fev eae ee pe > ee : . on eee tee eters . Se i Pippa seis sEI001 St mcoricneet 5959 ences terret escort ooo) oe seal yet ne s idee es SANDRO BOTTICELLI SANDRO BOTTICELLI WILHELM BODE TRANSLATED BY F. RENFIELD, M.A., LL.M. AND F, L. RUDSTON BROWN WITH 98 ILLUSTRATIONS ee wae "au nh © gees Pf 2 " rae fot be hy = the ee -L { = = a [arg v = 1 E Cite = ae = “ale 3 PR E bored 0) : — METHUEN & CO. LTD. 36 ESSEX STREET W.C. LONDON THE J. PAUL GETTY MUSEUM LIBRARY PREFACE HE standard work on Sandro Botticelli by Herbert Horne, that appeared in 1908, is based on the most painstaking and exhaustive research among the records of the man and his works, but the author scarcely does full justice to the artist and poet in Botticelli. it was certainly produced after the latter’s death, but probably not much later, before the Adoration of 1500. To call this, as is often done, the ° Master’s swan-song,’ seems to me difficult to justify. Vasari tells us how after Fra Girolamo’s time Sandro fell into abject poverty and into decrepitude of both body and mind; but this is certainly incorrect. We have seen that in 1494 he bought the villa at Bellosguardo jointly with his brother, and it remained their property till they died. Other documentary evidence relating to Botticelli’s last years is scanty, but, such as it is, contains no suggestion of bodily decay or financia need. On the contrary, Sandro still felt inclined to take part in festivities ; at any rate in the years 1503 to 1505 he repeatedly subscribed towards the decorations and festivals of the Florentine guild of artists. In January, 1505, we find him a member of the commission which was considering where Michelangelo’s David should be set up. At this time too, the ageing Master will have 138 BPudglLicELLI’ AND HIS ART been a keenly interested spectator of the rivalry between the two greatest of all Florentine artists; with the production of _the cartoons for the battle-scenes, the new age in Italy reaches its full strength. Botticelli’s feelings may have been peculiar, but envy was not among them, for this quality seems to have had no place in his disposition, and he was on as friendly terms with Leonardo as with Michelangelo. That he continued to be accounted one of the first painters in Italy and had by no means given up painting altogether we learn from an interesting letter which Francesco Malatesta, the agent of Isabella d’Este, addressed to his mistress in September 1502. In this letter he recom- mends her, in view of the absence and indolence of Perugino, to apply to Filippino or to Botticelli for the decoration of her camerino in the palace at Mantua. ‘I hear high praises ’—so writes Malatesta—‘ of Alexandro Botechiella, both as an excel- lent painter and as a man who works industriously and is not otherwise engaged (like Filippino and Perugino). I have had a talk with him; he says he would undertake the work at once and would gladly place himself at your Highness’ service.’ But the Marchesa’s choice fell on Perugino, with whom she had had previous negotiations in the matter of a picture for her camerino. A little later, about 1503, Ugolino Verino refers to the artist in his Latin poem ‘ De Illustratione Urbis Florentiz ’ in which he says of him: ‘ Nec Zeuxi inferior pictura Sander habetur.’ Some twenty years previously he had extolled him as a second Apelles. Such statements by contemporaries and even by artists leave little doubt that Sandro, who was only 65 years old when he died in 1510, continued to practise his art during his last years. We may assume that some of the pictures we have discussed above and classified as being painted under the influence of Savanarola, were not produced till the beginning of the Cinquecento. To this period we must in particular attribute the large ‘ Adoration of the Kings,’ rich in figures, 139 SANDRO BOTTICELLI which Sandro left unfinished, and which was unfortunately completed much later in makeshift fashion by various inferior hands. This picture, long banished to the store-room, is now to be found in the Botticelli room in the Uffizi. It is correctly attributed to the artist’s latest period by all the more recent critics of Botticelli. Only Horne alone incomprehensibly dis- cusses it together with the other pictures on the same subject dating from Sandro’s earlier years. The assumption that the man wearing a hat and eagerly pointing to the Holy Family close by is Savonarola and that his neighbour towards whom he is turning is Lorenzo il Magnifico is certainly mistaken. In his later period Sandro introduced no portraits whatever into his pictures; the monk had vigorously protested against any portraits being included in religious representations, besides which these two figures hardly bear even a faint resemblance to Lorenzo and Savonarola. The unfinished state in which the artist left this picture suggests that he died while engaged upon it, or possibly he may have laid it aside for years together. The hasty movement, the hard folds of the heavy drapery, the careless draughtsman- ship and the often unskilful proportions make it clear that the picture belongs to his last period, but even as a work of this epoch it presents many striking features. First and foremost, the throng of figures; the kings are arriving with an immense retinue, crowding forward on both sides and spreading far away into the distance. The fiery steeds that the grooms can scarcely control, the mighty rocks before which the Holy Family is receiving the kings beneath a small roof, and between which the crowded retinue is pressing forward, were probably painted under the influence of Leonardo’s unfinished ‘ Adoration.’ This incomplete picture of Sandro’s is very different from his *‘ Adora- tion’ of 1500 in which the marked peculiarities of style are manifestly deliberate ; on the other hand, it reveals close con- nection with the representations from the lives of Virginia 140 POLLICELLI' AND HIS ART and Lucretia, which he also painted about 1500 for Giovanni Vespucci. The * Annunciation ’ in the Glasgow Gallery resembles these panel pictures in its stately architecture; in discussing Sandro this picture is very seldom mentioned, and then only as the work of an imitator. It appears to me to be a thoroughly typical product of Sandro’s latest period. Of this the imposing archi- tecture, free from all ornamentation, is a sufficient indication, for we do not find it similarly handled by any other painter of the age; the lines of architectural perspective, too, are carried far into the background in the fashion peculiar to Sandro, who in his drawings even sketched them in beforehand in the same way. ‘The plain rolls as capitals and bases for the pilasters are very similar to those in the little picture of St. Augustine, though not quite so heavy. And the two small figures are likewise thoroughly typical of Botticelli’s latest period, as a comparison with the ‘ Adoration’ of 1500 in particular will show. In both we find the small heads and extremities, the same details of modelling, the billowy draperies with their disordered folds. Even the curiously conventionalised pines in the river scene, upon which the open portico affords a view, correspond to the deliberate conventionalising in the * Adoration.’ 141 CHAPTER VIII BOTTICELLIY’S DRAWINGS FOR THE DIVINA COMMEDIA which embraces almost two decades from about the death of Lorenzo il Magnifico to the artist’s own demise, we find that the works, some of which are difficult to place and to date, give the impression that his creative powers were unequal and that he was often interrupted. Profoundly disturbed and driven out of his true course by external and internal struggles as well as by religious and moral scruples, he appears to be seeking in vain to hew a straight path of clear and artistic unity through all the new views. Among the works of these years some are in many ways almost unpleasing, some are doubtful ; from the standpoint of quality few are fine, and all vary greatly among themselves. On the other hand, the beginning of this very period gave us a voluminous creation of great originality, and this is to a certain extent compensation for the poor quality of those other less satisfactory works. I refer to the drawings for Dante’s Divine Comedy, most of which are now in the possession of the Berlin ‘ Kupferstichkabinett.’’? Owing to the loss of Michelangelo’s illustrations of Dante this set con- stitutes a unique creation. The drawings with the written text formed a large folio, which was executed as a commission for Sandro’s old patron Lorenzo di Pierfrancesco de’ Medici. Every canto of the poem is written on a separate sheet, with the draw- ing that illustrates its meaning on the opposite side. The Berlin Museum possesses eighty-eight sheets, in which the entire Pur- 142 [ we survey the long period of Botticelli’s later activity BOTTICELLI’S DRAWINGS gatorio and Paradiso are preserved as far as they were illustrated by Botticelli, but fifteen sheets of the Inferno are missing. Eight of these cantos have since been found in the Vatican Library, and we can at least form a good idea of the seven still missing from the engravings in Landino’s Commentary on the Divina Commedia that appeared in 1481, for these can all be traced to Sandro’s designs, though not, as was until recently believed, to the great work executed for Lorenzo di Pierfranceso, which was not undertaken till nearly ten years after Landino’s Com- mentary. It was formerly assumed that these drawings, which are amongst the earliest Florentine engravings on copper, were greatly simplified studies for the larger drawings, and that their faultiness was due to the engraver’s want of skill. But the age of Lorenzo di Pierfrancesco, who was born in 1464, shows this theory to be impossible, for then he must have ordered these drawings while still a boy, as they would need to have been commenced several years before the publication of the Landino book, which appeared in 1481. And the engravings would hardly have been executed from very different unfinished drawings, which were, besides, intended for illumination. Moreover, Lorenzo di Pierfrancesco, who desired to possess in this illumin- ated collection something quite unique, would certainly not have allowed the drawings to be made accessible to every one before- hand through engravings. Added to this, the character of the drawings indicates that they date from the end of the reign of the great Lorenzo and the ensuing years. Hence these en- eravings must be based on studies made by Sandro some ten years before the large drawings were begun. The engraver ill-treated the artist’s studies and reduced them considerably, nevertheless, besides their importance as early engravings, they have for us the added interest that they give us an idea of what the sheets missing from the later great work looked like. They have, moreover, the further general interest that they prove 143 SANDRO BOTTICEDL! how early and for how long Sandro was preoccupied with the © study of Dante, how thoroughly he knew the poet, and how deeply he was penetrated by his mystic, profoundly religious views. This alone makes it comprehensible that Savonarola’s. teaching and exhortation to repentance found in him such com- plete understanding and receptivity. The drawings are only partially finished. The artist first sketched them lightly with silver-point and later filled them in — more or less freely with a pen. A few sheets—three in all, from the Inferno—are carefully finished in body colours like miniatures. It can therefore hardly be doubted that the patron desired to have all the sheets similarly illuminated in body colour in order to possess a grand illuminated MS. quite in the good old impressive style. Moreover, the plain outline drawing and the almost entire lack of modelling indicates that they were to be © finished off in colour. The illuminated pages are fully plastic and far more comprehensible, nevertheless we must be thankful that the colouring stage was not reached in the others, for in these few coloured plates the delicacy of drawing and expression are considerably impaired by the painting being executed by a pupil, and the sheets produce a gaudy and disturbing impression. From the point of view of artistic effect it would perhaps even have been best if the original designs in silver-point had been left, if only they were not so slight and so much obliterated ; for, if we may judge from a few proofs, even in the pen copies there is not the same freshness as in the silver-point designs ; they are, moreover, on occasion sketchy and not executed with the same loving care. The unfinished state of many of the draw- ings leads us to the conclusion that the artist carried out this. great series little by little, and that he took up the working out of this or that design according to his chance inclination, even though the general scheme was to begin with the Inferno and end with the Paradiso. 