:from the eighth novel of the fifth day of 38: 5854:The Creation of the Sun, Moon, and Plants 5626:Portrait of a Young Man holding a Roundel 5057:at the Victoria and Albert Museum, London 4929:, 1986, Harmony Books/Nippon Television, 4656:.3/4 (July 1960:291–306); Ettlingers, 205 4538: 4536: 4534: 4236: 4234: 4083: 4081: 3824:"The Adoration of the Magi by Botticelli" 3382: 3121:Lightbown, 46 (quoted); Ettlingers, 19–22 2926: 2722:Portrait of a Young Man Holding a Roundel 1832:Portrait of a Young Man Holding a Roundel 1319: 568:in Berlin, painted in 1474 for a pier in 4781:Dempsey, Charles, "Botticelli, Sandro", 4769:Catalogue of the Earlier Italian Schools 4596: 4486:, Presses Universitaires de France, 1959 3692: 3690: 3563: 3561: 3538: 3536: 3534: 3055: 3053: 3043: 3041: 2641: 2612:were upstaged by those of Michelangelo. 2595: 2491: 2351: 2278: 2223: 2140: 2017: 1974: 1688: 1675:Madonna and Child with Infant Saint John 1603: 1560: 1382: 1307: 1256: 1102: 1000: 964: 898: 816: 593: 574:much larger altarpiece of the same saint 453: 376: 351:Only one of Botticelli's paintings, the 298:Italian painter of the Early Renaissance 194: 5271:The Discovery of the Body of Holofernes 3941: 3939: 3217:Hartt, 325–326; Ettlingers, 10; Dempsey 3013: 3011: 2349:, which are probably from around 1500. 2024:Divine Comedy Illustrated by Botticelli 1746:a young man with the Seven Liberal Arts 1556: 1057:, they have been endlessly analysed by 217:Alessandro di Mariano di Vanni Filipepi 64:Alessandro di Mariano di Vanni Filipepi 16:Italian Renaissance painter (1445–1510) 7259: 5398:Scenes from the Life of Saint Zenobius 5060: 4942:, selected and edited by George Bull, 4726:from the original on February 20, 2017 4683: 4531: 4231: 4078: 3723:Ettlingers, 80; Lightbown, 82, 185–186 3139: 2927:Edelstein, Bruce (December 21, 2020). 2895: 2893: 2879:List of paintings by Sandro Botticelli 2777:in the second season of the TV series 2416:Scenes from the Life of Saint Zenobius 1223:, worked on a major fresco cycle with 675:Francesco Salviati, Archbishop of Pisa 548: 545:and the Galleria Pallavicini in Rome. 6187: 5847:The Separation of Light from Darkness 5665: 5133: 5107: 4665:Lightbown, 328; Dempsey, Legouix, 127 4417:from the original on December 7, 2020 4371:from the original on November 9, 2020 3687: 3666:Lightbown, 207–209; Legouix, 107, 109 3594:Lightbown, 180–185; Ettlingers, 72–74 3558: 3531: 3050: 3038: 2672: 2329:(c. 1494–95), a recreation of a lost 1495:, 150 x 156 cm, Uffizi, Florence 1161:A series of panels in the form of an 562:Another work from this period is the 449: 287: 5082:Italian Paintings: Florentine School 5001:"Botticelli, Beyond the Renaissance" 4919:, 1961, Barrie and Rockliffe, London 4835:"Before Bowie, there was Botticelli" 4597:Gleadell, Colin (January 28, 2021). 3936: 3924:Vasari, 152, a different translation 3409:from the original on August 19, 2020 3008: 781:Madonna with Lilies and Eight Angels 6213: 5740:The Punishment of the Sons of Korah 4992:(published in association with the 4871:, 2004 (rev'd ed.), Chaucer Press, 4684:Clarke, Stewart (August 10, 2017). 4358: 3933:Lightbown, 89; Landau, 108; Dempsey 3834:from the original on March 29, 2019 3639:Lightbown, 187–190; Legouix, 31, 42 3466:, vol. 57, no. 1, 1975, pp. 31–40. 3442:from the original on August 7, 2020 3352:Lightbown, 106–108; Ettlingers, 202 3172:Lightbown, 51–52; Ettlingers, 22–23 2890: 2591: 1250: 512:commissioned one year earlier from 385:Botticelli was born in the city of 13: 7136:Crown of the Grand Duke of Tuscany 6968:Painters, sculptors and architects 5377:The Last Communion of Saint Jerome 4994:Fine Arts Museums of San Francisco 4975: 4969:Pagan Mysteries in the Renaissance 4821:History of Italian Renaissance Art 4696:from the original on March 1, 2020 4150:Lightbown, 260–269; Legouix, 82–83 3985:The History of Art in 50 Paintings 3648:Lightbown, 198–200; Legouix, 42–44 2633:Ferdinando Gonzaga, Duke of Mantua 2631:In 1621 a picture-buying agent of 1041:. As depictions of subjects from 961:Mythological subjects of the 1480s 14: 7348: 5020: 4925:, in Pietrangeli, Carlo, et al., 4560:Lightbown, 16–17; Vasari, 147–155 4452:, Oxford University Press, 1996, 4141:Lightbown, 230–237; Legouix, 114; 4002:from the original on July 6, 2020 3795:Ettlingers, 156, 163–164, 168–172 3777:Ettlingers, 171; Lightbown, 54–57 1995:, but no such text has survived. 1698:, 1474; the medal is an inserted 812: 681:in 1494. Another lost work was a 226:– May 17, 1510), better known as 7041:Poets and other literary figures 6601: 6166: 6154: 5860:The Separation of Land and Water 5756: 5475:Virgin and Child with Two Angels 5467:Virgin and Child with Two Angels 5369:Lamentation over the Dead Christ 5345:Lamentation over the Dead Christ 5278:The Return of Judith to Bethulia 5246: 5051:, 200 works by Sandro Botticelli 4886:Sandro Botticelli: Life and Work 4708: 4677: 4668: 4659: 4639: 4616: 4590: 4581: 4572: 4563: 4554: 4545: 4515: 4502: 4489: 4476: 4463: 4442: 4429: 4383: 4352: 4343: 4334: 4315: 4306: 4297: 4288: 4279: 4270: 4261: 4252: 4243: 4222: 4207: 4198: 4189: 4180: 4171: 4162: 4153: 4144: 4135: 4126: 4117: 4108: 4099: 4090: 4069: 4059: 4050: 4041: 4032: 4023: 3963:Dempsey; Lightbown, 280–282, 290 3657:Lightbown, 194–198; Legouix, 103 3494:Lightbown, 148–152; Legouix, 113 3392:Sandro Botticelli: Life and work 2962:National Gallery of Art (2003). 2854: 2833: 2810: 2795: 2533: 2124: 2112: 2100: 2088: 2076: 2044:Botticelli later began a luxury 1947: 1921: 1892: 1869: 1846: 1823: 1798: 1777: 1761: 1528: 1509:Lamentation over the Dead Christ 1500: 1476: 794: 773: 756: 725: 424:Italian Renaissance architecture 232: 181: 5595:Portrait of Giuliano de' Medici 5331:Punishment of the Sons of Korah 4720:JPL Small-Body Database Browser 4285:Legouix, 8; Lightbown, 311, 314 4014: 3975: 3966: 3957: 3948: 3927: 3918: 3909: 3900: 3891: 3882: 3873: 3864: 3855: 3846: 3816: 3807: 3798: 3789: 3780: 3771: 3762: 3753: 3735: 3726: 3717: 3708: 3699: 3678: 3669: 3660: 3651: 3642: 3633: 3624: 3615: 3606: 3597: 3588: 3579: 3570: 3545: 3522: 3497: 3488: 3479: 3454: 3424: 3373: 3364: 3355: 3346: 3337: 3328: 3319: 3310: 3301: 3292: 3283: 3280:Shearman, 70–75; Hartt, 326–327 3274: 3265: 3256: 3247: 3238: 3229: 3220: 3211: 3202: 3193: 3184: 3175: 3166: 3157: 3148: 3133: 3130:Dempsey, Hartt, 324; Legouix, 8 3124: 3115: 3098: 3089: 3080: 3071: 3062: 3029: 2392:Another painting, known as the 2290:Isabella Stewart Gardner Museum 1971:Dante, printing and manuscripts 1315:, c. 1487, Uffizi, 268 x 280 cm 936:Punishment of the Sons of Corah 