Sandro Botticelli by Émile Gebhart; Victoria Charles

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By Émile Gebhart; Victoria Charles

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Landscape with Two Stags (verso of Judith with the Head of Holofernes), c. 1469-1470. 6 cm. Cincinnati Art Museum, Cincinnati. 47. The Return of Judith to Bethulia, c. 1470. Tempera on wood, 31 x 24 cm. Galleria degli Uffizi, Florence. 48. The Discovery of the Murder of Holofernes, c. 1470. Tempera on wood, 31 x 24 cm. Galleria degli Uffizi, Florence.

Roses are flowering in the spot where the mother of Jesus, the Assunta, used to lie. At the top, in the golden glow of paradisiacal light, the kneeling Mary is welcomed by her Son. Below this stretches a rather confused half-circle of the Blessed. Finally, closest to the Earth, a long procession of souls is being pulled towards Beatitude by angels with spread wings. At the bottom, a dozen disciples admire the miracle of the flowered tomb. One of them, leaning over the Virgin’s deathbed, playing the role of the holy evangelist at the tomb of Christ, is Matteo Palmieri, his wife facing him.

The poetic seduction of the court and of that correlate to three very different emotional states: Medici society doubtlessly left its mark on the young painter’s the moderate serenity and originality of the first years imagination after his farewell from his master Filippo Lippi in during the Medici period; Botticelli’s Pagan crisis, a voluptuous 1469. It would continue until Lorenzo’s death in 1492. Botticelli’s vision that nonetheless did not affect the religious idealism in first stay in Rome took place sometime during this period pictures of sainthood that he painted during the same time; (approximately 1481-1482).

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