'This conclusion is certainly indicated by the circumstance that the only illuminated drawings are those belong- — 144 BOTTICELLI’S DRAWINGS ing to the first cantos of the Inferno. That the work remained unfinished may be due to the death of the patron, which occurred in 1503; but the probabilities are in favour of Horne’s theory that Sandro, in consequence of the decided part taken ever since 1497 against Savonarola by Lorenzo di Pierfrancesco and his brother Giovanni, had turned from him and left his work incomplete. The drawings for the Divine Comedy reveal both the strength and the weakness of Botticelli’s art as far as we know it, but at the same time they show him to us from a new angle, and that in a very advantageous manner. Here, as in the Sixtine frescoes and the panels for furniture, the artist crowds several scenes into one drawing ; he follows the poet in his narra- tive instead of evolving from it separate and complete com- positions. This attempt to illustrate the text word for word led him at times into solutions quite unsatisfactory from an artistic point of view, as is especially the case in his representa- tions of Hell, and sometimes also in those of Purgatory. Even in these Sandro as usual shows his rich imagination and deep feeling, and scarcely ever offends our sense of beauty, but he becomes wearisome in his continual repetition of the multitude of unhappy wretches, wandering hither and thither headless or with faces turned backwards, stuck head foremost into holes in the rocks, being devoured by flames, wading in a sea of fire, or being tormented by fantastic devils. All these tortures and devilry are depicted not without imagination, but they are want- - ing in the humour that, in the work of Hieronymus Bosch, makes them not only endurable but extremely amusing. Another annoying factor is that the innumerable naked figures hastily sketched out of the artist’s head are without naturalistic detail and individuality and therefore monotonous in effect. One feels that many of these scenes left the artist himself indifferent or were even distasteful to him, as is obvious from the unloving manner in which many of the drawings, particularly in the Pur- 10 145 SANDRO BOTTICELLI gatorio, are executed. It is characteristic that among so many naked figures Botticelli scarcely even suggests a single female. Even in the later years in which these drawings originated, however, Sandro could still observe and reproduce in a wholly naturalistic manner; this is proved by a few sheets that, both as faithful reproductions of nature and at the same time as grand compositions, belong to the Master’s finest creations, and are, indeed, among the finest that we possess out of the Quattro- cento. In the powerful effect of the figures and the complete- ness of the composition not even Antonio Pollajuolo did any- thing to compare with the sheet depicting the giant in Canto XXX of the Purgatorio. Then the dancing Virtues, on most of the Purgatorio sheets in which they appear, are delightfully buoyant and markedly differentiated. The Cardinal Virtues, Justice, Courage, Wisdom and Temperance, graceful maidens in loose, fluttering raiment, encircle Dante and dance around him merrily, whilst the religious Virtues, Faith, Hope and Love, exhibit almost the freedom of Bacchantes. Both groups appear again dancing beside the chariot of the Church that bears the veiled Beatrice, over whom radiant and joyous angels, scarcely to be dice vuianed from Virtues, are pouring out a wealth of flowers, whilst scattered blossoms fill the air. These merry dancing spirits bear witness to the Master’s extraordinary gift of imagination, for this Purgatorio dancing is essentially different from that of the slender, gravely sweet boy- angels of the ‘ Adoration’ in the National Gallery and in the ‘Coronation of the Virgin’, and again quite different to these is the ring of Graces in ° Spring,’ whose harshness is almost mas- culine. Another portrayal of the dance, totally different but quite as perfect in its movement, was evolved by the artist for his King David who, followed by a tuba player and one striking a tambourine, dances before the Ark of the Covenant. In this sheet, which illustrates Canto X of Purgatorio, Sandro shows us the bas-reliefs, giving instances of humility, that covered 146 BOTTICELLI’S DRAWINGS the rocky wall past which the poets proceeded to the first circle of Purgatory. The picture of the Ark of the Covenant was left unfinished, but besides the group around the dancing king, it has for us the additional interest of exhibiting Botticelli’s great powers of observation as revealed in the steers crouching before the Ark. That the artist also designed these out of his head is, however, shown by the exaggerated shortness and weak- ness of their forelegs. Behind the chariot is the royal palace done in silver-point only. This insignificant study is of special value because we see how carefully the artist drew in the lines of perspective, and also because the sketch of the facade shows the severe outlines of the rich but unornamented early Renaissance, just as it appears also in the buildings depicted on various furni- ture panels and in the representations of the Annunciation. This architecture, together with the whole style of the drawings, forms a strong indication that the date of their origin was at the end of the ’eighties or beginning of the ’nineties. The same sheet gives as the third picture on the marble wall: ‘The Justice of the Emperor Trajan.’ This vies with the unfinished ‘ Adoration of the Kings ’ as Sandro’s most crowded composition and the richest in figures, and yet it is so clear, of such powerful and vivid conception and of such faithfulness and variety in the reproduction both of the horses and the lancers, and of their movements, as could at that time only have been rivalled by Leonardo. The boisterous crowd of troopers burst- ing through the triumphal arch, the despair of the widow who throws herself before the emperor’s horse bewailing aloud the slaying of her only son whose corpse lies before her, the animated group around the emperor of officers who have ridden forth from the troop, the foot-soldiers to one side looking on with curiosity—it is all vividly depicted and yet with such delicacy. The plastic form lacking in the drawing was to have been sup- plied by the illuminating. Similar reliefs on buildings in the pictures painted for Giovanni Vespucci are sketchy compositions, 147 SANDRO BOTTICELLI mere suggestions in colour and not to be compared to this little masterpiece, in the careful but bold execution of which the artist must have taken special delight. Did he perchance observe something of the sort at the Emperor Charles VIIT’s entry into Florence, and draw this picture straight from memory ? Other sheets, both of the preceding and following Cantos of Purgatorio, reveal the same delicate sentiment and observation, so also do the different drawings of the envious who, being smitten with blindness, unwittingly linger near their enemies ; so also Sordello in the sketch for Canto VIII, a splendid Apollo- like figure drawn almost with the freedom of Raphael. But Sandro put his best work into the thirty drawings for the Cantos of the Paradiso. They are already distinguished from most of the Hell and Purgatory drawings by the fact that each one depicts a single theme, and that this theme unfailingly repre- sents Dante with Beatrice, generally alone, or surrounded only by little flames—the souls of the blessed—or in the midst of singing angels. They also stand out from the crowd of other drawings because the two persons here are represented as con- siderably larger than the figures in the others. This must certainly have increased the difficulty of the artist’s task, but the motives so exactly suited his artistic perception that he transformed these simple compositions of only two figures of no particular distinction of bearing and movement into a wealth of pictures that, in delicacy and variety of perception, in beauty of form and grace of movement and drapery, have scarcely their equal in the Art of the Renaissance. They are markedly superior to the numerous groups of the two poets in the two first sections of the Divine Comedy, which appear several times in almost every drawing, and in which Dante’s expression of thirst for knowledge, wonder, fear, horror or reverence, and the helpful and instructive manner of Virgil, are portrayed in the most varied and impressive way. In the Paradiso sheets Beat- rice, a head taller than the poet, is a sublime and splendid figure, 148 2 BOTTICELLI’S DRAWINGS of noble proportions, grave and on occasion almost severe ex- pression, but with a strain of kindliness and without that shadow of melancholy that rests on most of Botticelli’s other female figures, especially his Madonnas. The way she accompanies Dante, now teaching, now reproving him, how she encourages and supports him, and initiates him into the secrets and splen- dours of the celestial regions and the heavenly hosts, is repre- sented with the same delicacy and rich differentiation with which in the Dante, a figure that approaches Beatrice in nobility of appearance and sentiment, are exhibited in the most varying degrees holy dread, worship, fear, doubt, longing, love, wonder, and all the other expressions of a soul in the remorseful convic- tion of its own sinfulness, but strong in its blessed trust in divine mercy. 149 CHAPTER IX BOTTICELLI: THE ARTIST AND THE MAN ae illustrations to Dante’s Divine Comedy form a climax in Botticelli’s later period, and indeed in his whole career. Their freshness and sincerity of con- ception do not admit of doubt that the designs for most of the sheets were at least begun soon after Lorenzo’s death, probably shortly after Sandro’s return from Rome; and the engravings to Landino’s Commentary show that, before 1480, he had already been occupied with similar Dante drawings. In any case the designs were done before Savonarola’s teaching exercised the decisive influence on the artist that is evident in his later paint- ings. The reformation projected by the Monk of San Marco failed; it was bound to fail because he sought to carry out his plans for justifiable ecclesiastical reform by social and political means, and to set up a theocratic state of a semi-medieval, semi-adventurous character which was not in harmony with the advanced culture of Italy and which separated Florence from the rest of the world and hastened her ruin. Although by his singleness of purpose and fiery zeal he had captured one after another of the best and most cultured men in Florence and in the course of the years even brought the masses to his side, he could not stave off the collapse of his * Kingdom of Christ on Earth,’ and paid the penalty of a fiery death. The Interregnum was a fateful time for Florence; it was not until after the murder of Duke Alessandro nearly half a century later that quieter conditions returned. But it was a mournful quiet- 150 THE ARTIST AND THE MAN ness: a spirit of gloom hung over Florence, while a fawning, bureaucratic government induced but a poor revival, and from that time Florence was practically cut off from all active co- operation in the culture of the age, and even from Italy’s share in it. In addition to this, Botticelli was deeply influenced by Savonarola’s teaching, and the disorders of his rule and death had completely upset his spirit and his artistic activity. In order to regain peace of mind he had endeavoured to bring “his artistic conception into harmony with the monkish preacher’s demands upon Art. This resulted in a moral confusion which crippled his creative imagination and finally almost killed it. Just as the last work of his brother Simone, with whom he lived, was to write his reminiscences of the times of Savonarola’s rule and death, so also the memory of the monk and his teach- ing lived on in Sandro and in his last works and effected the gradual destruction of his own true and lovely art. After Savonarola’s martyrdom we scarcely hear of him again; from 1505 onwards report is silent until a short record informs us in few words that on May 17, 1510, the family vault of the Filipepi in the small churchyard of the Ognissanti received his mortal remains. Always quiet and modest, as he went through life so he left it. Forgotten by the world and ailing, he had spent his last years among his relatives under the parental roof, but it is the pathos of his life’s close and the tragedy of this gradual decline of his productive powers, that brings Sandro, the man, if possible nearer to us and makes him doubly dear. Whoever becomes absorbed in the works of an artist is sure to try and form from them some idea of his personality. But even if his conception should to a certain extent be funda- mentally correct, yet it could never quite correspond to the reality, for unintentionally every one interpolates this or that trait from his own sentiments or from the spirit of his times. Judged by his paintings Sandro appears to us a romantic, an 151 SANDRO BOTTICELLI artist of exuberant imagination, of deep mystical conception, great sense of beauty and many-sided humanistic culture, associating with the best and greatest men of his day, with whom we think of him as standing on an intimate footing. In fancy we picture him as a handsome and well-set-up man, well groomed and careful in his attire, living in rich artistic surroundings. ‘The appearance of the elegant young man with the large, handsome features and rich costume, who looks out on the beholder from the foreground of the ‘ Adoration’ with the Medici portraits, and who is therefore usually taken for the artist, fits in admirably with this idea. But the reality has small connection with this picture. Even the accounts of the old art-biographers, and Vasari’s in particular, scanty as they are, contain few features that correspond with the impressive likeness in the * Adoration ’ and with the picture of our fancy ; moreover, the records con- cerning this artist which zealous research among the archives of Florence have of late years gradually brought to light, sub- stantially confirm those accounts and represent Botticelli’s life and appearance as even simpler and far more prosaic. These