905:Punishment of the Sons of Corah 884:Punishment of the Sons of Corah 849:hostilities had escalated into 5483:Virgin and Child with an Angel 5453:Madonna in Glory with Seraphim 5423:Virgin and Child with an Angel 5032:Panopticon Virtual Art Gallery 4437:Homosexuality and Civilization 4249:Lightbown, 305; Ettlingers, 15 3612:Lightbown, 180; Ettlingers, 73 3020: 2999: 2990: 2943: 2920: 2902: 2466: 1810:, who was assassinated in the 1736:and the Medici into his early 1414:Santa Maria Maggiore, Florence 1346: 1191:Religious paintings after Rome 100:Florence, Republic of Florence 1: 7297:16th-century Italian painters 7287:15th-century Italian painters 7219:Stories set to music: "opera" 5573:Portrait of Smeralda Brandini 4888:, 1989, Thames & Hudson, 4741: 3104:Lightbown, 52; they were the 2949:Ettlingers, 134; Legouix, 118 2844: 2823: 2652: 2526:The National Gallery have an 2506: 2362: 2333:by the ancient Greek painter 2219: 2136: 1960: 1936: 1912:on her necklace was owned by 1881: 1858: 1835: 1541: 1513: 1489: 1231:'s villa at Spedalletto near 784: 738: 618: 462: 372: 289:[ˈsandrobottiˈtʃɛlli] 220: 206: 67: 7337:Sistine Chapel wall frescoes 7317:Italian Renaissance painters 7292:16th-century apocalypticists 7282:15th-century apocalypticists 5791:The Vocation of the Apostles 5747:Testament and Death of Moses 5733:The Descent from Mount Sinai 5353:Saint Augustine in His Study 5307:Saint Augustine in His Study 4961:(in a different translation) 4716:"29361 Botticelli (1996 CY)" 4132:Legouix, 18; Ettlingers, 203 2547: 2460:Saint Augustine in His Study 2268:1497 bonfire of the vanities 2046:manuscript illustrated Dante 1684: 1301:The donor, from the leading 891:above, where Michelangelo's 578:Early Netherlandish painting 7: 6995:Michelangelo and the Medici 6839:Palazzo Medici di Ottaviano 6789:Casino Mediceo di San Marco 5726:The Crossing of the Red Sea 4971:, 1967 ed., Peregrine Books 4840:September 30, 2017, at the 4674:Ettlingers, 205 quoted, 208 4114:Ettlingers, 14; Legouix, 18 4105:Ettlingers, 14; Vasari, 152 3244:Lightbown, 73–78, 74 quoted 2872: 2780:Medici: Masters of Florence 2729:for US$ 92.2 million. 2538: 2487: 1618:Williamstown, Massachusetts 21:Botticelli (disambiguation) 10: 7353: 7062:Humanists and philosophers 6814:Palazzo Medici Tornaquinci 6050:Art patronage of Julius II 5512:Madonna of the Pomegranate 5460:Madonna of the Rose Garden 5067:"Botticelli, Sandro" 4944:Artists of the Renaissance 4439:, Harvard University, 2003 4029:Lightbown, 11, 58; Dempsey 2746:Pre-Raphaelite Brotherhood 2498:Madonna of the Pomegranate 1465:Philadelphia Museum of Art 1418:The other, horizontal, one 1335:Instruments of the Passion 539:National Gallery of Canada 533:, now divided between the 418:, commissioned the famous 416:Giovanni di Paolo Rucellai 18: 7201: 7165: 7149: 7123: 7098: 7082: 7061: 7040: 6967: 6960: 6914: 6868: 6847: 6781: 6623: 6616: 6599: 6581: 6563:Giovanni delle Bande Nere 6555: 6524: 6408: 6382: 6361: 6313: 6290: 6246:Lorenzo "The Magnificent" 6228: 6221: 6086: 6076:The Agony and the Ecstasy 6042: 6024: 6006: 5956: 5900: 5836: 5821: 5784:The Temptations of Christ 5765: 5754: 5700: 5635: 5564: 5498:Madonna of the Magnificat 5414: 5255: 5244: 5150: 5141: 4802:with Helen S. Ettlinger, 4792:January 22, 2020, at the 4391:Fernandez-Armesto, Felipe 4056:Lightbown, 42–50; Dempsey 1901:Portrait of a young woman 1818:, all perhaps posthumous. 1429:, usually regarded as in 1289:and an unusually elderly 1063:Renaissance Neo-Platonism 189: 180: 175: 171: 161: 151:The Adoration of the Magi 131: 123: 113: 105: 89: 59: 37: 30: 5805:The Delivery of the Keys 5264:Sant'Ambrogio Altarpiece 4902:, 2003, Johnathan Cape, 3389:R. W. Lightbown (1978). 3298:Hartt, 327; Shearman, 47 2884: 2703:Art Treasures Exhibition 1363:Coronation of the Virgin 1149:Renaissance Neoplatonism 543:Musée Condé in Chantilly 7322:Italian Roman Catholics 6794:Palazzo Medici Riccardi 6525:Bishops and archbishops 6161:Vatican City portal 5892:The Drunkenness of Noah 5798:The Sermon on the Mount 5712:Moses Leaving for Egypt 5088:Carl Brandon Strehlke, 5073:Encyclopædia Britannica 4957:April 30, 2011, at the 4195:Legouix, 11–12; Dempsey 3888:Lightbown, 16–17, 86–87 2786:The main belt asteroid 2695:William Fuller Maitland 2503:Madonna della Melagrana 2387:subject of the Nativity 2162:under the patronage of 2009:illustrated the Inferno 1878:Portrait of a Young Man 1855:Portrait of a Young Man 1608:Botticelli and Studio, 1416:; it is now in Milan. 1265:, 1484–85, 185 x 180 cm 1229:Lorenzo the Magnificent 954:National Gallery of Art 7307:Painters from Florence 7141:Order of Saint Stephen 7022:Antonio del Pollaiuolo 6315:Grand Dukes of Tuscany 6173:Catholicism portal 6131:Bartolomeo della Gatta 5555:Madonna del Padiglione 5310:(Florence: Ognissanti) 5173:Pallas and the Centaur 4627:Suzanne Fagence Cooper 4327:June 19, 2017, at the 3828:Virtual Uffizi Gallery 3473:April 1, 2016, at the 2683:The English collector 2659: 2604: 2528:Adoration of the Kings 2512: 2373: 2297: 2263: 2238: 2155: 2147:Pallas and the Centaur 2027: 1984: 1703: 1620: 1571: 1397: 1329:San Barnaba Altarpiece 1321:San Barnaba Altarpiece 1316: 1313:San Barnaba Altarpiece 1266: 1154:Pallas and the Centaur 1147:, a central figure in 1117: 1054:Pallas and the Centaur 1018: 998: 909: 893:Sistine Chapel ceiling 830: 663:of the leaders of the 604: 472: 382: 213: 48:of Botticelli, in his 7332:Quattrocento painters 7327:Mythological painters 7312:Italian male painters 6941:Cappella dei Principi 6848:Fountains and gardens 6300:Alessandro "The Moor" 6282:Alessandro "The Moor" 5882:The Sacrifice of Noah 5777:The Baptism of Christ 5384:The Mystical Nativity 5361:Pala delle Convertite 5338:Cestello Annunciation 5319:Temptations of Christ 5285:Adoration of the Magi 5237:The Story of Lucretia 5230:The Story of Virginia 5200:Illustrations to the 5055:Botticelli Reimagined 4990:Yale University Press 4855:The Renaissance Print 4787:subscription required 4322:National Gallery page 3861:Campbell, 56, 136–136 2841:The Outcast (Despair) 2738:Anna Brownell Jameson 2690:The Mystical Nativity 2645: 2599: 2495: 2378:The Mystical Nativity 2358:The Mystical Nativity 2355: 2346:The Story of Lucretia 2340:The Story of Virginia 2285:The Story of Lucretia 2282: 2273:The Mystical Nativity 2254: 2227: 2202:Adoration of the Magi 2144: 2021: 1978: 1931:, also said to be of 1738:Adoration of the Magi 1702:cast of a real medal. 