records are few in number and almost all short and trivial, but they are lightning flashes by which Sandro’s life and char- acter during the different stages of his career are so far revealed as to enable us to form a reasonably probable conception of his personality. As we see from the records, Sandro was the son of quite a poor tanner, that is, of the lower middle class. He never dis- owned this origin, and even though the circumstances of the entire family gradually improved, he remained to the end of his life with his many brothers and nephews, and shared the modest house in the Via Porcellana with his father, after whose death he continued to live there with his relatives until he died. His life passed quietly and without salient events ; with the single exception of the summons to Rome to decorate the Sixtine Chapel, he spent his years, as far as we know, entirely 152 THE ARTIST AND THE MAN in Florence among his relatives. A strong family feeling is therefore a feature as characteristic of the artist as is his modest bourgeois disposition. In the year 1481 no less than twenty persons of the Filipepi family lived together in one dark alley, in a labyrinth of little old houses, all nooks and corners, that were pulled down in the eighteenth century, and it is most unlikely that members of the Medici family went in and out in such a quarter. In the Quattrocento artists in general were reckoned among the craftsmen and held in not much higher esteem than goldsmiths. No doubt Sandro, like other prominent artists of his day, stood in active communication with the Mecenas of great families, for whom he produced so much, and will have had direct converse with his patrons, and particularly Lorenzo, concerning the composition of works commissioned by them, which were often extremely complicated in meaning and contained pointed allusions to themselves ; but as a rule the negotiations were, no doubt, carried on through the literary men of Lorenzo’s circle, and especially through Angelo Poliziano, who, as Prior of San Paolino, was a neighbour of the Filipepi family. Sandro stood on no such intimate footing as Bertoldo, who accompanied Lorenzo to the baths, lived in his villa and was treated by his personal physician; this was a case of unusual favour because Lorenzo loved to discuss with him his artistic plans and had made him director of his Art School in the San Marco monastery. We cannot believe that Sandro had any such connections. either with the Magnifico or with the latter’s cousin Lorenzo in the Villa Castello, who seem to have been the artist’s best customers among the art patrons of Florence. We learn from the memoirs of Sandro’s brother Simone that, even in the time of Savonarola’s rule, the artist held aloof from any public testimony, in spite of his enthusiasm for the monk’s teaching. This is another proof that Sandro was of a retiring disposition, whose only desire was to live for his art in the 153 SANDRO BOTTICELLI intimate circle of his family and friends. There. was, however, nothing of the recluse or eccentric about him, for he had a profound love for Nature and observed and studied her with open eyes; moreover, like a true Florentine, he had plenty of humour, and far from shutting himself up in his studio, he delighted to collect friends and brother-artists around him. Vasari tells about him various anecdotes that had been preserved through several generations as studio gossip, and through Simone the brother we learn that, after Savonarola’s death Sandro’s studio was a favourite rendezvous where the martyr’s tragic end was excitedly discussed by friends and enemies. It is also typical of Sandro’s shy disposition and independent and speculative nature that he never married. We are told by the Anonimo, Sandro’s oldest biographer, that when 'Tommaso Soderini once advised him to take a wife, he is said to have replied that he had recently dreamed that he was married, and such terror had taken hold of him that he had woken up and wandered desperately up and down the town till morning. Nevertheless this enemy of wedlock painted the loveliest female figures and the most attractive young mothers. Is it possible that the remarkable fact that the most charming Madonnas were without exception painted and sculptured by unmarried artists, such as Sandro, Luca della Robbia, Donatello, and Raphael, is due to the circumstance that it is more stimulating to artistic imagination and power of expression to long after a woman than to possess her ? Nothwithstanding his retired life and the modest and friendly disposition emphasised by all his biographers, the artist could, if seriously disturbed in his work or his quiet con- templative inner life, be very unpleasant and resort to strong measures of reprisal, as we gather from his lawsuit against a neighbour who pursued a noisy handicraft close to Sandro’s studio. But, unless forcibly torn from his work, he was kindly and approachable and particularly fond of all persons devoted 154 THE ARTIST AND THE MAN to Art, ‘“‘che vedero studiosi della arte,’ as Vasari puts it. The monument that Sandro’s pupil Filippino raised to his teacher by introducing his likeness in the frescoes of the Cappella — Brancacci gives us a faithful portrait of the man, simple and lifelike. He was of small and weakly stature, but the clear- cut profile with the powerful hook nose exhibits pleasing and expressive traits ; the deep-set eyes betray the earnest, specula- tive nature, and in the firm mouth, in spite of its look of suffer- ing, we seem to detect the Florentine sense of humour. Taking into account the remaining records we have of Sandro’s character, he appears to us a simple, homely man, unassuming, friendly and kind, full of enthusiasm for his art, to which all his efforts were devoted, reserved, very high principled and profoundly religious; a true Florentine of the Quattrocento with all the lovable characteristics and great gifts of the period, but with none of the faults inherent in so many of the greaticbel men of the age of Lorenzo il Magnifico. The exhibition of the cartoons by Leonardo and Michel- angelo depicting the victories of Anghiari and Cascina in 1505 announced to the world the triumph of the new art. There was no room for Botticelli beside this new fifteenth-century art with its bold features; his work was still held in some honour by his successors, but this was merely due to respect for the achievement of a worthy pioneer, now superseded. We who are able to survey the development of Italian Art from a distance, now that the critical labours of recent years, though still far from finished, have winnowed out and established his work, can more easily do justice to his art and assign to him the place in that development that is his due, than could be done immediately after his death. Botticelli grew up at a time when, in Florence, a healthy realism had gained the upper hand, and’ in his artistic education he had as teachers the very men who had contributed most to 155 SANDRO BOTTICELLI this victory. The young painter made their attainments his own and for a time followed in their steps, but from the very outset he had his own characteristics, out of which gradually developed a powerful individual style which was without counter- part in all Italy. Botticelli’s art forms a climax in Florentine painting of the Quattrocento, but marks at the same time its close. Among the leading masters of the younger generation he is, by reason of his imagination and sense of beauty, the most important and original. No artist in Italy approaches him in inventive power and imaginative conception even of the most varied and peculiar motives. Alike in religious, mythological, allegorical, or symbolic subjects, he forms a new and personal conception of his theme and transforms it into a truly artistic creation, even when it has been minutely pre- scribed or borrowed literally from the classics. He loves to introduce in his pictures many an allusion to his patrons or to personal experiences, but such allusions in no way disturb our fresh delight in these works of art, rather, when they are pointed out, the problems they give rise to increase their charm. Com- positions such as ‘ Spring,’ ° The Birth of Venus,’ and ‘ Mars and Venus’ exercise a particular spell by this very means; we shall perhaps never suceed in fathoming the artist’s whole intention and all his allusions, but just as they excite the be- holder to try and solve the problems, so at the same time they allow him to penetrate deeper into the many-sided artistic subtleties of the pictures, and they continually attract him anew and entice him to discover fresh beauties in them. The artist’s exuberant fancy is curbed and guided in the happiest manner by an equally keen sense of beauty. The charming appearance of his figures, the grace of their move- ments, the taste exhibited in the choice and arrangement of the costumes and the formation of their folds, all combine to give full effect to the masterly construction of his composi- tions in all their perfection and beauty; but at the same time 156 fave ARTIST AND FHE MAN they reveal the meaning of these representations in their thrill- ing earnestness and in their depth and inwardness of feeling. Florentine art of the Renaissance period can show no picture of more impressive construction and harmonious effect than the * Madonna Enthroned with Saints’ in the Uffizi, or the * Madonna with the two Saints John in an Arbour ’ in the Berlin Gallery. In its portraiture the ° Adoration of the Kings’ in the Uffizi competes with all the group paintings of the Dutch masters, and leaves them far behind in freedom and imagina- tion of conception and arrangement, as well as in the impressive beauty of the figures. This picture, which might have depended chiefly on the portraits for its effect, is particularly admirable for the way in which the artist subordinates them to the historical representation, and even utilises them in it. The members of the Medici family here become the Kings and their retinue who bring to the new-born Saviour and His Mother their worship and gifts. Although the figures are all portraits, and although they are clothed in Florentine costume of the Quattrocento, yet the composition in its arrangement and the several figures in their bearing and expression are in entire harmony with the religious treatment and produce no profane impression what- ever. Elsewhere also, whenever portraits figure in Sandro’s paintings and frescoes, they are regularly co-ordinated with the representation, even when they appear in such numbers as in the Sixtine Chapel frescoes, whereas in the works of all other masters, such as Ghirlandajo, Perugino, and even Sandro’s pupil Filippino, they obtrude themselves more or less incon- gruously through not being absorbed into the dramatic repre- sentation. The beauty of form of Botticelli’s figures is quite original. His nudes—Venus, the Graces, Mars, St. Sebastian—cannot compete with figures such as Raphael’s in accuracy and per- fection of drawing, nor with such as Leonardo’s in apprehension of form; an academician would discover many a fault in them, 157 SANDRO BOTTICELLI but with it all their appearance is of rare loveliness, captivat- ing and decorative, and at the same time restrained and pure, a loveliness not attained by the masters of perfection. Under the first strong influence of his teachers the artist turned in the direction of powerful plastic effect and naturalistic detail, he emphasised his perspectives and, in his early pictures, such as the Gardner Madonna and even the St. Petersburg ‘ Adoration,’ he left room to a certain extent for landscape in the background of his pictures. It seemed almost as if he would continue in the path that Verrocchio in particular had pointed out to him; and indeed, the works he produced while still under this influence are not his poorest, as is proved by the ‘ Fortitude’ and the ‘ Adoration’ in the Uffizi. But his own feeling, that profound mysticism, which showed itself already in his early works, came gradually to full expression and set him to some extent in opposition to his teachers and colleagues ;_ through it he formed a style that has in it almost as much of the Middle Ages as of his own day. In the first half of the fifteenth century Florence, through her great pioneer artists, had become so completely the centre of artistic develop- ment for all Italy, that the other provinces gladly brought their new ideas there and continued their training under Florentine influences. The Domenico Veneziano brought luminous colour painting, the Umbrians through Piero della Francesca brought the perfection of perspective, even down to aerial perspective, and they brought the enhanced expression of emotion through Perugino, who also prepared the way for Raphael’s classic con- struction by his compact architectural settings. But though the younger generation of Florentines learned from their foreign fellow-students they did not follow them, neither did Botticelli. He certainly studied perspective with eagerness, and followed the new precepts so well in the construction of his pictures that Luca Paccioli cites him as one of the ablest masters of perspective. But it is obvious that he only makes use of it 158 THE ARTIST AND THE MAN for the tasteful setting and closing in of his scenes, or in order to produce an illusory perspective effect. For this reason it does not worry him much that the figures have no room in the architecture, as for instance in the two St. Augustine pictures, in the Annunciations and elsewhere. As he does not give