1692: 1607: 1599:Adoration of the Magi 1564: 1547:, 215 × 192 cm, 1537:Pala delle Convertite 1485:Cestello Annunciation 1444:Pala delle Convertite 1389:Lamentation of Christ 1386: 1377:Lamentation of Christ 1372:Cestello Annunciation 1311: 1260: 1241:Cathedral of Florence 1174:Nastagio degli Onesti 1106: 1071:Renaissance humanists 1004: 968: 950:Adoration of the Magi 945:The Story of Lucretia 902: 872:Temptations of Christ 820: 750:Pala di Sant'Ambrogio 628:, and the first of 8 610:Adoration of the Magi 600:Adoration of the Magi 597: 497:Andrea del Verrocchio 457: 428:Leon Battista Alberti 380: 198: 51:Adoration of the Magi 7106:Emilio de' Cavalieri 7069:Pico della Mirandola 7027:Jacopo della Quercia 7002:Bernardo Buontalenti 6985:Filippo Brunelleschi 6975:Bartolomeo Ammannati 6824:Palazzo delle Vedove 6256:Giovanni, Pope Leo X 6110:Domenico Ghirlandaio 6060:Sistine Chapel Choir 5866:The Creation of Adam 5446:Madonna delle Grazie 5431:Madonna della Loggia 5049:sandrobotticelli.net 5006:, December 28, 2023. 4123:Legouix, 18; Dempsey 3509:www.museodelprado.es 2687:bought Botticelli's 2685:William Young Ottley 2204:, also around 1470. 2198:Piero del Pollaiuolo 2176:Lorenzo il Magnifico 1646:, a speech from the 1557:Madonnas, and tondos 1519:, 107 × 71 cm, 1453:Tobias and the Angel 1354:San Marco Altarpiece 1277:Giuliano da Sangallo 1217:Domenico Ghirlandaio 704:Domenico Ghirlandaio 570:Santa Maria Maggiore 514:Piero del Pollaiuolo 348:in Rome in 1481–82. 316:, many in the round 80:Republic of Florence 7131:Medici coat of arms 7053:Niccolò Machiavelli 6516:Vincenzo II Gonzaga 5872:The Creation of Eve 5651:Botticelli (crater) 5505:Madonna of the Book 4986:Botticelli Drawings 4847:The Daily Telegraph 4587:Reitlinger, 99, 127 4473:), quoted in Hudson 4471:Courtauld Institute 3988:. Delphi Classics. 3852:Ettlingers, 156–164 3106:Sei della Mercanzia 2734:Alexis-François Rio 2717:Rockefeller Madonna 2648:Madonna of the Book 2626:Francesco Botticini 2246:Girolamo Savonarola 2196:left unfinished by 2131:Inferno, Canto XXXI 2119:Paradise, Canto XXX 1807:Giuliano de' Medici 1614:Clark Art Institute 1585:sacra conversazione 1521:Museo Poldi Pezzoli 1291:John the Evangelist 1043:classical mythology 1039:Italian Renaissance 940:Arch of Constantine 734:Sacra conversazione 615:Santa Maria Novella 556:sacra conversazione 549:Key early paintings 493:Pollaiuolo brothers 307:Italian Renaissance 166:Italian Renaissance 6860:Villa di Pratolino 6236:Cosimo "The Elder" 5719:The Youth of Moses 5646:(2016 documentary) 5644:Botticelli Inferno 5605:(Washington, D.C.) 5405:The Man of Sorrows 5391:Mystic Crucifixion 5356:(Florence: Uffizi) 5194:Calumny of Apelles 5187:The Birth of Venus 5004:The New York Times 4999:Rosenberg, Karen, 4913:Reitlinger, Gerald 4850:, 14 February 2016 4526:The Birth of Venus 4469:Scott Nethersole ( 4228:Lightbown, 303–304 4213:Steinmann, Ernst, 4168:Lightbown, 221–223 3684:Lightbown, 202–207 3576:Lightbown, 211–213 3361:Lightbown, 111–113 3110:Guilds of Florence 2862:Mystic Crucifixion 2775:Sebastian de Souza 2756:Aesthetic movement 2660: 2605: 2558:Simonetta Vespucci 2513: 2480:technique (called 2404:Harvard University 2395:Mystic Crucifixion 2374: 2326:Calumny of Apelles 2298: 2239: 2230:Calumny of Apelles 2164:Lorenzo de' Medici 2156: 2028: 1985: 1933:Simonetta Vespucci 1929:La Bella Simonetta 1914:Lorenzo de’ Medici 1908:, 1484. The Roman 1906:Simonetta Vespucci 1772:, perhaps 1470-73. 1715:Simonetta Vespucci 1704: 1637:Magnificat Madonna 1621: 1572: 1567:Magnificat Madonna 1423:Virgin has swooned 1398: 1317: 1267: 1118: 1098:The Birth of Venus 1030:The Birth of Venus 1019: 1007:The Birth of Venus 999: 910: 831: 807:, Ognissanti, 1480 605: 473: 450:Career before Rome 383: 323:The Birth of Venus 214: 202:The Birth of Venus 145:The Birth of Venus 7302:Catholic painters 7267:Sandro Botticelli 7254: 7253: 7193:Arazzeria Medicea 7119: 7118: 7007:Leonardo da Vinci 6980:Sandro Botticelli 6956: 6955: 6896:San Piero a Sieve 6597: 6596: 6496:Bernardo Salviati 6486:Giovanni Salviati 6292:Dukes of Florence 6251:Piero "The Brief" 6241:Piero "The Gouty" 6229:Lords of Florence 6181: 6180: 6100:Sandro Botticelli 6015:The Last Judgment 6002: 6001: 5659: 5658: 5438:Madonna and Child 5135:Sandro Botticelli 5038:on June 21, 2007. 5014:Sandro Botticelli 4898:Martines, Lauro, 4894:978-0-500-09206-4 4882:Lightbown, Ronald 4800:Leopold Ettlinger 4458:978-0-19-506975-4 4410:978-1-4000-6281-2 4359:Harness, Brenda. 4340:Ettlingers, 12–14 3732:Ettlingers, 81–84 3370:Lightbown, 90, 94 3334:Lightbown, 99–105 3086:Lightbown, 22, 25 2676:in 1829, but the 2637:Leonardo da Vinci 2455:Ognissanti Church 2319:would be placed. 2160:Florentine School 2003:by the goldsmith 1791:shown as pregnant 1576:Madonna and Child 1574:Paintings of the 1549:Courtauld Gallery 1441:in London is the 1439:Courtauld Gallery 1369:In contrast, the 1198:Leonardo da Vinci 1090:Villa di Castello 1021:The masterpieces 687:Francesco Gonzaga 670:pittura infamante 525:Madonna and Child 477:Fra Filippo Lippi 363:Leonardo da Vinci 314:Madonna and Child 228:Sandro Botticelli 193: 192: 97:(aged 64–65) 32:Sandro Botticelli 7344: 7229:Pazzi conspiracy 7188:Venus de' Medici 7178:Medici porcelain 7048:Agnolo Poliziano 6965: 6964: 6723:Poggio Imperiale 6621: 6620: 6611: 6605: 6537:Bernardo Antonio 6511:Ferrante Gonzaga 6362:Queens of France 6226: 6225: 6208: 6201: 6194: 6185: 6184: 6171: 6170: 6159: 6158: 6157: 6115:Biagio d'Antonio 6033:Raphael Cartoons 5972:Erythraean Sibyl 5834: 5833: 5760: 5686: 5679: 5672: 5663: 5662: 5250: 5128: 5121: 5114: 5105: 5104: 5077: 5069: 5039: 5034:. Archived from 4867:Legouix, Susan, 4817:Hartt, Frederick 4783:Grove Art Online 4736: 4735: 4733: 4731: 4712: 4706: 4705: 4703: 4701: 4681: 4675: 4672: 4666: 4663: 4657: 4643: 4637: 4620: 4614: 4613: 4611: 4609: 4594: 4588: 4585: 4579: 4576: 4570: 4567: 4561: 4558: 4552: 4549: 4543: 4540: 4529: 4519: 4513: 4506: 4500: 4495:Jacques Mesnil, 4493: 4487: 4480: 4474: 4467: 4461: 4460:; Lightbown, 302 4446: 4440: 4435:Louis Crompton, 4433: 4427: 4426: 4424: 4422: 4387: 4381: 4380: 4378: 4376: 4356: 4350: 4347: 4341: 4338: 4332: 4319: 4313: 4310: 4304: 4301: 4295: 4292: 4286: 4283: 4277: 4274: 4268: 4265: 4259: 4256: 4250: 4247: 4241: 4238: 4229: 4226: 4220: 4211: 4205: 4202: 4196: 4193: 4187: 4184: 4178: 4175: 4169: 4166: 4160: 4157: 4151: 4148: 4142: 4139: 4133: 4130: 4124: 4121: 4115: 4112: 4106: 4103: 4097: 4094: 4088: 4085: 4076: 4073: 4067: 4063: 4057: 4054: 4048: 4047:Lightbown, 58–59 4045: 4039: 4036: 4030: 4027: 4021: 4018: 4012: 4011: 4009: 4007: 3979: 3973: 3970: 3964: 3961: 3955: 3952: 3946: 3943: 3934: 3931: 3925: 3922: 3916: 3913: 3907: 3906:Vasari, 152, 154 3904: 3898: 3895: 3889: 3886: 3880: 3877: 3871: 3868: 3862: 3859: 3853: 3850: 3844: 3843: 3841: 3839: 3820: 3814: 3811: 3805: 3802: 3796: 3793: 3787: 3784: 3778: 3775: 3769: 3766: 3760: 3757: 3751: 3739: 3733: 3730: 3724: 3721: 3715: 3714:Lightbown, 47–50 3712: 3706: 3703: 3697: 3694: 3685: 3682: 3676: 3673: 3667: 3664: 3658: 3655: 3649: 3646: 3640: 3637: 3631: 3628: 3622: 3619: 3613: 3610: 3604: 3601: 3595: 3592: 3586: 3583: 3577: 3574: 3568: 3565: 3556: 3549: 3543: 3540: 3529: 3526: 3520: 3519: 3517: 3515: 3501: 3495: 3492: 3486: 3483: 3477: 3463:The Art Bulletin 3458: 3452: 3451: 3449: 3447: 3428: 3422: 3421: 3416: 3414: 3386: 3380: 3377: 3371: 3368: 3362: 3359: 3353: 3350: 3344: 3343:Lightbown, 96–97 3341: 3335: 3332: 3326: 3323: 3317: 3314: 3308: 3305: 3299: 3296: 3290: 3287: 3281: 3278: 3272: 3269: 3263: 3260: 3254: 3251: 3245: 3242: 3236: 3233: 3227: 3224: 3218: 3215: 3209: 3206: 3200: 3197: 3191: 3188: 3182: 3179: 3173: 3170: 3164: 3163:Lightbown, 50–51 3161: 3155: 3152: 3146: 3145: 3137: 3131: 3128: 3122: 3119: 3113: 3102: 3096: 3093: 3087: 3084: 3078: 3077:Lightbown, 20–26 3075: 3069: 3066: 3060: 3059:Lightbown, 18–19 3057: 3048: 3045: 3036: 3033: 3027: 3024: 3018: 3015: 3006: 3005:Lightbown, 17–19 3003: 2997: 2994: 2988: 2987: 2959: 2950: 2947: 2941: 2940: 2924: 2918: 2917: 2906: 2900: 2897: 2858: 2849: 2846: 2837: 2828: 2825: 2814: 2799: 2788:29361 Botticelli 2742:Charles Eastlake 2678:National Gallery 2673:Bardi Altarpiece 2657: 2654: 2592:Later reputation 2511: 2508: 2449:rather than the 2429:High Renaissance 2385:of the familiar 2370:National Gallery 2367: 2364: 2296:, Massachusetts. 2209:Pazzi conspiracy 2128: 2116: 2104: 2092: 2083:Purgatory X (10) 2080: 2036:consists of 100 1983:after Botticelli 1965: 1962: 1951: 1941: 1938: 1925: 1896: 1886: 1883: 1873: 1863: 1860: 1850: 1840: 1837: 1827: 1816:Several versions 1812:Pazzi conspiracy 1802: 1781: 1765: 1629:John the Baptist 1546: 1543: 1532: 1518: 1515: 1504: 1494: 1491: 1480: 1287:John the Baptist 1282:hortus conclusus 1272:Bardi Altarpiece 1263:Bardi Altarpiece 1252:Bardi Altarpiece 1206:Andrea Verrochio 1114:National Gallery 908:, Sistine Chapel 847:Pazzi conspiracy 798: 789: 786: 777: 760: 743: 740: 729: 714:Ronald Lightbown 665:Pazzi conspiracy 634:Cosimo de Medici 624:–76, now in the 623: 620: 467: 464: 436:Amerigo Vespucci 422:, a landmark in 420:Palazzo Rucellai 367:High Renaissance 359:National Gallery 344:in 1474 and the 291: 286: 279: 275: 270: 269: 266: 265: 262: 259: 256: 253: 250: 247: 244: 241: 238: 225: 222: 211: 210: 1484–1486 208: 185: 134: 96: 84: 72: 69: 42: 28: 27: 7352: 7351: 7347: 7346: 7345: 7343: 7342: 7341: 7257: 7256: 7255: 7250: 7197: 7161: 7145: 7115: 7094: 7090:Galileo Galilei 7078: 7074:Marsilio Ficino 7057: 7036: 6952: 6910: 6864: 6855:Medici fountain 6843: 6777: 6663:Poggio a Caiano 6612: 6607: 6606: 6593: 6577: 6551: 6520: 6506:Lorenzo Strozzi 6501:Niccolò Ridolfi 6481:Luigi de' Rossi 6475: 6468:Francesco Maria 6404: 6378: 6357: 6309: 6286: 6217: 6215:House of Medici 6212: 6182: 6177: 6165: 6155: 6153: 6143: 6126:Luca Signorelli 6121:Piero di Cosimo 6117: 6105:Cosimo Rosselli 6095:Pietro Perugino 6082: 6038: 6020: 5998: 5952: 5896: 5838: 5825: 5817: 5812:The Last Supper 5761: 5752: 5696: 5690: 5660: 5655: 5631: 5560: 5410: 5293:Saint Sebastian 5251: 5242: 5146: 5137: 5132: 5026: 5023: 4978: 4976:Further reading 4959:Wayback Machine 4842:Wayback Machine 4794:Wayback Machine 4748:Campbell, Lorne 4744: 4739: 4729: 4727: 4714: 4713: 4709: 4699: 4697: 4682: 4678: 4673: 4669: 4664: 4660: 4644: 4640: 4621: 4617: 4607: 4605: 4595: 4591: 4586: 4582: 4577: 4573: 4568: 4564: 4559: 4555: 4551:Ettlingers, 203 4550: 4546: 4542:Ettlingers, 204 4541: 4532: 4520: 4516: 4507: 4503: 4494: 4490: 4482:Andre Chastel, 4481: 4477: 4468: 4464: 4448:Michael Rocke, 4447: 4443: 4434: 4430: 4420: 4418: 4411: 4403:. p. 231. 4388: 4384: 4374: 4372: 4357: 4353: 4348: 4344: 4339: 4335: 4329:Wayback Machine 4320: 4316: 4311: 4307: 4302: 4298: 4293: 4289: 4284: 4280: 4275: 4271: 4266: 4262: 4257: 4253: 4248: 4244: 4239: 4232: 4227: 4223: 4212: 4208: 4204:Hartt, 334, 337 4203: 4199: 4194: 4190: 4185: 4181: 4176: 4172: 4167: 4163: 4159:Davies, 103–106 4158: 4154: 4149: 4145: 4140: 4136: 4131: 4127: 4122: 4118: 4113: 4109: 4104: 4100: 4095: 4091: 4086: 4079: 4074: 4070: 4066:identification. 4064: 4060: 4055: 4051: 4046: 4042: 4037: 4033: 4028: 4024: 4019: 4015: 4005: 4003: 3996: 3980: 3976: 3971: 3967: 3962: 3958: 3953: 3949: 3944: 3937: 3932: 3928: 3923: 3919: 3914: 3910: 3905: 3901: 3896: 3892: 3887: 3883: 3878: 3874: 3869: 3865: 3860: 3856: 3851: 3847: 3837: 3835: 3822: 3821: 3817: 3812: 3808: 3803: 3799: 3794: 3790: 3786:Ettlingers, 156 3785: 3781: 3776: 3772: 3768:Ettlingers, 164 3767: 3763: 3758: 3754: 3740: 3736: 3731: 3727: 3722: 3718: 3713: 3709: 3704: 3700: 3695: 3688: 3683: 3679: 3674: 3670: 3665: 3661: 3656: 3652: 3647: 3643: 3638: 3634: 3629: 3625: 3620: 3616: 3611: 3607: 3602: 3598: 3593: 3589: 3584: 3580: 3575: 3571: 3566: 3559: 3553:watercolourists 3550: 3546: 3541: 3532: 3527: 3523: 3513: 3511: 3503: 3502: 3498: 3493: 3489: 3484: 3480: 3475:Wayback Machine 3459: 3455: 3445: 3443: 3430: 3429: 3425: 3412: 3410: 3403: 3387: 3383: 3378: 3374: 3369: 3365: 3360: 3356: 3351: 3347: 3342: 3338: 3333: 3329: 3324: 3320: 3315: 3311: 3306: 3302: 3297: 3293: 3288: 3284: 3279: 3275: 3270: 3266: 3261: 3257: 3252: 3248: 3243: 3239: 3234: 3230: 3225: 3221: 3216: 3212: 3207: 3203: 3198: 3194: 3189: 3185: 3180: 3176: 3171: 3167: 3162: 3158: 3153: 3149: 3138: 3134: 3129: 3125: 3120: 3116: 3103: 3099: 3094: 3090: 3085: 3081: 3076: 3072: 3067: 3063: 3058: 3051: 3046: 3039: 3034: 3030: 3025: 3021: 3016: 3009: 3004: 3000: 2995: 2991: 2976: 2960: 2953: 2948: 2944: 2925: 2921: 2914:theartstory.org 2908: 2907: 2903: 2898: 2891: 2887: 2875: 2868: 2866:Fogg Art Museum 2859: 2850: 2847: 2838: 2829: 2826: 2815: 2806: 2800: 2655: 2594: 2550: 2541: 2536: 2509: 2490: 2469: 2400:Fogg Art Museum 2365: 2302:Isabella d'Este 2243:Dominican friar 2222: 2139: 2132: 2129: 2120: 2117: 2108: 2107:Purgatorio XXXI 2105: 2096: 2095:Purgatorio XVII 2093: 2084: 2081: 2058:Vatican Library 1989:Dante Alighieri 1973: 1966: 1963: 1956:Dante Alighieri 1952: 1943: 1939: 1926: 1917: 1897: 1888: 1884: 1874: 1865: 1861: 1851: 1842: 1838: 1828: 1819: 1803: 1794: 1782: 1773: 1766: 1752:are now in the 1687: 1578:, that is, the 1559: 1552: 1544: 1533: 1524: 1516: 1505: 1496: 1492: 1481: 1410:Saint Sebastian 1394:Alte Pinakothek 1392:, early 1490s, 1349: 1324: 1255: 1221:Filippino Lippi 1193: 963: 914:Pietro Perugino 851:excommunication 