depth to his interiors through light and space, his representations and even at times his portraits appear to stand in front of the architecture instead of inside it. Not until his later period is greater importance given to the architecture, and then, indeed, it becomes the chief feature, and the little figures are no more than figures in a landscape; this, however, occurs only in the paintings intended as panels, for which, as we have already seen, the artist took as models panels in mosaic with their architectural scenery. In a similar way the artist entirely subordinates the land- scape, except in a few early pictures, and even in those it is only used for decorative effect, he having, as Leonardo tells us, no opinion of landscape painting. To him landscape, where he introduces it at all, is no more than the neutral, almost colourless and vaguely sketched curtain against which the colours and plastic effect of his figures shall stand out more clearly. For a like purpose he uses the blue aether, particularly as a background for portraits, and in the ‘Calumny of Apelles’ he takes the green sea as a pale-toned background in order to produce a stronger colour effect by the contrast. On the other hand, in many of his pictures he closes in his scenes with a thick background of forest, artistically clipped arbours of evergreen, or whole flower gardens, and sets them on a vivid carpet of green sward, equally decoratively treated but absolutely natural in effect. Herein the artist reveals himself as a true Nature enthusiast, as a lover of green meadows with their wealth of many-coloured flowers, of which Lorenzo de’ Medici sings so delightfully in his Bucolics. Such backgrounds, from which the figures stand out by virtue of their colouring, bring 159 SANDRO BOTTICELLI these pictures nearer in effect to the early Dutch and French tapestries, the verdures, in which the figures in like manner appear as if imbedded in green meadow or forest, in groves or before hedges. The artist’s return to medieval conception, whither his pre- occupation with the illustration of Dante’s Divine Comedy helped to lead him, showed itself in this disregard for three- dimensional drawing which becomes ever more noticeable in his later works, and in other extremely varied ways. As he avoids as far as possible any depth of grouping and endeavours to present his figures all on one plane, so in fuller compositions he seeks to build them up one above, rather than one behind, the other. The ‘ Adoration’ of 1500 in the National Gallery, in which the figures in the foreground are no bigger than those in the background, is the most striking example of this; but the ‘Coronation of the Virgin’ in the Uffizi, and even the ‘Madonna Enthroned’ in the same gallery, the tondos with angels closely grouped around the Madonna, and the two late Burials, amongst others, reveal the same attempt. The folds of the garments, now sharply creased, now fluttering and billowy, and the way in which they seem to strike the ground, the ex- travagant amount of gold on the costumes, the pseudo-Gothic patterns of the dainty golden ornaments, and the brightening of the fair hair with gold, are further signs of his devotion to medieval models. And this is revealed even more strongly in the feeling and expression of his figures and, indeed, in his whole conception of the world. The passive, half-suffering, half-wistful expression which> as we have seen, is characteristic of most of his figures with the exception of some early creations, is not to be found in the work of any of his contemporaries, but it is absolutely significant of Gothic art. The markedly feminine trait in his work also corresponds to this; his female figures and half-feminine angels are the most charming creations of the Florentine art of this 160 THE ARTIST AND THE MAN period, whereas his ideal male figures often seem weakly or theatrical. His St. Michael in the large ‘Madonna with Saints’ in the Uffizi, although practically borrowed from the splendid figure in Verrocchio’s ‘ Tobias with the Three Archangels,’ is quite as effeminate as the emaciated young Baptist beside him, whilst the three old saints with their immense beards, in the same altar-piece in the Uffizi, almost give the impression of stage saints. This is also true of the papal portraits in the Sixtine Chapel, and even of the Moses in the fresco of the ‘Punishment of Korah,’ that has, quite unjustifiably, been so highly praised. This weakness is more striking still in pictures of as late date as the two ‘ Lamentations for Christ’ and ‘ The Descent of the Holy Ghost,’ as well as in many Dante drawings. If we except the excellent portrait figures, it is mostly only in the earlier works that we find pleasing exceptions to this, such as the grand St. Augustine in the Ognissanti Church and the admirable male types in the * Adoration of the Kings’ in the Hermitage at Leningrad. The more Sandro forgoes the detailed modelling of the body, the bolder and more significant he becomes in his outlines; herein also he betrays his affinity _ with the great masters of the Trecento. In the skill with which he draws the body in outline and at the same time indicates movement and even plastic form, there is scarcely an artist who can touch him. Moreover, the purity of effect and the graceful appearance of his nude figures are not a little due to this delicate drawing of their outlines. The profound mysticism and the delight in allegorical and symbolical allusion, which are equally the result of Sandro’s ecclesiastical and medieval idealism, come more and more to the surface in opposition to the healthy realism of his earlier period, and finally gain the upper hand. But Botticelli’s art is grievously injured in the struggle; he had not absorbed naturalism suffi- ciently to be able rightly to grasp, in its generalisation and its inner significance, this new style that was forming and that 11 161 SANDRO BOTTICELLI Savonarola so materially encouraged by his teaching, albeit from considerations quite other than artistic. Our artist could neither take hold of it nor transform it for himself, as the younger generation of artists in contact with the monk, such as Barto- lommeo della Porta and above all Michelangelo, did. The artist Botticelli was enslaved by Savonarola, whereas those others were only more firmly established by him in the new paths that they had already entered independently. In Sandro’s art there is almost from the beginning a long- ing and striving for the goals that were reached in the art of the Cinquecento by such as Leonardo and Michelangelo; the tragedy of the Master’s artistic struggle lies in the fact that he could not clearly visualise these ideals, that he had not the capacity to conform himself fully to them, but herein also lies the special charm of his art. That peculiar, infinitely attractive melancholy of his figures is the expression of this inward struggle, the longing that fills him combined. with the inability that prevented him from attaining complete satisfaction. Botticelli’s art is the climax of the last phase of the early Florentine Re- naissance ; here it completes, and at the same time outlives, itself. Hence a suggestion of decadence inherent in his art, particularly in the later creations, a shadow of that elegant decadence that expressed itself again in Florence, after the most injurious effects of the Revolution were overcome, in the charming and peculiar style of the great portrait painters around Andrea del Sarto—Franciabigio, Bugiardini, Pontormo and Bronzino. Even the Weltschmerz in Michelangelo’s figures proceeded from the same source. Was it nothing but a common reverence for Fra Girolamo that brought Michelangelo into close relationship with Sandro, or was it not rather that, in spite of the great divergence between their art, they were in sympathy in their struggle for the highest ideals and in the _ painful consciousness that they were unable to reach or realise them as completely as they desired ? Out of the discord between 162 Cele e ARTIST AND THE MAN desire and accomplishment, out of the contrast between their own high aims and the moral ruin brought about by the super-culture of the Renaissance, arose the Welischmerz of Michelangelo and the melancholy of Botticelli; in the case of the former there issued from that source ever new and ever greater projects that were destined to remain unfinished, and that, in spite of his greatness, finally reduced his art to a certain frigid emptiness ; in the case of the latter it led through exuber- ance of feeling to unnaturalness and a numbing of creative power. ‘The lack of that satisfaction of the desire of their souls which Savonarola’s miscarried revolution failed to produce, led them both back to strict orthodoxy which, however, crippled their creative activity and injured their art in ever-increasing degree. The grievous inward struggle is in both cases the precious seed of art; divine inspiration speaks from it, but so also does mortal discontent, these two causes lead to the triumph of their art and ultimately to its wreck and close. In any period it is ever the destiny of those great ones in whom divine inspiration awakes that the full development of their genius bears within it the seed of its own decay; but there is also the consolation that in this way is new art founded. The profanum vulgus, that slough in which great ideas find their limitation and their end, provides at the same time the soil for their revival. From a chance-preserved letter we know of the intimate footing on which Botticelli stood with Michelangelo. From a passing remark of Leonardo’s in his treatise on painting, although the remark is partly negative, we learn that he had some connection with this other great figure of Italy’s new art. In his own work he was even further from Leonardo than from Michelangelo, but just as he was related to him in his deep emotion and lofty, half-dissatisfied striving after the highest, so also in another direction, that of zeal for careful finish, and delight in detail and minute painting, he betrays affinity with 163 SANDRO BOTTICELLI the not-much-younger Leonardo. They shared the delight in plants and flowers and their careful portrayal; they also had in common the invention of fanciful ornaments and decora- tion of all kinds, and the peculiar interest in rich, fantastic arrangement of women’s hair—the ° acconciatura’—which they used in mythological female figures and fancy portraits. But Leonardo tries to observe laws in the construction of plants, in the waving and braiding of hair, and in the invention of ornaments, and therefore is apt to over-emphasise such details in his pictures and make them stand out too much; whereas Botticelli, on the other hand, uses them to enhance the effect of his pictures and therefore treats them more from a decorative standpoint. His delight in detail is evident also in the introduction and charming conception of the most varied domestic objects, furniture, fabrics, ornaments, and so on, so that his paintings constitute a particularly rich and reliable source of information concerning the arts and crafts in Florence towards the end of the fifteenth century. The old biographers, a few records, and even some pieces that have been preserved prove that, far from reproducing in these objects only the works of others, he rendered valuable service to the crafts in various ways by his designs. The Poldi-Pezzoli Museum in Milan still possesses a piece of embroidery in silk and gold for the headpiece of a vest- ment, depicting an exquisite *‘ Coronation of the Virgin,’ executed after a design of Sandro’s in the ’eighties. The tapestry with a Pallas, now in private ownership in France, has a similar origin, and several pieces of arras in the great Florentine tapestry collection are believed to have originated in this way ; besides these there is a record of a certain richly embroidered canopy for Orsanmichele. His furniture panels show that he also took part in furnishing the household possessions of Florentine aristocracy, and it is highly probable that he made designs for mosaic work. The praying- and reading-desks, the candlesticks, caskets, and 164 7 af ’ le ee bh THE ARTIST AND THE MAN astronomical instruments, the pendants and chains, the vases and bowls of enamelled copper and crystal, and other ornamental or useful articles in his pictures all exhibit the same style, the same elegant simplicity, for which reason we must trace their invention to Botticelli himself, and we may assume that he also rendered the craftsmen considerable assistance by his designs for these objects. This was undoubtedly the case with the frames for his own pictures, several of which are, as we have seen, still in existence, and in their outlines and painting so typical of Botticelli, so exactly suited to the character and colour- ing of the pictures, that we must ascribe both their design and painting to the Master. Sandro was equally stimulating for the reproductive arts in Florence as he was for the crafts. We know that the engrav- ings for Landini’s Dante Commentary of 1481 were made from his drawings, and exact designs must have been given by Sandro for the almost contemporary ‘ Procession of Bacchus’ and for the later ‘ Assumption of the Virgin ’ that was similarly engraved. on two large plates. Both of these were executed by far better engravers than were the plates for Landini’s Commentary. Paul Kristeller advances a similar theory about two other large Florentine engravings of the same period, the * Conversion of St. Paul’ and the ‘Christ before Pilate.’ Sandro’s art also exercised a particularly strong influence on the revival of Floren- tine woodcuts, which were executed during the last decade of the Quattrocento in a manner so rich and artistic, so full of style, that they have remained unrivalled save by Hans Holbein a generation later. We are certainly equally correct in ascrib- ing an essential part in this impetus in the productive arts to Botticelli and in refusing to believe that he practised these arts himself. | Sandro is not really a master of colour, but neither was any Florentine painter of the fifteenth century. In his colour- ing he follows Fra Filippo, though he harmonises his teacher’s — 165 SANDRO BOTTICELLI clear joyousness of colour to a more shaded effect. He does not attain this as the Pollajuoli did, and also Verrocchio on occasion, through the general brownish tone of resinous sandarac paints, the mixing of which was their intention; Botticelli’s method was the use of rich golden ornaments with which the fabrics are covered or clasped together, and white transparent veils in which his figures and fabrics are often half hidden. These methods, both of subduing or brightening, are quite as characteristic of Sandro as are the extraordinarily artistic designs and execution of these golden ornaments and gold- embroidered fabrics and the skilful use and draping of the veils ; in fact, they are sufficiently peculiar to Sandro to distinguish paintings done by his own hand from works of pupils. In this respect also the ‘ Raczynski Madonna’ and ‘ Spring’ are admirable masterpieces. An examination of the colour values and combinations by means of which the artist secures harmony of colour effect in his paintings, how he forms and develops his particular style in this direction, and how he compares with his teachers and contemporaries, would be a valuable study, especially for a colleague with musical gifts, and certainly more valuable than the one-sided and monotonous examinations customary at present, which are confined to the plastic effect of his representations and their relation to space, or even to the artist’s personal idiosyncrasies or weaknesses in design and modelling. For the great effect and artistic worth of the paint- ings depends at least as much on their colouristic appearance as upon their composition, design and expression. The har- monious effect of the pictures—their manner—is an essential factor in the correct estimation of Botticelli. Although I have compared the Master with artists such as Michelangelo and Leonardo, my intention was not to draw a parallel between him and these, the greatest figures amongst the many admirable masters of the Italian Renaissance; I merely sought to point out certain elements in the art of the 166 THE ARTIST AND THE MAN Master in which he appears to be related to them, and I also desired to explain his connections with those pioneers. In other respects Sandro is a true son of the Quattrocento, and as such has his special importance, his peculiar charm; Florentine art of the last phase of the fifteenth century attains in him its last and highest perfection. To the delight in a full representation of life and personality with which in his early works he vied with the greatest of his contemporaries, he combines a preoccupation with the life of the soul which was never again reached in Italy, and manages to express the most delicate sentiments of his nation and his age. The earnestness and penetration with which he undertakes this task, the wealth of imagination which leads him continually to fresh solutions, assure him his unique posi- tion, his importance for posterity, and not less his value among the best of his contemporaries. : 167 BIBLIOGRAPHY Vasari, Grorcio: Le vite dei piu eccellenti architetti, pittori e scultori italiani. ‘Florence, 1550. T. il, pp. 490-6. Le vite ete. Con nuove annotazioni e commenti di Gaetano Milanesi. 5 volumes. Florence, 1878-80. Vol. III, pp. 300-31 Leben der ausgezeichnetsten Maler, Bildhauer, Baumeister etc. Aus dem Italienischen von L. Schorn. 3 volumes, Stuttgart and Tibingen, | 1832-9. Vol. III, pp. 235-50.1 —— Lebensbeschreibungen der ausgezeichnetsten Maler, Bildhauer und Architekten der Renaissance. Her. von Ernst Jaffé. Berlin, 1911. pp. 209-18 (translation by Schorn and Forster). ALBERTINI, FRANCESCO: Memorie di molte statue e picture che sono nella inclyta citta di Florentia. 1510. ANONIMO GADDIANO: Codice dell’... Hd. C. de Fabriczy—Arch. stor. Ital. Ser. V. Tom XII, 1893, p. 70. Antonio Bru: Libri di...Ed. C. de Fabriczy—ib. Tom. VII. 1891, p. 299. Horne HerzBert P.: Alessandro Filipepi called Sandro Botticelli, Painter of Florence. London, 1906. ULMANN, HERMANN: Sandro Botticelli. Munich, 1898. SupPino, J. B.: Sandro Botticelli. Florence, 1900. PLUNKETT, C. N., Count: Sandro Botticelli. London, 1900. STREETER, A.: Botticelli. London, 1903. J AHN-RUSCONI, ArTuR: Sandro Botticelli—Monografie illustrate No. 38, _ Bergamo, 1907. STEINMANN, E.: Botticelli—Kiinstlermonografien No. 24. Bielefeld and Leipzig, 1913. 1 It is characteristic that Adolf Stern and Andreas Oppermann, in their Leben der Maler (2 vols. Leipzig, 1862 and 1863), a version of Vasari, suppressed Sandro Botticelli as unimportant. 169 SANDRO BOTTICELLI WaaGEN, G. F.: Treasures of Art in Great Britain. London, 1854. Pater, W. H.: Studies on the History of the Renaissance. London, 1873, p. 39. Mintz, E.: Les Précurseurs de la Renaissance. Paris and London, 1889, p. 139. MoreE.tu1, G. (Lermolieff): Die Galerien Borghese und Doria Panfili in Rom. Leipzig, 1890, p. 105. CAVALCASELLE E CrOWE: Storia della pittura in Italia. Vol. VI. Firenze, 1894, p. 208. VentTuRI, ADOLFO: La primavera nelle arti rappresentative—Nuova Antologia, 1892, p. 46. BERENSON, BERNHARD: The Florentine Painters of the Renaissance. New York and London, 1896, pp. 69, 104. VENTURI, ADOLFO: Tesori d’arte inediti di Roma. Roma, 1896. Vittari, P., = Casanova, E.: Scelta di prediche e scritti di Fra Girolamo Savonarola. Florence, 1898, p. 453. (Extract from a Diary of Simone Filipepi, the brother of Botticelli.) BERENSON, BERNHARD: The Study and Criticism of Italian Art. London, 1901, p. 46. Epurussi!, CHARLES: Les deux fresques du Musée du Louvre attribuées a Sandro Botticelli—Gazette des Beaux-Arts, Vol. 25 (1882), p. 475. MESNIL, JACQUES: Documenti su Sandro Botticelli—Miscellanea d’Arte, 1903, Nos. 1, 5 and 6. Crowe, J. A.: Sandro Botticelli—Gazette des Beaux-Arts, Vol. 34 (1886), pp. 177, 466. WoeERMANN, K.: Filippo Lippi, Sandro Botticelli und Filippino Lippi. Berlin, 1888. Fra Filippo Lippi und Fra Diamante als Lehrer Sandro Botticellis. Breslau, 1890. WarsureG, ABy: Sandro Botticellis Geburt der Venus und Friihling. Hamburg und Leipzig, 1893. Sandro Botticellis Tempelszene zu Jerusalem in der Sixtinischen Kapelle —Repert. f. Kunstwissenschaft 18 (1893), p. 1. JACOBSEN, E.: L’allegoria della Primavera—Archivio storico dell’ Arte, 1897. —— Quelques souvenirs de Sandro Botticelli—Rev. Archéologique, 1901. 170 BIBLIOGRAPHY Marrat, B: La primavera del Botticelli—Rassegna internazionale 15th June, 1901. STEINMANN, E.: Die Sixtinische Kapelle. Munich, 1901, pp. 215, 244, 459. Horne, Herzsert P.: The Story of a Famous Botticelli—Monthly Rev., 1902. Wicxnorr, F.: Die Hochzeitsbilder Sandro Botticellis—Jahrb. d. Konigl. Preussischen Kunstsammlungen, 1906, pp. 198 ff. Zeichnungen von Sandro Botticelli zu Dantes Goéttlicher Komédie nach dem Originalen im Kgl. Kupferstichkabinett zu Berlin. Her. im Auftrage der Generalverwaltung der Kgl. Museen von F. Lippmann. Berlin, 1884 ff. Epurussi, CHARLES: La Divine Comédie illustrée par Sandro Botticelli— Gazette des Beaux-Arts, 31 (1885), p. 404; 32 (1885), p. 43. LIPPMANN, FRrepricu: Sandro Botticellis Zeichnungen zu Dantes Gottlicher Komddie (Einfithrung), Berlin, 1887. STRZYGOWSKI, JOSEF: Die acht Zeichnungen des Sandro Botticelli zu Dantes Gottlicher Komédie im Vatikan. Berlin, 1887. PératTk, ANDRE: Dessins inédits de Sandro Botticelli pour illustrer l’Enfer de Dante—Gazette des Beaux-Arts, 35 (1887), p. 196. 171 INDEX Aaron, Fresco, Rome, Sixtine Chapel, 76-8, 80, 82, 83, 101 (Plate x1) Abdy, Sir William, Paris (Collection), 124 Adoration of the Kings (Benozzo Gozzoli), . Florence, Medici Chapel, 15 — (about 1475), Florence, Uffizi, 15, 16, 39, 40, 41-7, 49, 65, 79, 81, 84, 85, 87, 101, 152, 157, 158 (Plates xx, xx1) — (1510), Florence, Uffizi, 139, 140 (Plate LXXVI1) — (Leonardo da Vinci), 140 —, London, National Gallery (Horizontal Panel), 12-13, 14, 25, 30, 41, 127 (Plate TII) —, London, National Gallery (Tondo), 13-14, 15-16, 25, 30, 35, 39, 40, 41, 81, 100, 127 (Plate Iv) —, Petrograd, Hermitage Gallery, 39-41, 158, 161 (Plate x1x) —, Richmond, Cook Collection, 13—14. Adoration of the Child, London, National Gallery, 107, 117, 130, 134-6, 138, 140, 141, 146, 147, 160 (Plates LxxIv, xciz1) —, Piacenza Gallery (School Work), 107 Alberti, Leon Battista, 114 Albertini, 1 Albizzi, Giovanna degli, 81, 92-4 (Plates XLVI, XLVII) ~ Alexander VI, Pope, 119, 120 Altarpiece, Virgin Enthroned with Six Saints, for Sant’ Ambrogio, Florence, a, 36—8 (Plate xvm1) —,—, for San Barnaba, Florence, Uffizi, 40, 84, 107—9, 110, 157, 160, 161 (Plate LV —, Madonna with the Two Saints John, Berlin, Kaiser Friedrich Museum, 109-11, - 157 (Plate Lv1) Altenburg, Lindemann Museum, Profile Por- trait of Caterina Sforza (?), 88-9 (Plate XLIV) Ambrose, St. (Plate Lv) Ambrosiana, Milan, Madonna del Latte, 124 (Plate Lx1m1) Amico di Sandro, 64, 99, 127 Angelico, Fra, 6, 136 Anghiari, Battle Cartoon (Leonardo), 155 Anne, St., with Two Others, Rosselli, Berlin, Kaiser Friedrich Museum, 37 (Madonna Enthroned), 109 Annunciation, Berlin, Kaiser Friedrich Museum (School Work), 113 —,—, Huldschinsky Collection, 113, 126 (Plate Lxvit) —, Florence, Monasterio di San Martino (Fresco), 113 —,—, Uffizi (San Maria Maddalena dei Pazzi), 36, 112, 113, 126 (Plate LVIII) —, Glasgow, Museum, 113, 141 (Plate LXXXIX) Anonimo Gaddiano, 1, 34, 39, 123, 124, 154 Apelles, 113-16, 139, 159 (Plate trx) Architecture, Treatment of, 6-7, 13, 19, 21, 25-6, 35, 39, 41-2, 76, 78, 81, 83, 96, 109, 115, 125, 126, 127, 158-9. Archivio Storico dell’ Arte (1889), 89 Arimathea, Joseph of, 132 (Plate Lxxm11) Aristotle, 53 Arrabiati (Compagnacci), 120 Arras, Tapestry Designs, 164 Arts and Crafts, Influenced by Botticelli, 123, 164-5 Assumption, see Madonna Athene, with the Centaur, Florence, Pitti Palace, 94-5 (Plate xiIx) —, Drawing, Florence, Uffizi, 38 (Plate xx11) —, Tapestry, 36, 164 Augustine, St., in his Study, Florence, Uffizi, 125 (Plate Lxv1) —, — (Madonna Enthroned), Florence, Uffizi, 109 (Plate Lv) —, —, Fresco, Florence, Ognissanti, 73, 74, 159, 161 (Plate xxxv) —, — (Coronation of the Virgin), Florence, Uffizi, 105, 109, 111 (Plate Lv) Aynard, Sale, Paris, The Divine Punishment of Florence, 136—8 (Plate Lxxv) Bacchus, Procession of, Engraving after Botticelli’s Design, 165 Background, Treatment of, 35, 38, 159 Balbi Palace, Genoa, St. Jerome (School Work), 124 Baldovinetti, 35 Bande Nere, Giovanni delle, 50 Bandini, Bernardo, 48 173 SANDRO BOTTICELLI Barberini Gallery, Annunciation (now in the Huldschinsky Collection, Berlin), 113, 126 (Plate Lxviz) Bardi Chapel in Santo Spirito, Madonna with the Two Saints John (now in the Kaiser Friedrich Museum, Berlin, 109-11, 157 (Plate Lv1) Bargello, Florence, Giotto’s Frescoes, 89 —,—, Bust of Giovanni de’ Medici (Mino da Fiesole), 85 —,—, Facade, Pazzi Portraits, 48 Barnabaéa Madonna, Florence, Uffizi, 84, 107— 9, 110, 157, 160 (Plate Lv) Barnabas, St. (Madonna Enthroned with Six Saints, Florence, Uffizi), 109 (Plate Lv) Battistero, Florence (Fra Filippo’s Madonna, Munich), 19 Bayersdorfer, 55 Beatrice, Representations of (illustrations of the Divina Commedia), 146, 148, 149 Bellini, 28 Bellosguardo, Villa belonging to Sandro and Simone Botticelli, 9, 138 Benci, Ginevra de’ (Leonardo da Vinci), 60 Benozzo, see Gozzoli Berenson, Bernard, 64, 127 Bergamo, Gallery, Portrait of Giuliano de’ Medici (Copy), 49 —,—, Scenes from the Life of Virginia, 128— 9, 140 (Plate Lxx) Berlin, Huldschinsky Collection, Annuncia- tion, 113, 126 (Plate Lxvm) —, Kaiser Friedrich Museum, Adoration of the Child (Fra Filippo), 60 —,—, Annunciation (School Work), 113 —,—, Madonna with the Two Saints John, 109-11, 157 (Plate Lv1) —,—, Madonna with Seven Angels Bearing Candlesticks, 106 (Plate Liv) —,—, Portrait of Giuliano de’ Medici, 49 (Plate xx111) —,—, Raczynski Madonna, 79, 101, 103, 104, 105, 160, 166 (Plate 1) —,—, Saint Sebastian, 33, 34, 35, 57, 68, 81, 157 (Plate xvi) —,—, Young Florentine, 88 —,—, Venus, 70—1, 157 (Plate xxx1m1) —, Kappel Collection, Portrait of Simonetta, 63—4 (Plate xxv1) —, Kupferstichkabinett, Dante Illustrations, 142 Bernard, St. (Fra Filippo, Adoration of the Child, Berlin), 60 Berry, Duc de, 36 Bertoldo, 51, 153 Bethulia, 31 Bianca Capello, Grand Duchess, 31 Bicci, Neri di, 91 Billi, Francesco, 1 Bini, Lucrezia di Piero di Giovanni, 95—7, 129 (Plate Lx) Biographical Studies of Botticelli, 2—4 Birth of Venus, 4, 50, 51, 55, 59, 66, 69-72, 73, 93, 108, 156 (Plate xxx11) 174 Boccaccio, 53 —, Illustrations for the Tale of Nastagio degli Onesti, Florence, Pucci Gallery (now in private collections), 95-7, 129 (Plate LX) Bocchi, 101 Bologna, 119 Boreas (in ‘‘ Spring ”’), 56, 59 (Plate xxv) Borghese Gallery, Rome, Madonna with St. John and Angels, 104—5 (Plate L111) Borgia, Alexander (Pope), 119, 120 —, Cesare, 120 —, Appartamento (Pinturicchio’s buoni picture), 92 Bosch, Hieronymus (Illustrations of the Divine Comedy), 145 Boston, Gardner Collection, Life of Lucretia, 96, 128, 129, 141 —, —, Chigi Madonna, 18, 23—4, 28, 99, 105, 158 (Plate x11) Botticelli, Antonio (Brother, Goldsmith), 10 —, Family, 7-11, 152, 153 —, Giovanni (Brother), 7, 8, 9, 10 —, Mariano (Father), 7, 9, 11, 152 —, Origin of Name, 9 —, Portrait of Himself (?), 44, 152 (Plates xx, Torna- XXI) —., Portrait (Filippino), 44-5, 84, 155 (Plate II) —, Simone (Brother), 7, 10, 118, 119, 120, 151, 153, 154 —, Smeralda (Mother), 11 Botticini, Francesco, 91 Bourgeois Sale (1904), see Cologne Brancacci Chapel, Frescoes (Filippino’s Por- trait of Botticelli), 44—5, 84, 155 (Plate 1) Bronze Plaque, about 1475, Berlin, Kaiser Friedrich Museum (Plate xxxiIv) Bronzino, 102, 162 Bucolics by Lorenzo de’ Medici, 159 Bugiardini, 162 Buonvicini, Domenico, 135 Burchiello, Domenico, 87 Burckhardt, Cicerone, 1, 4, 18 Burgundy, Philip the Good of, 36 Burne-Jones, 2 Call of Moses, Fresco, Rome, Sixtine Chapel, 77, 81-2 (Plate xxxvm) Calumny of Apelles, Florence, Uffizi, 55, 113— 15, 159 (Plate Lrx) Camposanto, Pisa, Commission for a Fresco, 37 . Capitals, Treatment of, 21, 26, 39, 126 Capponi Collection, 124 Cardinal Virtues, Fresco, Lemmi, Louvre, 92, 93, 94 (Plate x1v1) Carmine Frescoes (Filippino’s Portrait of Botticelli), 44, 45, 84, 155 (Plate 1) Carrara Gallery, Bergamo, Virginia Panel, 95-7, 129 (Plate Lx) Cascina, Battle Cartoon (Michelangelo), 155 Cassone Panels, 12, 127, 129 Castagno, Andrea del, 5, 6, 36, 48, 86—7, 89 P aris, INDEX Castello Frescoes, 119 —, Villa, Florence, 50, 69, 119, 153 Catherine, St., Sant’ Ambrogio Madonna, Florence, Uffizi, 36 (Plate xv) —,—,San Barnab&a Madonna, Florence, Uffizi, 107-8 (Plate tv) Cattaneo (Simonetta’s Family), 72 —, Gaspare (Simonetta’s Father), 61 Cavalcaselle, 2, 16, 36, Centaur (with Minerva), Florence, Palazzo Pitti, 38, 94-5 (Plate xir1x) Chantilly, Filippino’s Esther Panels, 127 —, Piero di Cosimo’s Portrait of Simonetta, 61, 129 (Plate xxv1z) Charles VIII, Entry into Florence, 148 Chigi Madonna, Boston, Gardner Collection, 18, 23—4, 28, 30, 99, 105, 158 (Plate x11) —, Prince, Rome (Tondo of the Madonna), 107 Christ, Representations of : —,—, Pieta, Milan, Poldi-Pezzoli Gallery, 131, 160 (Plate Lxx111) —,—,—, Munich, Pinakothek, 131-3 (Plate LXXI1) —, —, — (Ghirlandajo), Florence, Ognissanti, Fresco, 73—4 —,—, Punishment of Florence, Paris, Ay- nard Sale, 136—8 (Plate Lxxv) —, —, Baptism (Verrocchio), 31, 34 —, before Pilate (Engraving after Botticelli’s Design), 165 —, Preparation, Temptation, and Parting from the Angels (Cleansing of the Leper Fresco), Rome, Sixtine Chapel, 77, 78— $ 80, 93 (Plate xxxv1) Oicerone (Burckhardt), 1, 4, 18 Classical Subjects, 25, 52-9, 67—8, 70, 94—5, 113-16, 129 Cleansing of the Leper, Fresco, Rome, Sixtine Chapel, 77, 78—80, 93 (Plate xxxv1) Cleopatra (?) Portrait of Simonetta by Piero di Cosimo, 62—3, 129 (Plate xxvm) Cloak, Virgin with the, Ghirlandajo, Florence, Ognissanti, 74 Colleoni Monument, 90 Cologne, Bourgeois Sale, School Copy of the Pieta, 132 ; Colour technique, 27-8, 37, 42, 102, 110-11, 165-6 Colvin, Sir Sidney, 134 Compagnacci (Arrabiati), 120 Conservatorio della Quiete, Florence, 107 Constantine, Arch of (Aaron Fresco), 83 (Plate x1) Conversion of St. Paul (Engraving after Botticelli’s Design), 165 Cook Collection, Richmond, Adoration of the Kings, 13, 14 — —~,—, Descent of the Holy Ghost, 133 — —, —, Fancy Portrait of Simonetta, 63, 64 (Plate xxx) Copies, see Pupils of Botticelli Copper, Engraving on, Assumption (after a Design of Botticelli’s), Florence, Uffizi, 37, 133, 165 (Plate Lxxv1) Coronation of the Virgin, Florence, Uffizi, 105, 111, 123, 136, 146, 160 (Plates LVII, XC) —,—,Conservatorio della Quiete (School Work), 106—7 —, Milan, Poldi-Pezzoli Gallery, Tapestry after a Design of Botticelli’s, 164 Corsini, Duke, 91 —-, Palace, Florence, Madonna (School Work), 22-3, 25, 106 (Plate xv1) Cosimo, Piero di, Portrait of Simonetta, Chantilly, Museum, 61, 129 (Plate xxv) Cosmas, St. (Sant’ Ambrogio Madonna, Florence, Uffizi), 37-8 (Plate xv1m1) Cranach, Lucas, 71, 122, 138 Credi, Lorenzo di, 121 Cupid (in “ Spring ’’), 56, 58 (Plate xxv) 62, 63, Damian, St. (Madonna Enthroned with Six Saints, Florence, Uffizi), 37, 38, 40 (Plate xv111) —,Engravings (in Landini’s Dante Com- mentary), 143, 150, 165 —, Illustrations to the Divine Comedy, 3, 66, 106, 108, 119, 120, 122, 142-9, 150, 160, 161 —, Influence of, 53, 54, 89, 106, 116 Dante, Portrait of, 89 David, King (Dante Illustrations), 146—7 —, Michelangelo, 138 Descent of the Holy Ghost, Richmond, Cook Gallery, 133, 161 Desiderio, Madonna Reliefs, 22 Diamante, Fra, 11-12, 76 Divine Comedy, Illustrations, Illustrations Divine Punishment of Florence, Aynard Sale, 136—8 (Plate Lxxv) Dolci, Giovanni de’ Building of the Sixtine Chapel, 75 Domenico Veneziano, 34, 158 Donatello, 5, 24, 28, 109, 154. Douglas, Langton, 136 Draping, 13, 15, 17, 26 Dresden Gallery, Miracles of St. Zenobius, 128 Ducale, Pallazo, Urbino, Mosaic over a Door, after a Design of Botticelli’s, 39 Direr, 138 see Dante, Paris, Eligius, St. (Coronation of the Virgin, Flor- ence, Uffizi), 111 (Plate Lv1) Este, Isabella d’, 91, 139 Esther Panels, Filippino (Chantilly, Florence, and Vienna), 127 Farnese, Alessandro (Portrait in the Aaron Fresco), 84 (Plate x1) Female Portraits, 49, 60—7, 70-2, 87, 88—9 (Plates XXVI, XXVII, XXVIII, XXIX, Xxx, XLIII, XLIV, LXI1) Ferrara, School of Painting, 102 Fiesole, Mino da, 75 175 SANDRO BOTTICELLI Filangieri Museum, Naples, Portrait of a Young Man, 89 Filippepi, see Botticelli Filippino, see Lippi, Filippino Filippo, see Lippi, Filippo Finiguerra, Antonio, Goldsmith, 8, 10 —, Maso, Engraver, 8 Flora (in “ Spring ’’), 56, 65 (Plate xxv) Florence, Academy (Perugino, Pieta), 131-2 —, Sant’ Ambrogio (Madonna Enthroned with Six Saints, Uffizi), 36, 37 —, Bargello (Frescoes), 48, 89 —, — (Bust of Giovanni de’ Medici, Mino da Fiesole), 85 —, San Barnaba (Madonna Enthroned with Six Saints, Uffizi), 84, 110 —, Battistero (Fra Filippo, Madonna, Mun- ich), 19 —, Carmine, Filippino’s Fresco (Portrait of Botticelli), 44-5, 84 (Plate 11) —., Villa Castello, 50, 69, 119 —, Chigi Palace (Gardner Madonna), 18, 23- 4, 30 (Plate x111) —, Conservatorio della Quiete, Coronation of the Virgin (School Work), 106—7 —, Corsini Palace (Madonna with Six Angels), 22-3, 25 (Plate xv1) —, Francesco al Monte (Madonna Raczynski, Berlin), 79, 101—5 —, Frediano, Porta San, Botticelli’s Villa, 9, 118 ——, Innocenti Hospital (Madonna), 18 —, Lemmi Villa (Frescoes), 81, 90, 92—4 —, Marco, San (Monastery), 51, 117, 153 —,— (Coronation of the Virgin, Uffizi), 111, 123 —, — (Lorenzo’s Art School), 51, 153 —, Maria Maddalena dei Pazzi, Santa (Annunciation, Uffizi), 26, 112, 123, 126 —, Maria Maggiore, Santa (Pieta, Poldi- ‘Pezzoli Collection, Milan), 133 —,— (St. Sebastian, Berlin, Kaiser Fried- rich Museum), 34 —, Maria Novella, Santa, 42 —, Maria Nuova, Santa (Frescoes), 19, 20, 34 —, Mercanzia, 12 (Fortitudo, q.v.) —, Monasterio di San Martino (Annuncia- tion Fresco), 113 : —, Ognissanti Church, 9, 73, 161 —, —, Botticelli’s Grave, 151 —, — (St. Augustine Fresco), 73, 74, 159, 161 (Plate xxxv) —,— (St. Jerome, Ghirlandajo), 73, 74 —, Paolino, San, 153 — Pitti Palace (Pallas with the Centaur), 38, 94-5 —,— (Virgin and Child with St. John), 131 —, Pitti Gallery (Portrait of a Lady), 88 —,— (Portrait of a Youth), 87, 88 (Plate . XXXIX) —, Pucci Gallery (Boccaccio Panels), 95—7 —,Spirito, Santo (Madonna with the Two Saints John), small Altarpiece, Berlin, 109-12 176 Florence, Trinita, Santa (Ghirlandajo’s Fres- coes), 43 —, Vecchio, Palazzo (Decoration), 75, 84, 90, 120 —, Zenobius Chapel (Mosaics), 118, 128 Forli, Melozzo da, 92 Fortezza, see Fortitudo Fortitudo, Florence, Uffizi, 12, 16, 17, 18, 19, 20, 27, 30, 31, 42, 58, 66, 158 (Plate v) Fra Angelico, 6, 136 Frames, Treatment of, 20, 21-2, 100, 103, 112, 123, 165 Francesca, Piero della, 6, 35, 158 Francesco al Monte, San, Florence (Madonna Raczynski), 101 Franciabigio, 162 Francis of Assisi, St., 79 Frankfort, Staedel Museum (Portrait of Simonetta), 63—4 (Plate xxrIx) Frediano, Porta San, Florence (Botticelli’s Villa), 9, 118 Frescoes, Camposanto, Pisa, 37 —,Carmine (Filippino’s Portrait of Botti- celli), 44—5, 84, 155 (Plate 11) —, Castello, Villa, Florence, 119 —, Palazzo Vecchio (Ghirlandajo), 75-90 —,Sixtine Chapel, Aaron’s Punishment of the Rebellious, 76—8, 161 (Plate x1) —,—, Cleansing of the Leper, 77, 78-80, 93 (Plate xxxvi) —,—, Legends of Moses, 77, 81-2 (Plate XXXVII) —, St. Augustine, Florence, Ognissanti, 73, 74, 159, 161 (Plate xxxv) —, St. Jerome (Ghirlandajo), Florence, Ognis- santi, 73, 74 —, Villa Lemmi, 81, 90, 92-4 (Plate xLvz) —, Villa Spedaletto, 91 Frizzoni, Gustavo, 62, 89 Furniture Panels, 164 Gaddi, see Anonimo Gallo, Giuliano di San, 22, 26, 109 Gardner Collection, Boston, Chigi Madonna, 18, 22-4, 26, 30, 99, 105, 158 (Plate x11) —,—, Scenes from the Life of Lucretia, 96, 128, 129, 141 Genoa, Balbi Palace, St. Jerome (School Work), 124 Ghiberti, 28 ’ Ghirlandajo, Domenico, 2, 6, 14, 43, 73, 74, 75, 84, 89, 90, 91, 92, 108, 118, 157 —, Adoration of the Kings, Florence, Uffizi, 14 —., Frescoes in Santa Trinita, Florence, 43 —, St. Jerome, Florence, Ognissanti, 74 —, Portrait of Giovanna degli Albizzi, New York, Pierpont Morgan Collection, 92 Giostra, Florentine Tournament in 1475, 55 —, Poliziano’s Ode, 55, 56, 57, 60, 65, 70 Giotto, 6, 89, 93, 138 —, Portrait of Dante in the Bargello Fresco, 89 Giovanni, Bartolommeo di, 96 INDEX Giovanni, Bertoldo di, 51, 153 Glasgow Museum, Annunciation, 113, 141 (Plate LxxxIx) Gothic Elements, 15, 25 Gozzoli, Benozzo, 6, 15, 38, 44 —, —, Frescoes in the Medici Chapel (Adora- tion of the Kings), 15, 44 —, Portrait of Himself, 44 Graces (in “Spring’’), 56, 58, 59, 70, 157 (Plates xxv, xci1) Group Paintings, Dutch, 157 Guardaroba of Duke Cosimo de’ Medici, 61, 88 Guardi, Benedetto di Ser Giovanni, 112 Hair, Dressing of (Acconciatura), 26—7, 58, 63, 64, 65, 71, 164 Halo, Treatment of, 20, 27-8 Hell, Representations of (Divine Comedy), 145 Hermitage Gallery, Petrograd, q.v. Heseltine, Mr. J. P., London, Madonna, 107 Holbein, Hans, 165 Holofernes Panel, Discovery of the Corpse, Florence, Uffizi, 31, 32, 33, 38, 40—2, 125 (Plate xv) Horne, Herbert, 3, 8, 12, 15, 16, 39, 43, 44, 50, 51, 61, 62, 64, 65,75, 77, 78, 84, 86, 94, 95, 99, 101, 112, 126, 128, 129, 130, 133, 136, 140, 145 Huldschinski, O., Berlin, Annunciation, 113, 126 (Plate Lxvi1) Humanism, Influence of, 51, 52, 53, 54, 113, 115 Inferno, 143-9 Innocenti Madonna, 18, 25 Ionides Collection (London, Victoria and Albert Museum), Portrait of a Lady, 87 (Plate xx111) Intarsia Panels (Mosaic), 129, 159, 164 Interiors, Treatment of, 113, 159 Jahn-Rusconi, 103 Jerome, St. (Mourning for Christ, Munich, Alte Pinakothek), 132 (Plate Lxxvi1) — (Ghirlandajo), 73, 74 — (Coronation of the Virgin, Uffizi), 111 (Plate Lv1) — (Leonardo da Vinci), 95 — (Last Communion, New York, Metro- politan Museum), 124 (Plate Lxv) — (School Work, Balbi Palace, Genoa), 124 — (School Work, Private Collection in U.S.A.), 124 John, St., Baptist, Representations of (Berlin, Kaiser Friedrich Museum, Mad- onna with the Two Saints John), 109-10 (Plate Lv1) — (Florence, Uffizi, Madonna with Six Saints), 109, 161 (Plate Lv) John, St., Evangelist, Representations of (Coronation of the Virgin, Florence, Uffizi), 111 (Plate Lv1) — (Madonna with the Two Saints John, 12 Florence, Berlin, Kaiser Friedrich Museum), 109- 10, 187 (Plate Lv1) John, St., as a Boy (Berlin, Kaiser Friedrich Museum, Madonna), 104, 105 (Plate L1v) — (Florence, Palazzo Pitti, Madonna), 107 — (Early Madonna Paintings), 99 — (Paris, Louvre, Madonna), 23 (Plate x11) Johnson Collection, Philadelphia, Portrait of Lorenzo Lorenzano, 88 (Plate Lxx1) —,—, Mary Magdalene Predella Panels, 126~ 7 (Plate LXxxv1) Judith, Berlin, Kaufmann Sale, 125 —, Florence, Uffizi, 30-1, 32, 33, 34, 35, 38, 40, 66, 79, 123, 125 (Plate x1v) Julius II, Pope, 80 (Plate xxxv1) Justice of the Emperor Trajan (Dante Drawings), 147-8 Kahn, Otto H., Gallery, New York, Portrait of Giuliano de’ Medici, 49 (Plate xxtv) Kaiser Friedrich Museum, Berlin, see Berlin Kann, Rudolf, Collection, Paris, Portrait of a Man, 86 (Plate xxxvii1) Kappel, M., Collection, Berlin, Portrait of Simonetta, 63—4 (Plate xxv1) Korah, Punishment of the Company of (Aaron Fresco), Rome, Sixtine Chapel, 76, 77, 82, 83, 161 (Plate xz) Kristeller, Paul, 165 Laetus, Pomponius (Portrait in the Aaron Fresco), 84 (Plate x1) Lama, Guasparo di Zanobi del, 43, 46 —, Portrait (Adoration of the Kings, Flor- ence, Uffizi), 43, 46 (Plate xx) Landini, Dante Commentary (with Engrav- ings after Botticelli), 143, 150, 165 Landscape, Treatment of, 15, 19, 25, 35, 39- 40, 76, 77, 114, 158, 159 Lemmi Frescoes, Paris, Louvre, 81, 90, 92—4 (Plates XLV, XLVI) —, Villa, 81, 92 Leonardo da Vinci, 5, 28, 29, 35, 48, 58, 60, 77, 90, 95, 113, 114, 140, 147, 155, 157, 159, 162, 163, 164, 166 Leper, Cleansing of, see Cleansing of the Leper Leuchtenberg, Duke of (Gallery), Portrait of a Young Man (now in the Dr. E. Simon Collection, Berlin), 87 (Plate Lx1) Liberal Arts, Lemmi Fresco, 92, 94 (Plate XLV) Liechtenstein Gallery, Portrait of a Youth (now in a private collection in U.S.A.), 86 (Plate x11) Light, Treatment of, 34—5, 158-9 Lippi, Filippino, 12, 13, 26, 44-5, 76, 84, 90, 91, 99, 108, 127, 139, 155, 157 —,—, Portrait of Botticelli (Carmine Fres- coes), 44—5, 84, 155 (Plate 1) —,—, Portrait of Himself, 45 Lippi, Fra Filippo, 5, 6, 10, 11, 12, 13, 14, 17, 18, 19, 20, 22, 26, 27, 28, 30, 41, 60, 74, 87, 99, 125, 165 177 SANDRO BOTTICELLI Lippi, Fra Filippo, Adoration of the Kings, Richmond, Cook Collection, 13, 14 —,—, Madonna, Florence, Uffizi, 18 (Plate VI London, Heseltine Collection, School