815: 808: 804:Saint Augustine 799: 790: 787: 778: 769: 761: 752: 741: 730: 706:to do a facing 699:Saint Augustine 691:Palazzo Vecchio 621: 589:Benozzo Gozzoli 565:Saint Sebastian 551: 521:Filippino Lippi 485:Prato Cathedral 465: 452: 375: 354:Mystic Nativity 302:Pre-Raphaelites 284: 277: 273: 235: 231: 223: 209: 154: 148: 142: 132: 101: 98: 94: 85: 82: 73: 70: 66: 65: 55: 33: 24: 17: 12: 11: 5: 7350: 7340: 7339: 7334: 7329: 7324: 7319: 7314: 7309: 7304: 7299: 7294: 7289: 7284: 7279: 7274: 7269: 7252: 7251: 7249: 7248: 7247: 7246: 7236: 7231: 7226: 7221: 7216: 7214:Galilean moons 7211: 7209:Medici giraffe 7205: 7203: 7199: 7198: 7196: 7195: 7190: 7185: 7180: 7175: 7169: 7167: 7163: 7162: 7160: 7159: 7153: 7151: 7147: 7146: 7144: 7143: 7138: 7133: 7127: 7125: 7121: 7120: 7117: 7116: 7114: 7113: 7108: 7102: 7100: 7096: 7095: 7093: 7092: 7086: 7084: 7080: 7079: 7077: 7076: 7071: 7065: 7063: 7059: 7058: 7056: 7055: 7050: 7044: 7042: 7038: 7037: 7035: 7034: 7032:Giorgio Vasari 7029: 7024: 7019: 7014: 7009: 7004: 6999: 6998: 6997: 6987: 6982: 6977: 6971: 6969: 6962: 6958: 6957: 6954: 6953: 6951: 6950: 6945: 6944: 6943: 6938: 6927:Medici Chapels 6924: 6918: 6916: 6912: 6911: 6909: 6908: 6903: 6898: 6893: 6888: 6883: 6878: 6872: 6870: 6866: 6865: 6863: 6862: 6857: 6851: 6849: 6845: 6844: 6842: 6841: 6836: 6831: 6826: 6821: 6816: 6811: 6806: 6801: 6799:Palazzo Madama 6796: 6791: 6785: 6783: 6779: 6778: 6776: 6775: 6770: 6765: 6760: 6755: 6753:Montevettolini 6750: 6745: 6740: 6735: 6730: 6725: 6720: 6715: 6710: 6705: 6700: 6695: 6690: 6685: 6680: 6675: 6670: 6665: 6660: 6655: 6650: 6645: 6640: 6635: 6629: 6627: 6618: 6614: 6613: 6600: 6598: 6595: 6594: 6592: 6591: 6585: 6583: 6579: 6578: 6576: 6575: 6570: 6565: 6559: 6557: 6553: 6552: 6550: 6549: 6544: 6539: 6534: 6528: 6526: 6522: 6521: 6519: 6518: 6513: 6508: 6503: 6498: 6493: 6491:Innocenzo Cybo 6488: 6483: 6470: 6465: 6460: 6455: 6450: 6445: 6440: 6434: 6429: 6423: 6412: 6410: 6406: 6405: 6403: 6402: 6397: 6392: 6386: 6384: 6380: 6379: 6377: 6376: 6371: 6365: 6363: 6359: 6358: 6356: 6355: 6350: 6345: 6340: 6335: 6330: 6325: 6319: 6317: 6311: 6310: 6308: 6307: 6302: 6296: 6294: 6288: 6287: 6285: 6284: 6279: 6274: 6268: 6263: 6258: 6253: 6248: 6243: 6238: 6232: 6230: 6223: 6219: 6218: 6211: 6210: 6203: 6196: 6188: 6179: 6178: 6176: 6175: 6163: 6150: 6149: 6147:Pope Sixtus IV 6144: 6138: 6133: 6128: 6123: 6118: 6112: 6107: 6102: 6097: 6087: 6084: 6083: 6081: 6080: 6072: 6067: 6062: 6057: 6052: 6046: 6044: 6040: 6039: 6037: 6036: 6028: 6026: 6022: 6021: 6019: 6018: 6010: 6008: 6004: 6003: 6000: 5999: 5997: 5996: 5989: 5982: 5975: 5968: 5960: 5958: 5954: 5953: 5951: 5950: 5943: 5936: 5931: 5924: 5919: 5912: 5904: 5902: 5898: 5897: 5895: 5894: 5889: 5884: 5879: 5874: 5869: 5862: 5857: 5850: 5842: 5840: 5831: 5819: 5818: 5816: 5815: 5808: 5801: 5794: 5787: 5780: 5772: 5770: 5763: 5762: 5755: 5753: 5751: 5750: 5743: 5736: 5729: 5722: 5715: 5707: 5705: 5698: 5697: 5694:Sistine Chapel 5689: 5688: 5681: 5674: 5666: 5657: 5656: 5654: 5653: 5648: 5639: 5637: 5633: 5632: 5630: 5629: 5622: 5614: 5606: 5598: 5591: 5584: 5576: 5568: 5566: 5562: 5561: 5559: 5558: 5551: 5544: 5537: 5536: 5535: 5530: 5522: 5515: 5508: 5501: 5494: 5487: 5479: 5471: 5463: 5456: 5449: 5442: 5434: 5427: 5418: 5416: 5412: 5411: 5409: 5408: 5401: 5394: 5387: 5380: 5373: 5365: 5357: 5349: 5341: 5334: 5325:Youth of Moses 5314:Sistine Chapel 5311: 5303: 5300:Life of Esther 5296: 5289: 5281: 5274: 5267: 5259: 5257: 5253: 5252: 5245: 5243: 5241: 5240: 5233: 5226: 5219: 5212: 5205: 5197: 5190: 5183: 5180:Venus and Mars 5176: 5169: 5162: 5154: 5152: 5148: 5147: 5142: 5139: 5138: 5131: 5130: 5123: 5116: 5108: 5102: 5101: 5086: 5078: 5062:Colvin, Sidney 5058: 5052: 5046: 5043:World of Dante 5040: 5022: 5021:External links 5019: 5018: 5017: 5010:Zollner, Frank 5007: 4997: 4982:Rinaldi, Furio 4977: 4974: 4973: 4972: 4962: 4937: 4923:Shearman, John 4920: 4910: 4896: 4879: 4865: 4857:, Yale, 1996, 4851: 4833:Hudson, Mark, 4831: 4814: 4798:"Ettlingers": 4796: 4779: 4765:Davies, Martin 4762: 4754:, 1990, Yale, 4743: 4740: 4738: 4737: 4707: 4676: 4667: 4658: 4638: 4615: 4589: 4580: 4571: 4562: 4553: 4544: 4530: 4514: 4508:James Saslow, 4501: 4488: 4475: 4462: 4441: 4428: 4409: 4382: 4365:Fine Art Touch 4351: 4342: 4333: 4314: 4312:Lightbown, 312 4305: 4303:Ettlingers, 79 4296: 4294:Lightbown, 314 4287: 4278: 4269: 4260: 4251: 4242: 4230: 4221: 4206: 4197: 4188: 4179: 4170: 4161: 4152: 4143: 4134: 4125: 4116: 4107: 4098: 4089: 4077: 4068: 4058: 4049: 4040: 4031: 4022: 4013: 3994: 3974: 3965: 3956: 3947: 3945:Lightbown, 302 3935: 3926: 3917: 3915:Landau, 35, 38 3908: 3899: 3890: 3881: 3872: 3863: 3854: 3845: 3815: 3806: 3797: 3788: 3779: 3770: 3761: 3752: 3734: 3725: 3716: 3707: 3698: 3686: 3677: 3668: 3659: 3650: 3641: 3632: 3630:Ettlingers, 73 3623: 3621:Lightbown, 184 3614: 3605: 3596: 3587: 3585:Lightbown, 182 3578: 3569: 3567:Ettlingers, 11 3557: 3544: 3530: 3528:Lightbown, 180 3521: 3496: 3487: 3478: 3453: 3423: 3401: 3381: 3372: 3363: 3354: 3345: 3336: 3327: 3318: 3309: 3300: 3291: 3282: 3273: 3264: 3255: 3246: 3237: 3228: 3219: 3210: 3208:Ettlingers, 10 3201: 3192: 3183: 3174: 3165: 3156: 3147: 3132: 3123: 3114: 3097: 3088: 3079: 3070: 3068:Ettlingers, 12 3061: 3049: 3037: 3028: 3019: 3007: 2998: 2989: 2974: 2951: 2942: 2919: 2901: 2888: 2886: 2883: 2882: 2881: 2874: 2871: 2870: 2869: 2860: 2853: 2851: 2839: 2832: 2830: 2816: 2809: 2807: 2801: 2794: 2708:Venus and Mars 2668:Berlin gallery 2664:Birth of Venus 2610:Sistine Chapel 2593: 2590: 2573:Jacques Mesnil 2549: 2546: 2540: 2537: 2535: 2532: 2489: 2486: 2468: 2465: 2451:artist's guild 2425:Carlo Crivelli 2233:(c. 1494–95). 