Work, —, Mond Collection, Scenes from the Life of St. Zenobius, 128, 129 (Plates Lxvim, LXIXx) —, National Gallery, Adoration of the Kings, Horizontal Panel, 12, 14, 16, 25, 30, 34, 41, 127 (Plate 11) —, —, —, Tondo, 13, 14, 15, 16, 18, 25, 35, 39, 40, 41, 81, 99, 127 (Plate 1v) —,—, Adoration of the Child, 107, 134, 140 (Plate LxxiIv) —,—, Early Botticelli Madonnas, 18, 20 —,—, Mars and Venus, 67—9 (Plate xxx1) —, —, St. Sebastian (A. Pollajuolo), 34 —,—, Virgin Crowned by Two Angels, 107 —,—, Youth with a Red Cap, 85, 86 (Plate XLI —, Seymour, Alfred, Collection, Portrait of Dante, 89 —, Victoria and Albert Museum, Portrait of a Young Woman, 87 (Plate xim1) —-, Vernon Watney Collection, Tale of Nas- tagio degli Onesti, 95-6, 129 (Plate Lx) Lorenzano, Lorenzo, Portrait, Philadelphia, Johnson Collection, 88 (Plate Lxx1) Louvre, see Paris, Louvre Lucian, 113, 114, 115 Lucretia Panels, Boston, Gardner Collection, 96, 128, 129, 141 Luther, 122, 138 Madonnas, Berlin, Kaiser Friedrich Museum, Madonna with the Two Saints John, 109— 11, 157 (Plate Lv1) —,—,—, Madonna with Seven Angels Bear- ing Candlesticks, 106 (Plate Lrv) —,—,—, Madonna Raczynski, 79, 101-3, 104, 105, 160, 166 (Plate 1) —, Boston, Gardner Collection, Madonna Chigi, 18, 23-4, 26, 30, 99, 105, 158 (Plate x11) —, Florence, Palazzo Corsini, 22—3, 25, 106 (Plate xv1) —,—, Palazzo Pitti, Virgin with St. John, 131 —, —, Uffizi, Sant’ Ambrogio Madonna (with Six Saints), 36, 37 (Plate xv1m1) —,—, —, Assumption (Engraving after Bot- ticelli’s Design), 37, 133, 165 (Plate Lxxv1) —, —, —, Coronation, 105, 111, 123, 136, 146, 160 (Plates Lv1I, XC) _ —,-—, —, del Melagrano, 87, 102-3, 104, 105, 108 (Plate 11) —, —, —, Madonna in a Cloud of Cherubim, 20 (Plate x) —,—, —, Magnificat, 103—4 (Plate x1r) —,——,—, Rosebush, 21-2, 25 (Plate x1) 178 a Madonnas, Florence, Uffizi, San Barnaba Madonna (with Six Saints), 84, 107-9, 110, 157, 160 (Plate Lv) —,—,—, with St. John and Angels, 19-20 (Plate viz) —, London, Mr. J. P. Heseltine, Virgin with St. John (School Work), 107 —,—, National Gallery, Adoration of the Child, 107, 134 (Plate Lxxtv) —, Milan, Ambrosiana, Madonna del Latte, 124 (Plate Lx111) —,—, Poldi-Pezzoli Gallery, Coronation, Tapestry after Botticelli’s Design, 164 —,—,—, Madonna, 123—4 (Plate Lxrv) —, Naples, Gallery, Madonna with Two Angels, 19, 25, 105 (Plate vi1z) —, Paris, Louvre, Madonna with Five Angels, 20 (Plate rx) —,—,—, Madonna with the Little St. John, 23 (Plate x11) —,—, eer André, Rest During the Flight, 31 —, Piacenza Gallery, Adoration of the Child (School Work), 107 —, Pisa, Commission for Fresco, Assumption, 37 —, Rome, Borghese Gallery, Madonna with St. John and Angels, 104, 105, 106 (Plate L111) —, —, Guidi Madonna, 19 —, Turin, Gallery, Madonna Sitting on the Ground (School Work), 107 —, see also Adoration of the Child Madonna Reliefs, 22, 28, 100 Madonna, Representations in Florence (first half of fifteenth century), 28-9 Magdalene, St. (Madonna Enthroned, Flo- rence, Uffizi), 36 (Plate xv11) Magnificat, Florence, Uffizi, 103-4 (Plate tm) Majano, Giuliano da, 26 Majolica Painting, Early Florentine, 124 Malatesta, Francesco, 139 Mantegna, 28 Marco, San, Monastery, Florence (Coronation of the Virgin), 111, 123 —,—, Lorenzo’s Art School, 51, 153 —-, —, Prior of (Savonarola), 117 Maria Maddalena dei Pazzi, Santa, Florence (Annunciation, Uffizi), 36, 112, 123, 126, see also Annunciation Maria Maggiore, Santa, Florence (Mourning for Christ, Poldi-Pezzoli Collection, Milan), 133 —,— (St. Sebastian, Berlin, Kaiser Fried- rich Museum), 34 Maria Novella, Santa, Florence (Adoration, Uffizi), 42 Maria Nuova, Santa, Florence (Madonna, Uffizi), 19, 20 —,— (Frescoes by Domenico Veneziano), 34 Mars and Venus, London, National Gallery, 67-8, 93, 156, 157 (Plate xxx1) Martino, Monasterio di San, Florence, An- nunciation Fresco, 113 INDEX Maruffi, Sylvestre, 135 Mary Magdalene, Predella Panels, Philadel- phia, Museum, 126 (Plate Lxxxvi) Masaccio, 5, 6 Medallions (Niccolo Sforzore, Portraits of Lorenzo Tornabuoni and Giovanna degli Albizzi) (Plates xLv1I and xLvm1) Medici, Alessandro, 150 —, Cosimo (Pater Patriz), 41, 43, 48, 50, 52, 53 — (Portrait), 40, 43 (Plates xrx, xx) — (Grand Duke), 50, 61 —, Giovanni, 43, 85, 119, 145 —,— (delle Bande Nere), 50 —,— di Pierfrancesco, 50, 51, 89, 94 —, Giuliano, 37, 45, 46, 48, 49, 55, 60, 61, 71, 75, 97 — (Portrait), 37, 45, 46, 48, 49, 55, 60, 61, 65, 66, 71, 74, 97 (Plates xvi, xx, XXI, XXIII, XXIV) -—, Lorenzo il Magnifico, 6, 40, 43, 44, 45, 46, 48-53, 55, 61, 75, 91, 92, 94, 95, 97, 113, 117, 118, 121, 122, 123, 128, 140, 142, 143, 150, 153, 155, 159 —,— (Portrait), 43, 44, 46 (Plate xx1) —,— (Cousin of the Magnifico), 94 —, —, di Pierfrancesco, 51, 119, 120, 142-5 —, Pierfrancesco, 50 —, Pierino, 85 — Piero (Portrait), 40, 43, 50, 118 (Plate xx) —., Portraits, see Portraits, Medici —, Banner, Decoration of, 38 — (Chapel), 15 —, Emblem, 64 — (Family), 43, 51, 118, 122, 157 Medici Venus, 70 Melagrano, Madonna del, see Madonna Memoriale (Albertini), 1 Mercanzia, Florence, 12, 17, see also Fortitudo Mercury (in “Spring ’’), 56, 57, 59, 60 (Plate XXvV) Mesnil, Jacques, 43, 46 Metropolitan Museum, New York, Double Portrait (Filippo), 87 —,—, Last Communion of St. Jerome, 124 (Plate Lxv) Michael, Archangel (Madonna Enthroned, Florence, Uffizi), 108—9, 161 (Plate Lv) Michelangelo, 5, 77, 83, 100, 119, 121, 132, 138, 139, 142, 155, 162, 163, 166 —, Cascina Cartoon, 155 -—, David, 138 —, Drawings for the Divine Comedy, 142 Milan, Ambrosiana, Madonna del Latte, 124 (Plate Lx111) —, Coronation (Tapestry after Botticelli’s Design), 164 —, Madonna, 123—4 (Plate Lx1x) —, Poldi-Pezzoli Gallery, Pieta, (Plate Lxx111) Minerva, Drawing, Florence, Uffizi, 39 (Plate XXII) -—— with the Centaur, Florence, Palazzo Pitti, 38, 94-5 (Plate xLIx) 131, 133 Minerva, see also Pallas Miniatures, Burgundian French, 36 Mino da Fiesole, 75, 85 Mirandola, Pico della, 85, 121, 132 Mond Collection, London, Zenobius Panels, 128, 129 (Plates LXxXvIII, LXxIx) Montelupo, Baccio da, 121 Morelli, 2, 12, 16, 18, 36, 85, 86, 99, 101, 104, 133 Morgan, Pierpont, Collection, New ‘York, Portrait of Giovanni degli Albizzi (Ghirlandajo), 92 Mosaic Workers, Florentine, 118 Mosaics, 118, 128 Moses Fresco, Rome, Sixtine Chapel, 77, 81-2 (Plate xxxviz1) Mourning for Christ, see Christ, Representa- tions of Munich, Old Pinakothek, Madonna (Filippo), 19 —,—, Mourning for Christ, (Plate Lxx11) Mysticism, 122, 158, 161-2 131-3, 161 Naples, Gallery, Madonna, 19, 25, 105 (Plate VIII) —, Museu Filangieri, Portrait of a Young Man, 89 National Gallery, see London, National Gallery Nere, Giovanni delle Bande (Giovanni de’ Medici), 50 New York, Metropolitan Museum, Double Portrait (Filippo), 87 —,—, Last Communion of St. Jerome, 124 (Plate Lxv) —, Otto H. Kahn Collection, Portrait of Giuliano de’ Medici, 40 —, Pierpont Morgan Collection, Portrait of Giovanni degli Albizzi (Ghirlandajo), 92 Ognissanti Church, Florence, 9, 73 —, —, Botticelli’s Grave, 151 —, —, Pieta (Ghirlandajo), 73 —,—, St. Augustine, Fresco, 73, 74, 161 (Plate xxxv) Old Dutch Influences, 36, 81 Onesti, Nastagio degli (Boccaccio Panel, London, Vernon Watney Oollection), 93-7 (Plate Lx) 3 Oreithya, Nymph (in “Spring’’), 56, 59 (Plate xxv) Orlandini, Palazzo, Florence (Adoration of the Kings, London, National Gallery), 12, 13, 25, 30, 39, 127 (Plate Iv) Ornament, Treatment of, 25, 27-8, 164 Orsanmichele, Florence, Design for a Canopy, 164 Orsini, Clarice, 88 —~,—., Portrait (?), Florence, Pitti Gallery, 88 (Plate Lx11) Outline, Treatment of, 161 Paccioli, Luca, Mathematician, 112, 158 179 SANDRO BOTTICELLI Pallas, with the Centaur, Palazzo Pitti, 38, 94-5 (Plate XLIx) — (Banner), 38, 48 — (Drawing), Florence, Uffizi, 39 (Plate XXII) — (Mosaic), Urbino, 39 Papal Portraits, 80, 161 Paradise, Representations of Comedy), 142—9 Paris, Louvre, Portrait of a Youth, 87 (Plate LXXXV) —,—, Lemmi Frescoes (Tornabuoni), 81, 90, 92, 97 (Plates XLV, XLVI) —,—, Madonna with Five Angels, 20 (Plate (Divine TX) —,—-, Madonna with the Little St. John, 23 (Plate x11) —, Aynard Sale, The Divine Punishment of Florence, 136—8 (Plate Lxxx) —, Musée André, Rest during the Flight into Egypt, 131 —, Rudolf Kann Collection, Portrait of a Man, 86 (Plate xxxvii1) Paul, St. (Mourning for Christ, Munich), 132 (Plate Lxx11) Pazzi, Murderers of Giuliano de’ Medici, 46 —, Portraits, Florence, Bargello Facade, 48 Pericles, 6 Perspective, Treatment of, 13, 14, 25, 112- 13, 158-9 Perugino, 1, 7, 75, 82, 91, 131, 139, 157, 158 Peter, St., Crucifixion of, Carmine Fresco (Filippino), Portrait of Botticelli, 465. See also Botticelli —,— (Mourning for Christ, Munich), 132 (Plate Lxx11) Petrarch, 53 Petrograd, Hermitage Gallery, Adoration of the Kings, 39-41, 158, 161 (Plate xrx) Philadelphia, Museum (Johnson Collection), Scenes from the Life of Mary Magda- lene, 126—7 (Plates LXxxv1) —, —, —, Portrait of Lorenzo Lorenzano, 88 (Plate Lxx1) Piacenza, Gallery, Adoration of the Child (School Work), 107 Piagnoni, 117, 120 Pieta, see Christ, Representations of —, Michelangelo, 132 —, Perugino, Florence, Academy, 131-2 Pinturrichio, 75, 92 Pisa, Fresco Commission, 37 Pisani, 93 Pitti Palace, Florence, Athene Taming the Centaur, 38, 94-5 (Plate x1LrIx) —, —, Madonna with St. John, 131 —, —, Pallas with the Centaur, 38 —,—-, Portrait of Clarice Orsini (?), 87 (Plate LXIt) —, —, Portrait of a Youth in a Cappuccio, 87, 88 (Plate xxxIx) Plaques (Plates xxxXIV, LXXXVI1) Plato, 53, 54, 116 Poldi-Pezzoli Gallery, Milan, see Milan 180 Poliziano, Angelo, 45, 54—5, 56, 57, 59, 60, 61, 66, 67, 70, 97, 121, 153 Pollajuolo, Antonio, 6, 8, 16,{17, 18, 28, 30, 31, 34, 35, 90, 92, 108, 146, 166 —, Piero, 6, 12, 16, 17, 18, 28, 30, 31, 32, 35, 90, 108, 166 —, Simone, 16, 18, 28, 31, 35, 108, 121, 166 Pomegranate Madonna, see Madonnas Pomegranate, Symbol of the Passion, 20, 21, 24. Pontelli, Baccio, Pallas, Urbino, Palazzo Ducale, 39 Pontormo, 162 Popolano, Lorenzo, see Medici, Lorenzo di Pierfrancesco Porta, Baccio della, 121 —, Bartolommeo della, 162 Porto Venere (Genoa), 72 Portrait, Albizzi, Giovanna degli, Lemmi Fresco, Paris, Louvre, 92—4 (Plate xLv1) —, Botticelli (by Filippino), Carmine Fresco, Florence, 44-5, 84, 155 (Plate 1) —,—, Portrait of Himself (?), 44, 152 (Plates XX, XXI) —, Dante, 89 —, Likeness of a Man, Paris, Rudolf Kann Collection, 86 (Plate xxxXvIi1) —, Lorenzo Lorenzano, Philadelphia, Mus- eum, 88 (Plate Lxx1) —, Man against a Blue Background, Berlin, Dr. E. Simon Collection, 87 (Plate Lx1) —, Medici, 37, 38, 40, 41, 42-4, 49 (Plates XVIII, XIX, XX, XXIII, XXIV) —,—,Cosimo (Adoration of the Kings, Florence, Uffizi), 40, 43 (Plates x1x, xx) —,—, Giovanni (Adoration of the Kings, Florence, Uffizi), 43, 48 (Plate xx) —,—, Giuliano, 37, 49, 55, 61, 71, 74 (Plates EK, XXI, XX, SXIV, Ki —,—, Lorenzo (Adoration, Florence, Uffizi), 42—4 (Plates xx, XX1) —,—, Piero (Adoration, Florence, Uffizi), 40, 43 (Plate xx) —, Orsini, Clarice (?), Florence, Pitti Gallery, 87 (Plate Lx11) —, Pazzi Family, Florence, Bargello Facade, 48 Mosaic, —, Sforza, Caterina (?), Altenburg, Museum, 88-9 (Plate xLIv) —, Simonetta, q.v. —,Tornabuoni, Lorenzo, Paris, Louvre (Lemmi Fresco), 92—4 (Plate xiv) —, Young Lady in a Room, London, Victoria and Albert Museum, 87 (Plate xL111) —, Youth in a Cappuccio, Florence, Palazzo Pitti, 87-8 (Plate xxxIx) —, Youth with a Red Cap, London, National Gallery, 85 (Plate x11) —, Youth against a Black Background, Berlin, Kaiser Friedrich Museum, 88 (Plate LXxXXvIII) —, Youth against a Blue Background, Paris, Louvre, 87 (Plate Lxxxv) INDEX Portrait, Youth before an Open Window, Pri- vate Collection in U.S.A., 86;(Plate xx11) Prato, Fra Filippo’s Frescoes in the Duomo, 11-12, 74 —, Santa Margherita Monastery, 11 Predella Panels, Philadelphia, Museum, Johnson Collection (Scenes from the Life of Mary Magdalene), 126-7 (Plates LXXXVI1) Pre-Raphaelites, 2, 136 Primavera, see Spring Pucci, Giacomo, 119 —, Gianozzi, 95, 129 —, Lucretia, 95 —, Panel Paintings, 95-7 (Plate Lx) Pulci, 54, 55 Punishment of the Company of Korah (Aaron Fresco), Rome, Sixtine Chapel, 76, 77, 80, 82, 85, 161 (Plate xx) Purgatorio, see Purgatory Purgatory, Representations of (for the Divine Comedy), 66, 143—9 (Plate Lxxx1) Kaczynski Madonna, Berlin, Kaiser Friedrich Museum, 101-2, 103, 105, 166 (Plate L) Raphael, 29, 93, 100, 154, 157, 158 Realm of Venus, see Spring Regency Pictures, Dutch, 157 Rest during the Flight into Egypt, Paris, Musée André, 131 Resurrection (Leonardo), 95 Riario, Francesco, 89 —, Girolamo (Portrait ?), 80 (Plate xxxv1) —., Sforza, Caterina, 80, 89, 119 —,—, —, Portrait, Altenburg Museum, 88— 9 (Plate xLIv) Richmond, Cook Collection, Adoration of the Kings (Fra Filippo), 13-14 —,—, Descent of the Holy Ghost, 133 —,—, Fancy Portrait of Simonetta, 63, 64 (Plate xxIx) Rivista d’Arte (1905), 8 Robbia, Ambrogio della, 121 —, Andrea della, 21 —, Luca della, 28, 100, 154 Roman Frescoes, see Sixtine Frescoes — Sojourn, 39, 74-84, 103 Rome, Borghese Gallery, Virgin with St. John and Angels, 104, 105 (Plate L111) —,—, Guidi Madonna, 19 —, Sixtine Chapel, see Sixtine Frescoes —, Santo Spirito, Church, 78 —, St. Peter’s, Pieta (Michelangelo), 132 Rosselli, Cosimo, 37, 62, 75, 91 Rossellino, Antonio, 21 Rossetti, Dante Gabriel, 2 Rovere, Giuliano della (Pope Julius II), 80 (Plate xxxv1) Rubens, 124 Rucellai, Pagnolo, 10 Rumohr, C. F. von, 109 Sacrifice of the Death of Christ, Symbols of, 102, 103, 104, 110 Salviati, Francesco, Archbishop of Pisa (Portrait on the Bargello), 48 Sandarac Paints, 18, 166 Sandro, see Amico di Sandro Sangallo, Giuliano di, 22, 26 Sarto, Andrea del, 162 