2221: 2218: 2138: 2135: 2134: 2133: 2130: 2123: 2121: 2118: 2111: 2109: 2106: 2099: 2097: 2094: 2087: 2085: 2082: 2075: 2005:Baccio Baldini 1981:Baccio Baldini 1972: 1969: 1968: 1967: 1953: 1946: 1944: 1927: 1920: 1918: 1898: 1891: 1889: 1875: 1868: 1866: 1852: 1845: 1843: 1829: 1822: 1820: 1804: 1797: 1795: 1783: 1776: 1774: 1767: 1760: 1710:Venus and Mars 1686: 1683: 1658:to her cousin 1648:Gospel of Luke 1558: 1555: 1554: 1553: 1545: 1491-93 1534: 1527: 1525: 1517: 1490-95 1506: 1499: 1497: 1493: 1489-90 1482: 1475: 1348: 1345: 1323: 1318: 1254: 1249: 1192: 1189: 1123:Venus and Mars 1109:Venus and Mars 1059:art historians 1048:Venus and Mars 1027:(c. 1482) and 962: 959: 929:Youth of Moses 878:Youth of Moses 859:Life of Christ 839:Sistine Chapel 835:Pope Sixtus IV 828:Sistine Chapel 823:Youth of Moses 814: 813:Sistine Chapel 811: 810: 809: 800: 793: 791: 779: 772: 770: 762: 755: 753: 731: 724: 550: 547: 451: 448: 398:Giorgio Vasari 374: 371: 346:Sistine Chapel 332:, both in the 191: 190: 187: 186: 178: 177: 173: 172: 169: 168: 163: 159: 158: 135: 129: 128: 125: 124:Known for 121: 120: 115: 111: 110: 107: 103: 102: 99: 91: 87: 86: 74: 63: 61: 57: 56: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 7349: 7338: 7335: 7333: 7330: 7328: 7325: 7323: 7320: 7318: 7315: 7313: 7310: 7308: 7305: 7303: 7300: 7298: 7295: 7293: 7290: 7288: 7285: 7283: 7280: 7278: 7275: 7273: 7270: 7268: 7265: 7264: 7262: 7245: 7242: 7241: 7240: 7237: 7235: 7232: 7230: 7227: 7225: 7222: 7220: 7217: 7215: 7212: 7210: 7207: 7206: 7204: 7200: 7194: 7191: 7189: 7186: 7184: 7181: 7179: 7176: 7174: 7171: 7170: 7168: 7164: 7158: 7155: 7154: 7152: 7148: 7142: 7139: 7137: 7134: 7132: 7129: 7128: 7126: 7122: 7112: 7109: 7107: 7104: 7103: 7101: 7097: 7091: 7088: 7087: 7085: 7081: 7075: 7072: 7070: 7067: 7066: 7064: 7060: 7054: 7051: 7049: 7046: 7045: 7043: 7039: 7033: 7030: 7028: 7025: 7023: 7020: 7018: 7015: 7013: 7010: 7008: 7005: 7003: 7000: 6996: 6993: 6992: 6991: 6988: 6986: 6983: 6981: 6978: 6976: 6973: 6972: 6970: 6966: 6963: 6959: 6949: 6946: 6942: 6939: 6937: 6934: 6933: 6932: 6928: 6925: 6923: 6920: 6919: 6917: 6913: 6907: 6904: 6902: 6899: 6897: 6894: 6892: 6889: 6887: 6884: 6882: 6879: 6877: 6874: 6873: 6871: 6867: 6861: 6858: 6856: 6853: 6852: 6850: 6846: 6840: 6837: 6835: 6832: 6830: 6827: 6825: 6822: 6820: 6817: 6815: 6812: 6810: 6807: 6805: 6804:Palazzo Pitti 6802: 6800: 6797: 6795: 6792: 6790: 6787: 6786: 6784: 6780: 6774: 6771: 6769: 6766: 6764: 6761: 6759: 6756: 6754: 6751: 6749: 6746: 6744: 6741: 6739: 6736: 6734: 6731: 6729: 6726: 6724: 6721: 6719: 6716: 6714: 6711: 6709: 6708:Cerreto Guidi 6706: 6704: 6701: 6699: 6696: 6694: 6691: 6689: 6686: 6684: 6681: 6679: 6676: 6674: 6671: 6669: 6666: 6664: 6661: 6659: 6658:Collesalvetti 6656: 6654: 6651: 6649: 6646: 6644: 6641: 6639: 6636: 6634: 6631: 6630: 6628: 6626: 6622: 6619: 6615: 6610: 6609:Festina Lente 6604: 6590: 6587: 6586: 6584: 6580: 6574: 6571: 6569: 6566: 6564: 6561: 6560: 6558: 6554: 6548: 6545: 6543: 6540: 6538: 6535: 6533: 6530: 6529: 6527: 6523: 6517: 6514: 6512: 6509: 6507: 6504: 6502: 6499: 6497: 6494: 6492: 6489: 6487: 6484: 6482: 6478: 6474: 6471: 6469: 6466: 6464: 6461: 6459: 6456: 6454: 6451: 6449: 6446: 6444: 6441: 6438: 6435: 6433: 6430: 6428:(Clement VII) 6427: 6424: 6421: 6417: 6414: 6413: 6411: 6407: 6401: 6398: 6396: 6393: 6391: 6388: 6387: 6385: 6381: 6375: 6372: 6370: 6367: 6366: 6364: 6360: 6354: 6351: 6349: 6346: 6344: 6343:Ferdinando II 6341: 6339: 6336: 6334: 6331: 6329: 6326: 6324: 6321: 6320: 6318: 6316: 6312: 6306: 6303: 6301: 6298: 6297: 6295: 6293: 6289: 6283: 6280: 6278: 6275: 6273:(Clement VII) 6272: 6269: 6267: 6264: 6262: 6259: 6257: 6254: 6252: 6249: 6247: 6244: 6242: 6239: 6237: 6234: 6233: 6231: 6227: 6224: 6220: 6216: 6209: 6204: 6202: 6197: 6195: 6190: 6189: 6186: 6174: 6169: 6164: 6162: 6152: 6151: 6148: 6145: 6142: 6139: 6137: 6134: 6132: 6129: 6127: 6124: 6122: 6119: 6116: 6113: 6111: 6108: 6106: 6103: 6101: 6098: 6096: 6092: 6089: 6088: 6085: 6078: 6077: 6073: 6071: 6068: 6066: 6065:Room of Tears 6063: 6061: 6058: 6056: 6053: 6051: 6048: 6047: 6045: 6041: 6035: 6034: 6030: 6029: 6027: 6023: 6017: 6016: 6012: 6011: 6009: 6005: 5995: 5994: 5990: 5988: 5987: 5986:Cumaean Sibyl 5983: 5981: 5980: 5979:Delphic Sibyl 5976: 5974: 5973: 5969: 5967: 5966: 5965:Persian Sibyl 5962: 5961: 5959: 5955: 5949: 5948: 5944: 5942: 5941: 5937: 5935: 5932: 5930: 5929: 5925: 5923: 5920: 5918: 5917: 5913: 5911: 5910: 5906: 5905: 5903: 5899: 5893: 5890: 5888: 5885: 5883: 5880: 5878: 5875: 5873: 5870: 5868: 5867: 5863: 5861: 5858: 5856: 5855: 5851: 5849: 5848: 5844: 5843: 5841: 5835: 5832: 5829: 5824: 5820: 5814: 5813: 5809: 5807: 5806: 5802: 5800: 5799: 5795: 5793: 5792: 5788: 5786: 5785: 5781: 5779: 5778: 5774: 5773: 5771: 5769: 5764: 5759: 5749: 5748: 5744: 5742: 5741: 5737: 5735: 5734: 5730: 5728: 5727: 5723: 5721: 5720: 5716: 5714: 5713: 5709: 5708: 5706: 5704: 5699: 5695: 5687: 5682: 5680: 5675: 5673: 5668: 5667: 5664: 5652: 5649: 5647: 5645: 5641: 5640: 5638: 5634: 5628: 5627: 5623: 5620: 5619: 5615: 5612: 5611: 5607: 5604: 5603: 5599: 5597: 5596: 5592: 5590: 5589: 5585: 5582: 5581: 5577: 5575: 5574: 5570: 5569: 5567: 5563: 5557: 5556: 5552: 5550: 5549: 5545: 5543: 5542: 5538: 5534: 5531: 5529: 5526: 5525: 5524:Annunciation 5523: 5521: 5520: 5516: 5514: 5513: 5509: 5507: 5506: 5502: 5500: 5499: 5495: 5493: 5492: 5491:Bardi Madonna 5488: 5485: 5484: 5480: 5477: 5476: 5472: 5469: 5468: 5464: 5462: 5461: 5457: 5455: 5454: 5450: 5448: 5447: 5443: 5440: 5439: 5435: 5433: 5432: 5428: 5425: 5424: 5420: 5419: 5417: 5413: 5407: 5406: 5402: 5400: 5399: 5395: 5393: 5392: 5388: 5386: 5385: 5381: 5379: 5378: 5374: 5371: 5370: 5366: 5363: 5362: 5358: 5355: 5354: 5350: 5347: 5346: 5342: 5340: 5339: 5335: 5333: 5332: 5327: 5326: 5321: 5320: 5315: 5312: 5309: 5308: 5304: 5302: 5301: 5297: 5295: 5294: 5290: 5287: 5286: 5282: 5280: 5279: 5275: 5273: 5272: 5268: 5266: 5265: 5261: 5260: 5258: 5254: 5249: 5239: 5238: 5234: 5232: 5231: 5227: 5225: 5224: 5220: 5218: 5217: 5213: 5211: 5210: 5206: 5204: 5203: 5202:Divine Comedy 5198: 5196: 5195: 5191: 5189: 5188: 5184: 5182: 5181: 5177: 5175: 5174: 5170: 5168: 5167: 5163: 5161: 5160: 5156: 5155: 5153: 5149: 5145: 5144:List of works 5140: 5136: 5129: 5124: 5122: 5117: 5115: 5110: 5109: 5106: 5099: 5098: 5093: 5092: 5087: 5084: 5083: 5079: 5075: 5074: 5068: 5063: 5059: 5056: 5053: 5050: 5047: 5044: 5041: 5037: 5033: 5029: 5025: 5024: 5015: 5011: 5008: 5005: 5002: 4998: 4995: 4991: 4987: 4983: 4980: 4979: 4970: 4966: 4963: 4960: 4956: 4953: 4951: 4945: 4941: 4938: 4936: 4935:0-517-56274-X 4932: 4928: 4924: 4921: 4918: 4914: 4911: 4909: 4908:0-224-06167-4 4905: 4901: 4897: 4895: 4891: 4887: 4883: 4880: 4878: 4877:1-904449-21-2 4874: 4870: 4866: 4864: 4863:0-300-06883-2 4860: 4856: 4852: 4849: 4848: 4843: 4839: 4836: 4832: 4830: 4829:0-500-23510-4 4826: 4822: 4818: 4815: 4813: 4812:0-500-20153-6 4809: 4805: 4801: 4797: 4795: 4791: 4788: 4784: 4780: 4778: 4777:0-901791-29-6 4774: 4770: 4766: 4763: 4761: 4760:0-300-04675-8 4757: 4753: 4749: 4746: 4745: 4725: 4721: 4717: 4711: 4695: 4691: 4687: 4680: 4671: 4662: 4655: 4652: 4648: 4647:Michael Levey 4642: 4636: 4635:1-85177-394-0 4632: 4628: 4624: 4619: 4604: 4600: 4593: 4584: 4575: 4569:Lightbown, 14 4566: 4557: 4548: 4539: 4537: 4535: 4527: 4523: 4518: 4511: 4505: 4499:, Paris, 1938 4498: 4492: 4485: 4479: 4472: 4466: 4459: 4455: 4451: 4445: 4438: 4432: 4421:September 13, 4416: 