Sassetti, Francesco, 43 Satyrs, Boy (Mars and Venus), London, National Gallery, 67-8 (Plate xxx1) Savonarola, 9, 10, 39, 50, 94, 112, 113, 115, 117, 118, 119, 120, 121, 122, 125, 126, 128, 130, 131, 132, 134, 135, 136, 138, 139, 140, 145, 150, 151, 153, 154, 162, 163 Sebastian, St., Berlin, Kaiser Friedrich Museum, 33, 34, 35, 57, 68, 81, 157 (Plate xv11) —,—, London, National Gallery (Antonio Pollajuolo), 34-5 Segni, Antonio, 113 Sellajo, Jacopo, 91, 96 Seymour, Alfred, Collection, London, 64, 89 Sforza, Caterina Riario, 80, 89, 119 —,—, Portrait, 88—9 (Plate xxIv) —, Ludovico, 91 Sforzore, Niccolo, Lorenzo ‘Tornabuoni (Plates XLVII, XLVIII) Signorelli, 75 Simon, Dr. Eduard, Gallery, Berlin, Portrait of a Man, 87 (Plate Lx) Simonetta, Lady-love of Giuliano de’ Medici, 49, 60-8, 69, 71, 72, 82, 86 —, Portrait, Berlin, Kaiser Friedrich Museum, 63—4 (Plate xxvu1) —,—, Berlin, Kappel Collection, 63—4 (Plate XXXVI) —, —, Chantilly, Museum (Piero di Cosimo), 61—3, 129 (Plate xxviz) —,—, Frankfort, Staedel Museum, 63-4 (Plate xxIx) —,—, Richmond, Cook Collection, 63, 64 (Plate xxx) Sixtine Frescoes, 35—6, 77, 78—85, 152, 157 —,—, Aaron Punishing the Rebellious, 76, 77 (Plate x1) —,—, Leper, Cleansing of the, 77-80, 93 (Plate xxxv1) —, —, Moses, Youth of, 81-3 (Plate xxxvm) Sixtus IV, Pope, 48, 74, 78, 79, 89, 90, 91, 117 —,—, Memorial (Pollajuoli), 91, 92 Soderini, Piero, 16 —, Tommaso, 154 Sordello (Dante Illustration), 148 Spedaletto, Villa, Volterra, Frescoes, 91 Spini, Doffo, 120 Spoleto, Duomo, Decoration by Fra Filippo, Spring, Florence, Uffizi, 4, 50, 52, 55-60, 66, 69, 70, 71, 73, 79, 93, 101, 102, 111, 146, 156, 157, 166 (Plates xxv, xc) Staedel Institute, Frankfort (Portrait of Simonetta), 64 (Plate xx1x) Steinmann, 78, 80, 82, 83, 84 Strasburg, Gallery, Madonna, 19 181 Medallion Portraits of and his Wife SANDRO BOTTICELLI Strozzi, Filippo, 45-6 —, Palace, 49 Stufa, Niccolo della, 50 Tapestry, Coronation of the Virgin (after a Design of Botticelli’s, Milan, Poldi- Pezzoli Gallery), 164 —, Designs, 164 —, Franco-Dutch, 160 Titian, 111 Titus, Arch of, Lucretia Panel, Gardner Collection, 129 Tobias (with Three Archangels), Verrocchio, Florence, Uffizi, 31—2, 34, 107, 161 —, with the Archangel Raphael (Pollajuolo) Turin, Gallery, 32 —,on the Journey (after Verrocchio), Turin Gallery, 107 Tondos, 14, 15, 35, 99-100, 102, 103, 104, 106, 160 Tornabuoni, Frescoes, see Lemmi Frescoes —, Lorenzo, 92, 93, 94, 111, 119 (Plate xnv) —, Medallions (Plates xLvm, XLvm1) Torrigiani, Giovanni, 45 —, Lorenzo, 45 —, Collection, Florence (Male Portrait), 86 (Plate xxxvii1) Training, 8—10 Trajan, Emperor (Justice of the Emperor Trajan, Dante Drawing), 147-8 Traversari, Paolo (from the Boccaccio Panels), 95-7 (Plate Lx) Treatise on Painting, Leonardo, 35, 163 Trionfo della Fede, Engraving after Botti- celli’s Design, 146 Turin, Gallery, Madonna Crouching (School Work), 107 —,—, Tobias on the Journey (after Verroc- chio), 32, 107 —,—, Tobias with the Archangel Raphael (Pollajuoli),' 34 Two-dimensional Composition, 15, 25, 160 Boston, Uccello, Paolo, 5, 6 Uffizi, Florence, Adoration of the Kings (about 1475), 15, 16, 37, 39, 40, 41-7, 49, 69, 79, 80, 84, 85, 87, 99, 101, 102, 157, 158 (Plates xx, Xx1) —.—, Adoration (Unfinished), 139-41, 147, 158 (Plate Lxxv11) —,—, Adoration (Ghirlandajo), 14 —,—, Annunciation, 36, 112-13, 126 (Plate LVII1) —.—, Assumption (Engraving after Botti- celli’s Design), 37, 133, 165 (Plate LXXVI) —,—, Athene, Drawing, 38 (Plate xx11) —,—, Augustine, St., in his Study, 125, 159 (Plate Lxv1) —,—, Birth of Venus, g.v. —,—, Calumny of Appelles, 113, 116, 139, 159 (Plate Lrx) 182 Uffizi, Florence, Coronation of the Virgin, 105, 111, 123, 136, 146, 160 (Plates Lv11, XC) —,-—, Discovery of the Corpse of Holofernes, 31, 32, 33, 38, 40-2, 125 (Plate xv) —, —, Fortitudo, g.v. —,—, Judith, 30-1, 32, 33, 34, 35, 36, 40, 66, 79, 123, 125 (Plate xtv) —,—, Madonna (Fra Filippo), 18 (Plate v1) —,—, Madonna in a Cloud of Cherubim, 20 (Plate x) —,—, Madonna with St. John and Angels, 19-20 (Plate vit) —,—, Madonna del Melagrano, 21, 87, 102— 3, 104, 105, 108 (Plate 11) —,—, Madonna Enthroned with Six Saints, q.v ya , Magnificat Madonna, 103 (Plate 111) —, —, Male Portrait, 85 —, —, Pallas (Study in Silver Point), 38 (Plate xx11) —,-—, Rosebush Madonna, 21—2 (Plate x1) —,—, Singing Angels, Collection of Draw- ings (Plate 1) —,—, Study for the Adoration of the Child (Plate xc) —,—, Tobias on the Journey (Verrocchio), 31, 32, 107, 161 Ulmann, Hermann, 4, 17, 88 Umbrian Artists, 158 Urbino, Palazzo Ducale, Pallas by Baccio Pontelli, 39 —,—, Liberal Arts, Panels by Melozzo da Forli, 93 Vasari, 1, 2, 7, 8, 14, 42, 45, 52, 54, 61, 62, 75, 95, 96, 117, 129, 133, 138, 152, 154—5 Vatican Library, Dante Drawings, 143 —, Chapel, 75 Vecchio, Palazzo, Frescoes, 75, 84, 90, 120 Veneziano, Domenico, Frescoes in Santa Maria Nuova, 34, 158 Venice, School of Painting, 79, 102 Venturi, Adolfo, 58, 71 Venus, Berlin, Kaiser Friedrich Museum, 70-1, 157 (Plate xxxm). SeealsoSpring, Birth of Venus, Mars and Venus Verdure (Franco-Dutch Tapestries), 160 Verino, Ugolino, 139 Verrocchio, 6, 16, 17, 18, 20, 22, 26, 27, 28, 30, 31, 32, 34, 35, 36, 41, 51, 57, 65, 69, 90, 107, 109, 158, 161, 166 Vespucci, Family, 73, 74, see also Simonetta —, Giovanni, 129, 141, 147 —, Guidantonio, 129 —, Marco (Husband of Simonetta), 61, 62, 73 Vienna, Academy, Madonna with Angels, 107 : —, Esther Panel (Filippino), 127 Virgil, 53, 148 Virginia Panels, Bergamo, Carrara Gallery, 128-9, 140 (Plate xx) Virtues, 12, 16, 66 INDEX Volterra, Decoration of the Villa Spedaletto, 91 Warburg, Aby, 4, 8, 10, 55, 57, 71 Watney, Vernon, Collection, London (Tale of Nastagio degli Onesti), 93—7 (Plate ux) Window Frame Motive, 22, 64, 87, 88, 89 (Plates XXXVI, XXVIII, XLII, XLIII, XLIv) Woodcuts, Florentine, 165 Zamometic, Andrea, Bishop of Krain, 83 Zenobius Panels, London, Mond Collection, and Dresden Gallery, 127-9 (Plates XVIII, LXIx) —, Chapel, Florence, Commission for Mosaics 118, 128 Zeuxis (Copy), 115 183 * ‘ | 4 : ” a big . i P | ; a i ' rs, Y as TRY Xu x : aa ! Ry 4 5 . << Printed ta’ Cront Britain by Butler & Tanner Ltd., | Frome and London x P ¥ ‘ i 1 \ 7 Fan S : | ae ; . eae aN ‘ : , ; voy ‘ ; ‘ ‘ a wae ~ sgh PLATE I UFFIZI. ICAT. FLORENCE, . MAGNIKI THE PLATE Wl SINGING ANGELS. FLORENCE, UFFIZI, COLLECTION OF DRAWINGS. PORTRAIT OF SANDRO BOTTICELLI FROM FILIPPINO’S LIKENESS IN THE FRESCO OF MASACCIO’S CRUCIFIXION OF SAINT PETER. FLORENCE, CARMINE. PLATE Il PLA GEA ADORATION OF THE KINGS. LONDON, NATIONAL GALLERY. PLATE ADORATION OF THE KINGS. LONDON, NATIONAL GALLERY. PLATE VI ANTM NS . | ENCE, UFFIZI- FLOR FORTITUDE PLATE Vil UFFIZI. ORENCE, ADONNA. FI M p] FILIPPO FRA MEME Te SI Pe ade | i { MADONNA WITH ANGELS. FLORENCE, UFFIZI. PLATE 1X MADONNA WITH FIVE A PARIS, LOUVRE: Ve EIT P26 Deine arene ar ee a ee Bey eg re er | I< I Pe f & bE A\/ MUNG Ts ENCE, UFFIZ CHERUBIM, FLOR A IN A CLOUD OF MADONN PEALE XL ROSEBUSH MADONNA FLORENCE, UFFIZI. PIEA DLE TV > JUDITH AND HER MAID WITH THE HEAD OF HOLOFERNES. FLORENCE, UFFIZI. PLATE Xr DISCOVERY OF THE CORPSE OF HOLOFERNES. FLORENCE, UFFIZI. PLATE XVII MADONNA WITH TWO ANGELS. NAPLES, MUSEO NAZIONALE. XIX Aad Ee, be ; She. “» Ete 86S yon “ , UFFIZI FLORENCE MADONNA ENTHRONED WITH SIX SAINTS PLATE XX ‘AMATIVO AOVLINAYH ‘GVAYDOULAd ‘SONIN AHL AO NOILVUOUV = i i PLATE ..X/ FLORENCE, UFFIZI. S 1 7 KINC \ “u ADORATION OF THE PLATE XXII UFFIZI. FLORENCE, THE KINGS. ADORATION OF LL A ENN EE DETAIL FROM THE ADORATION. FLORENCE. UFFIZI. PLATE XXIV DETAIL FROM THE ADORATION. FLORENCE, UFFIZI. PLATE XX PORTRAIT OF GIULIANO DE’ MEDICI. BERLIN, KAISER- FRIEDRICH MUSEUM. PLATE XXV1 PORTRAIT OF GIULIANO DE’ MEDICI. NEW YORK, OTTO H. KAHN COLLECTION PLATE XXVII LORENCE, UFFIZI. F THENE. SIGN FOR AN A DE PLALE AMVILEL IZ1HdN HONGAOTA “ONTUdS PLATE XXIX PORTRAIT OF SIMONETT: 2 BERLINEKAPPEL COLLECTION. PLATE XXX PIERO DI COSIMO. FANCY PORTRAIT OF SIMONETTA. CHANTILLY, MUSEUM. PLATE XXX1 PORTRAIT OF SIMONETTA, BERLIN, KAISER-FRIEDRICH MUSEUM. PLATE XXXUW FANCY PORTRAIT OF SIMONETTA. FRANKFORT AM MAIN STAEDEL INSTITUTE. PLATE XXXII FANCY PORTRAIT OF SIMONETTA. RICHMOND, COOK COLLECTION, PLATE XXXIV AYATIVO TIVNOILVN ‘NOGNO'T “SONA UNV Savi PLATE XXAV VENUS. BERLIN, KAISER-FRIEDRICH MUSEUM, PLATE XXXVI ROT LUM EASE HU BIZ I. FLORENC S NU : BIRTH OF Vk . THI PLATE XXXVII BRONZE PLAQUE BY A FI.OR- ENTINE MASTER ABOUT 1475. BERLIN, KAISER-FRIEDRICH MUSEUM. PLATE XXXVIII NISSANTI FLORENCE, OG USTINE AINT AUG FRESCO OF S PLATE XXXIX ‘lad VHO ANILXIS ‘ANOY YAdaT AHL dO ONISNVATO TIVIOIMINOVS HHL ONILOIUd OOSHaA PLATE XL "IHdVHO ANILXIS ‘ANON ‘SHSOW AO HLNOA AHL ONILOICHd OOSHAA PLATE XLI PORTRAIT OF A MAN. PARIS, RUD. KANN COLLECTION. PLATE XLII FLORENCE, PORTRAIT OF ,A YOUTH WEARING A HOOD. PALAZZO PITTI. PLATERALHET Aad VAD ANILXIS “TINOU S NOITTAdAA AHL ONIHSINONd NOUVV ONILOIGAd OOSHAA PILATE MELE PORTRAIT OF A YOUTH WEARING A RED CAP, LONDON, NATIONAL GALLERY. PLATE XLV PORTRAIT OF A YOUTH AGAINST AN OPEN WINDOW. AMERICAN PRIVATE COLLECTION. PLATE XLVI VICTORIA AND > LONDON ING AS eROOM AY OUNGRIEADIY UM. = vy K MUS ERT ALB PLATE XLVI (?)} PORTRAIT OF CATERINA SFORZA IN PROFILE. ALTENBURG, MUSEUM. PLATE XLVITI CRAL ( LIB OF THK IRCLE TH EY ‘TO — NZO TORNABUONI 4 INTRODUCTION OF LORI THE ‘ of FRESCO: DEPICTING ve PARIS, LOUVRE NCES. 4 SCI PLATE XL/1X ARIS, LOUVRE. P SCO DEPICTING THE GREETING OF GIOVANNA DEGLI ALBIZZI BY THE CARDINAL VIRTUES. a FR PLATE CL PORTRAIT MEDALLION OF GIOVANNA DEGLI ? ALBIZZI, WIFE OF LORENZO TORNABUONI, BY NICCOLO SFORZORE. PLATE LI PORTRAIT MEDALLION OF LORENZO TORNABUONI BY NICCOLO SFORZORE. PLATE Lil PALAZZO PITTI. FLORENCE TAMING THE CENTAUR PALLAS ATHENE PLATE Lill RACZINSKI MADONNA. BERLIN, KAISER-FRIEDRICH MUSEUM. PLATE Liv -MADONNA WITH THE POMEGRANATE. FLORENCE, UFFIZI. PLATE LV MADONNA WITH ANGELS AND THE LITTLE ST. JOHN. ROME, BORGHESE GALLERY. PLATE L¥I MADONNA WITH ANGELS HOLDING CANDLESTICKS. BERLIN, KAISER-FRIEDRICH MUSEUM. PLATES) 977 MADONNA ENTHRONED WITH SIX SAINTS. FLORENCE, UFFIZI. PLADESSV TEL MADONNA WITH .THE TWO ST. JOHNS. BERLIN, KAISER-FRIEDRICH MUSEUM PLATE LIX THE CORONATION OF THE VIRGIN, WITH FOUR SAINTS. FLORENCE, UFFIZI. CHEAT IES [eX UFFIZI. 5) ORENCE FL CIATION ANNUN K H 1 PLA TERE AL FLORENCE, UFFIZI. THE CALUMNY OF APELLES. PLATE, UX “NOILOYUTIOO AAUNLIVM ONYHA ‘NOUNOT ILSHNO TIDGdC OLDVISVN dO AUYOLS HHL PLAT EYL ATT PORTRAIT OF A MAN AGAINST A BLUE BACKGROUND. BERLIN, EDUARD SIMON COLLECTION. PLATE LXIV * (2?) PORTRAIT OF CLARICE ORSINI. FLORENCE PALAZZO PITTI. PLATE LXV ADORATION OF THE CHILD UNDER A CANOPY. MILAN, AMBROSIANA. PLATE LXVI MADONNA. MILAN POLDI-PEZZOLI COLLECTION. RLATE, EXVIL THE LAST COMMUNION OF ST. JEROME. NEW YORK, METRO- POLITAN MUSEUM PLATE, LXVIN ee dete: dodges SAINT AUGUSTINE IN HISSTUDY. FLORENCE, UFFIZI, PLATE LXIX OLERCIION: TRO AE LDSCHINS HRIGIN, EU, B THE ANNUNCIATION PLATE LAX. “NOTLOYTIOO ANOW ‘AUATIVS IVNOILVN ‘NOGNOT ‘SOISONAZ LS JO AAIT AHL WOUA SANADS PLATE LXX! ‘NOILOUTION GNOW ‘AUNATTVO IVNOILVN ‘ NOCGNO r [ S n IGONUZ LS dO dal T AHL WOdd SHNADS PLATE LXXITI ‘AMHTIVS VAVAAVO ‘ONVOUNAA ‘VINIOWIA 4O AXOLS HHL PEATE SE GALLE ile PORTRAIT OF LORENZO LORENZANO. PHILADELPHIA, MUSEU PLATE LXXIV “MHHLOAVNId ALTV ‘HOINOW “LSIYWHO AOA NOILVINGANWNVI AHL PLATE -DXXY LECTION 4 OLI COI PEZZ , POT,DI- MILAN ATION FOR CHRIST AMENT THE L PEATE VGAAVE ADORATION OF THE CHILD. LONDON, NATIONAL GALLERY. PLATE LXXVIT THE DIVINE PUNISHMENT OF FLORENCE. PRIVATE OWNERSHIP. PLATE LXXVIM FLORENCE UFFIZI. ENGRAVING OF THE ASSUMPTION. E COPPERPLAT BPLATE LAXIX PORTRAIT OF DANTEY LONDON; LANGTON DOUGLAS: PLATE ALXAA “LLANTAV “HOLLSURAd AM NITAAA CIXXX OLNVO ‘ONYAANI) SINVIO GHNALLAA AHL :VIGANWOD VNIAIC SGAINVd YOu ONIMVAG iS 4 ‘> <3" my Cy ‘ q . CAO OR Fer ine at Call LAMA L SERLIN, IN THE CIRCLE OF THE ENVIOUS (PURGATORIO,;, CANTO°X‘V.). KUPFERSTICH-KABINETT. 2 DIVINA COMMEDIA : FOR DANTE’S DRAWING Cs kl ON eC IY ETT Te ne i abl Sethi! Sct Sande a PLATE LXXXU PURGATORY KUPFERSTICH- BOUNDARY BETWEEN E CANTO XXIX NAE Otel EDIA DIVINA COMM S EARTHLY PARADISE (PURGATORIO DRAWING FOR DANTE AND THE BERLIN, Du KABINETT PLATE LXXXII11 sone, ae pe y Sage a ts ee te soi : ‘ ite ok o* " PEERS oe etd rt ms hes a i ay & me ie S. 4 + ¢ | eee “ : * i" + aad at a mane aemrwsinsiced DRAWING FOR DANTE’S DIVINA COMMEDIA: DANTE, GUIDED BY BEATRICE, FLOATS UP TO PARADISE. (PARADISO, CANTO I.) KUPFERSTICH-KABINETT BERLIN, PLATE LXXXIV DRAWING FOR DANTE’S DIVINA COMMEDIA: DAN BEATRICE IN THE FIFTH HEAVEN, THE SPHERE O PLATE EXAAVY PORTRAIT OF A (OU LHS PARTS aly OUR PLATE LXXXV1I SCENE FROM THE LIFE OF ST. MARY MAGDALENE. PHILADELPHIA, MUSEUM. PLATE LXXXVII -atagquonsiarnlll 4 i SCENE FROM THE LIFE OF ST. MARY MAGDALENE. PHILADELPHIA, MUSEUM. PLATE LXXXVIE SCENE FROM THE LIFE OF ST. MARY MAGDALENE. PHILADELPHIA, MUSEUM. ) DOU SS SE DED, OAS SCENES FROM THE LIFE OF ST. MARY MAGDALENE. PHILADELPHIA, MUSEUM. PLATE XC LEAD PLAQUE OF VENUS ON THE DOLPHIN, ARLE RS BOTTI CELLI. BERLIN, KAISER-FRIED- RICH MUSEUM. PALES CE PORTRAIT OF A YOUTH AGAINST A BLACK BACKGROUND. BERLIN, KAISER-FRIEDRICH MUSEUM. VRE AIOVE RET EG tintin nn etna mn onanism = ALLERY. y J LASGOW ( G SIATION. ANNUNC THE PLATE AACIIL DANCING ANGELS FROM THE CORONATION OF THE VIRGIN. FLORENCE, UFFIZI. PLATE XCIV DANCING ANGELS FROM THE CORONATION OF THE VIRGIN. FLORENCE, UFFIZI PLATE XCV oH EZ T. E ENC LOR 4 I b) . G ADTOR HUORA INS SPRIEN , 4, HI PLATE XCVI HEAD OF A GRACE IN “SPRING.” FLORENCE, UFFIZI.! PLATE XCVII - TT ELORENCE UPBIZI. HEAD OF A GRACE IN ‘“‘SPRINC PLATE XCVIUI UFFIZI FLORENCE, D 4 E CHII ATION OF TH DY FOR AN ADOR Se Bode, aia Tea, Ste