4412: 4406: 4402: 4398: 4397: 4392: 4386: 4370: 4366: 4362: 4355: 4349:Lightbown, 44 4346: 4337: 4330: 4326: 4323: 4318: 4309: 4300: 4291: 4282: 4273: 4264: 4258:Lightbown, 17 4255: 4246: 4237: 4235: 4225: 4219: 4217: 4210: 4201: 4192: 4183: 4174: 4165: 4156: 4147: 4138: 4129: 4120: 4111: 4102: 4093: 4084: 4082: 4072: 4062: 4053: 4044: 4038:Lightbown, 58 4035: 4026: 4017: 4001: 3997: 3995:9781786565082 3991: 3987: 3986: 3978: 3969: 3960: 3951: 3942: 3940: 3930: 3921: 3912: 3903: 3894: 3885: 3879:Davies, 98-99 3876: 3867: 3858: 3849: 3833: 3829: 3825: 3819: 3810: 3801: 3792: 3783: 3774: 3765: 3756: 3750: 3749: 3744: 3738: 3729: 3720: 3711: 3705:Lightbown, 47 3702: 3696:Lightbown, 82 3693: 3691: 3681: 3672: 3663: 3654: 3645: 3636: 3627: 3618: 3609: 3600: 3591: 3582: 3573: 3564: 3562: 3554: 3548: 3539: 3537: 3535: 3525: 3510: 3506: 3500: 3491: 3482: 3476: 3472: 3469: 3465: 3464: 3457: 3441: 3437: 3433: 3427: 3420: 3408: 3404: 3402:0-520-03372-8 3398: 3394: 3393: 3385: 3376: 3367: 3358: 3349: 3340: 3331: 3322: 3313: 3304: 3295: 3286: 3277: 3268: 3259: 3250: 3241: 3235:Lightbown, 77 3232: 3226:Lightbown, 70 3223: 3214: 3205: 3196: 3187: 3181:Lightbown, 52 3178: 3169: 3160: 3154:Lightbown, 50 3151: 3143: 3136: 3127: 3118: 3111: 3107: 3101: 3092: 3083: 3074: 3065: 3056: 3054: 3047:Lightbown, 18 3044: 3042: 3032: 3026:Lightbown, 19 3023: 3017:Ettlingers, 7 3014: 3012: 3002: 2993: 2985: 2981: 2977: 2975:0-89468-305-5 2971: 2967: 2966: 2958: 2956: 2946: 2938: 2934: 2930: 2923: 2915: 2911: 2905: 2896: 2894: 2889: 2880: 2877: 2876: 2867: 2863: 2857: 2852: 2842: 2836: 2831: 2821: 2820: 2813: 2808: 2804: 2798: 2793: 2792: 2791: 2789: 2784: 2782: 2781: 2776: 2771: 2769: 2768:Herbert Horne 2765: 2761: 2757: 2753: 2749: 2747: 2743: 2739: 2735: 2730: 2728: 2724: 2723: 2718: 2714: 2710: 2709: 2704: 2701:in 1857, the 2700: 2696: 2692: 2691: 2686: 2681: 2679: 2675: 2674: 2669: 2665: 2650: 2649: 2644: 2640: 2638: 2634: 2629: 2627: 2623: 2618: 2613: 2611: 2603: 2598: 2589: 2585: 2582: 2578: 2574: 2569: 2567: 2563: 2559: 2554: 2545: 2534:Personal life 2531: 2529: 2524: 2520: 2518: 2517:Neri di Bicci 2504: 2500: 2499: 2494: 2485: 2483: 2479: 2475: 2464: 2462: 2461: 2456: 2452: 2448: 2447:confraternity 2443: 2441: 2436: 2434: 2430: 2426: 2422: 2418: 2417: 2411: 2409: 2405: 2401: 2397: 2396: 2390: 2388: 2384: 2380: 2379: 2371: 2360: 2359: 2354: 2350: 2348: 2347: 2342: 2341: 2336: 2332: 2328: 2327: 2320: 2318: 2317: 2312: 2306: 2303: 2295: 2291: 2287: 2286: 2281: 2277: 2275: 2274: 2269: 2262: 2260: 2253: 2251: 2247: 2244: 2236: 2232: 2231: 2226: 2217: 2215: 2210: 2205: 2203: 2199: 2195: 2194: 2193:Seven Virtues 2189: 2185: 2180: 2177: 2173: 2172:Medici family 2169: 2165: 2161: 2153: 2149: 2148: 2143: 2127: 2122: 2115: 2110: 2103: 2098: 2091: 2086: 2079: 2074: 2073: 2072: 2070: 2065: 2061: 2059: 2055: 2054:underdrawings 2051: 2047: 2042: 2039: 2035: 2034: 2033:Divine Comedy 2025: 2020: 2016: 2014: 2010: 2006: 2002: 1996: 1994: 1990: 1982: 1979:Engraving by 1977: 1958: 1957: 1950: 1945: 1934: 1930: 1924: 1919: 1915: 1911: 1907: 1903: 1902: 1895: 1890: 1880: 1879: 1872: 1867: 1857: 1856: 1849: 1844: 1834: 1833: 1826: 1821: 1817: 1813: 1809: 1808: 1801: 1796: 1792: 1788: 1787: 1780: 1775: 1771: 1764: 1759: 1758: 1757: 1755: 1751: 1747: 1743: 1739: 1735: 1734:self-portrait 1730: 1726: 1722: 1720: 1716: 1712: 1711: 1701: 1697: 1696: 1691: 1682: 1680: 1676: 1672: 1668: 1665:Botticelli's 1663: 1661: 1657: 1653: 1649: 1645: 1644: 1639: 1638: 1632: 1630: 1626: 1619: 1615: 1611: 1606: 1602: 1600: 1595: 1590: 1587: 1586: 1581: 1577: 1569: 1568: 1563: 1550: 1539: 1538: 1531: 1526: 1522: 1511: 1510: 1503: 1498: 1487: 1486: 1479: 1474: 1473: 1472: 1468: 1466: 1462: 1461:Mary Magdalen 1458: 1454: 1450: 1446: 1445: 1440: 1434: 1432: 1428: 1424: 1419: 1415: 1411: 1407: 1403: 1395: 1391: 1390: 1385: 1381: 1378: 1374: 1373: 1367: 1365: 1364: 1359: 1355: 1344: 1342: 1341: 1336: 1331: 1330: 1322: 1314: 1310: 1306: 1304: 1299: 1296: 1292: 1288: 1284: 1283: 1278: 1274: 1273: 1264: 1259: 1253: 1248: 1246: 1242: 1238: 1234: 1230: 1226: 1222: 1218: 1213: 1211: 1207: 1203: 1199: 1188: 1186: 1185: 1180: 1176: 1175: 1170: 1166: 1165: 1159: 1156: 1155: 1150: 1146: 1141: 1139: 1135: 1131: 1130: 1125: 1124: 1115: 1111: 1110: 1105: 1101: 1099: 1095: 1091: 1087: 1083: 1078: 1076: 1072: 1066: 1064: 1060: 1056: 1055: 1050: 1049: 1044: 1040: 1036: 1032: 1031: 1026: 1025: 1017: 1013: 1009: 1008: 1003: 997: 993: 989: 985: 981: 977: 973: 972: 967: 958: 955: 952:, now in the 951: 947: 946: 941: 937: 932: 930: 926: 921: 919: 915: 907: 906: 901: 897: 894: 890: 886: 885: 880: 879: 874: 873: 868: 867: 861: 860: 854: 852: 848: 844: 840: 836: 829: 825: 824: 819: 806: 805: 797: 792: 782: 776: 771: 767: 766: 765:St. Sebastian 759: 754: 751: 748:, called the 747: 736: 735: 728: 723: 722: 721: 719: 715: 711: 710: 705: 701: 700: 694: 692: 688: 684: 680: 676: 672: 671: 666: 662: 658: 653: 651: 647: 643: 639: 635: 631: 627: 616: 612: 611: 602: 601: 596: 592: 590: 586: 581: 579: 575: 571: 567: 566: 560: 558: 557: 546: 544: 540: 536: 532: 531: 526: 522: 517: 515: 511: 510:Seven Virtues 507: 506: 500: 498: 494: 490: 486: 482: 478: 471: 460: 456: 447: 443: 441: 437: 431: 429: 425: 421: 417: 411: 409: 405: 404: 399: 394: 392: 388: 379: 370: 368: 364: 360: 356: 355: 349: 347: 343: 339: 335: 331: 330: 325: 324: 319: 315: 310: 308: 303: 299: 295: 290: 282: 281: 268: 229: 218: 204: 203: 197: 188: 184: 179: 174: 170: 167: 164: 160: 157: 153: 152: 147: 146: 141: 140: 136: 130: 126: 122: 119: 118:Filippo Lippi 116: 112: 108: 104: 92: 88: 81: 77: 62: 58: 53: 52: 47: 46:self-portrait 41: 36: 29: 26: 22: 7272:1440s births 7173:Medici lions 7150:Institutions 6990:Michelangelo 6979: 6948:Old Sacristy 6936:New Sacristy 6809:Villa Medici 6733:L'Ambrogiana 6718:Arena Metato 6608: 6568:Don Giovanni 6476: 6458:Giovan Carlo 6448:Ferdinando I 6415: 6353:Gian Gastone 6333:Ferdinando I 6136:Michelangelo 6099: 6090: 6074: 6070:Vatican City 6031: 6013: 5993:Libyan Sibyl 5991: 5984: 5977: 5970: 5963: 5945: 5938: 5933: 5926: 5921: 5914: 5907: 5891: 5886: 5881: 5876: 5871: 5864: 5859: 5852: 5845: 5810: 5803: 5796: 5789: 5782: 5775: 5745: 5738: 5731: 5724: 5717: 5710: 5643: 5624: 5616: 5608: 5600: 5593: 5586: 5578: 5571: 5553: 5546: 5539: 5517: 5510: 5503: 5496: 5489: 5481: 5478:(Strasbourg) 5473: 5465: 5458: 5451: 5444: 5436: 5429: 5421: 5403: 5396: 5389: 5382: 5375: 5367: 5359: 5351: 5343: 5336: 5329: 5323: 5318: 5305: 5298: 5291: 5283: 5276: 5269: 5262: 5235: 5228: 5221: 5214: 5207: 5201: 5192: 5185: 5178: 5171: 5164: 5157: 5134: 5095: 5089: 5081: 5071: 5036:the original 5031: 5028:"Botticelli" 5013: 5003: 4985: 4968: 4949: 4943: 4926: 4916: 4899: 4885: 4868: 4854: 4845: 4820: 4803: 4768: 4751: 4730:February 19, 4728:. Retrieved 4719: 4710: 4698:. Retrieved 4679: 4670: 4661: 4653: 4650: 4641: 4622: 4618: 4606:. Retrieved 4602: 4592: 4583: 4574: 4565: 4556: 4547: 4525: 4521: 4517: 4509: 4504: 4496: 4491: 4483: 4478: 4465: 4449: 4444: 4436: 4431: 4419:. Retrieved 4401:Random House 4395: 4385: 4373:. Retrieved 4364: 4354: 4345: 4336: 4317: 4308: 4299: 4290: 4281: 4272: 4263: 4254: 4245: 4224: 4215: 4209: 4200: 4191: 4182: 4173: 4164: 4155: 4146: 4137: 4128: 4119: 4110: 4101: 4092: 4071: 4061: 4052: 4043: 4034: 4025: 4016: 4004:. Retrieved 3984: 3977: 3968: 3959: 3950: 3929: 3920: 3911: 3902: 3893: 3884: 3875: 3866: 3857: 3848: 3836:. Retrieved 3827: 3818: 3813:Campbell, 12 3809: 3800: 3791: 3782: 3773: 3764: 3755: 3745: 3737: 3728: 3719: 3710: 3701: 3680: 3671: 3662: 3653: 3644: 3635: 3626: 3617: 3608: 3599: 3590: 3581: 3572: 3547: 3524: 3512:. Retrieved 3508: 3499: 3490: 3481: 3461: 3456: 3444:. Retrieved 3435: 3426: 3418: 3413:December 12, 3411:. Retrieved 3391: 3384: 3375: 3366: 3357: 3348: 3339: 3330: 3321: 3312: 3303: 3294: 3289:Shearman, 47 3285: 3276: 3267: 3258: 3249: 3240: 3231: 3222: 3213: 3204: 3195: 3186: 3177: 3168: 3159: 3150: 3141: 3135: 3126: 3117: 3105: 3100: 3091: 3082: 3073: 3064: 3031: 3022: 3001: 2992: 2964: 2945: 2933:sothebys.com 2932: 2922: 2913: 2904: 2861: 2840: 2819:Annunciation 2817: 2802: 2787: 2785: 2778: 2772: 2758:. The first 2752:Walter Pater 2750: 2731: 2720: 2716: 2711:, bought at 2706: 2688: 2682: 2671: 2663: 2661: 2646: 2630: 2616: 2614: 2606: 2601: 2586: 2570: 2555: 2551: 2542: 2527: 2525: 2521: 2514: 2502: 2496: 2481: 2470: 2458: 2444: 2437: 2421:Fra Angelico 2414: 2412: 2393: 2391: 2376: 2375: 2357: 2344: 2338: 2324: 2321: 2314: 2311:Michelangelo 2307: 2299: 2283: 2271: 2264: 2258: 2255: 2240: 2228: 2206: 2201: 2191: 2187: 2181: 2157: 2145: 2066: 2062: 2043: 2031: 2029: 1997: 1992: 1986: 1954: 1928: 1910:engraved gem 1899: 1876: 1853: 1830: 1805: 1784: 1770:Pitti Palace 1737: 1731: 1727: 1723: 1718: 1708: 1705: 1693: 1679:Annunciation 1678: 1674: 1666: 1664: 1641: 1635: 1633: 1622: 1609: 1598: 1591: 1583: 1573: 1565: 1535: 1508: 1483: 1469: 1449:Holy Trinity 1442: 1435: 1409: 1402:Lamentations 1401: 1399: 1387: 1370: 1368: 1361: 1357: 1353: 1350: 1338: 1328: 1327: 1325: 1320: 1312: 1303:Bardi family 1300: 1280: 1271: 1270: 1268: 1262: 1251: 1214: 1208:in 1485 for 1194: 1182: 1172: 1162: 1160: 1152: 1142: 1127: 1121: 1119: 1107: 1097: 1093: 1085: 1081: 1079: 1067: 1052: 1047: 1028: 1022: 1020: 1005: 980:Three Graces 969: 949: 943: 935: 933: 928: 922: 911: 903: 882: 876: 871: 863: 858: 855: 843:Michelangelo 832: 821: 802: 780: 763: 749: 737:altarpiece, 732: 709:Saint Jerome 707: 697: 695: 679:Pazzi family 668: 654: 629: 608: 606: 598: 582: 563: 561: 554: 552: 528: 524: 518: 503: 501: 474: 458: 444: 432: 412: 401: 395: 384: 352: 350: 327: 321: 313: 311: 293: 292:) or simply 227: 216: 215: 200: 149: 143: 137: 133:Notable work 95:(1510-05-17) 93:May 17, 1510 49: 25: 7277:1510 deaths 7183:Medici Vase 7157:Medici Bank 7111:Jacopo Peri 6931:San Lorenzo 6922:Magi Chapel 6556:Condottieri 6477:female line 6395:Clement VII 6328:Francesco I 6079:(1965 film) 5837:Scenes from 5692:Art of the 5613:(Frankfurt) 5610:Young Woman 4965:Wind, Edgar 4608:February 1, 4603:ARTnews.com 4578:Davies, 106 4267:Vasari, 155 4240:Vasari, 154 4087:Vasari, 152 3759:Campbell, 6 3603:Legouix, 38 3446:December 7, 2848: 1496 2827: 1490 2764:Aby Warburg 2670:bought the 2656: 1480 2562:John Ruskin 2510: 1487 2467:Other media 2440:physiognomy 2383:iconography 2366: 1500 2288:, c. 1500. 2237:, Florence. 2214:John Ruskin 2154:, Florence. 2150:, c. 1482. 2013:printmaking 1964: 1495 1940: 1480 1904:, possibly 1885: 1482 1862: 1480 1839: 1480 1768:Young Man, 1580:Virgin Mary 1427:Saint Peter 1400:Of the two 1347:Other works 1237:altarpieces 1138:conch shell 1075:John Ruskin 1010:, c. 1485. 788: 1478 742: 1470 636:, his sons 622: 1475 466: 1470 224: 1445 156:Other works 106:Nationality 83:(now Italy) 71: 1445 7261:Categories 7234:Savonarola 7083:Scientists 7017:Michelozzo 6869:Fortresses 6713:Marignolle 6693:Camugliano 6688:La Petraia 6683:Spedaletto 6673:Mezzomonte 6633:Cafaggiolo 6437:Alessandro 6348:Cosimo III 6266:Lorenzo II 6025:Tapestries 6007:Altar wall 5621:(Florence) 5426:(Florence) 5288:(Florence) 4869:Botticelli 4804:Botticelli 4742:References 4700:August 11, 4629:, p.95-96 4497:Botticelli 4375:August 10, 4216:Botticelli 4020:Hartt, 323 3972:Landau, 95 3514:January 8, 3436:www.wga.hu 3325:Hartt, 327 3190:Hartt, 324 3144:: 137–167. 2725:, sold at 2713:Christie's 2699:Manchester 2581:Savonarola 2566:Ognissanti 2220:Last years 2168:golden age 2137:The Medici 2001:engravings 1742:Tornabuoni 1671:flak tower 1656:Visitation 1643:Magnificat 1625:Savonarola 1295:banderoles 630:Adorations 585:Camposanto 391:Ognissanti 373:Early life 294:Botticelli 7239:TV series 7099:Musicians 7012:Donatello 6961:Patronage 6768:Seravezza 6703:La Topaia 6653:La Quiete 6617:Buildings 6582:Genealogy 6473:Francesco 6416:male line 6409:Cardinals 6338:Cosimo II 5934:Zechariah 5887:The Flood 5618:Young Man 5602:Young Man 5580:Young Man 5565:Portraits 5441:(Avignon) 5364:(Trinity) 5256:Religious 5166:Primavera 5159:Fortitude 4522:Primavera 3838:March 29, 2937:Sotheby's 2760:monograph 2727:Sotheby's 2571:In 1938, 2548:Sexuality 2474:vestments 2433:Mannerism 2372:, London. 2252:in 1498: 2250:execution 2188:Fortitude 2069:pamphlets 2050:parchment 1789:, 1470s, 1685:Portraits 1660:Elizabeth 1570:, c. 1483 1431:Jerusalem 1396:, Munich. 1184:Decameron 1179:Boccaccio 1164:spalliera 1129:spalliera 1094:Primavera 1082:Primavera 1024:Primavera 971:Primavera 918:pilasters 833:In 1481, 505:Fortitude 408:goldsmith 400:, in his 329:Primavera 296:, was an 176:Signature 139:Primavera 114:Education 44:Probable 7244:episodes 7124:Heraldry 6906:Volterra 6886:Piombino 6881:Grosseto 6834:Materdei 6758:Artimino 6738:La Màgia 6668:Castello 6542:Giuliano 6463:Leopoldo 6443:Giovanni 6439:(Leo XI) 6432:Ippolito 6420:Giovanni 6369:Caterina 6323:Cosimo I 6305:Cosimo I 6277:Ippolito 6261:Giuliano 5916:Jeremiah 5901:Prophets 5766:Life of 5701:Life of 5583:(London) 5533:New York 5486:(Boston) 5470:(Naples) 5415:Madonnas 5348:(Munich) 5064:(1911). 4955:Archived 4838:Archived 4790:Archived 4724:Archived 4694:Archived 4415:Archived 4393:(2007). 4369:Archived 4325:Archived 4000:Archived 3832:Archived 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