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diff --git a/39942.txt b/39942.txt new file mode 100644 index 0000000..6e2b148 --- /dev/null +++ b/39942.txt @@ -0,0 +1,1453 @@ +The Project Gutenberg EBook of Botticelli, by Henry Bryan Binns + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Botticelli + +Author: Henry Bryan Binns + +Release Date: June 7, 2012 [EBook #39942] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK BOTTICELLI *** + + + + +Produced by Al Haines + + + + + + + + + +[Illustration: Cover art] + + + + + +MASTERPIECES IN COLOUR + +EDITED BY T. LEMAN HARE + + + + + +BOTTICELLI + + + + +===================================================================== + +PLATE I.--THE BIRTH OF VENUS. From the tempera on canvas in the +Uffizi. (Frontispiece) + +This picture is generally regarded as the supreme achievement of +Botticelli's genius. It was probably painted about 1485, after his +return from Rome. The canvas measures 5 ft 8 in. by 9 ft 1 in., so +that the figures are nearly life size. No reproduction can do justice +to the exquisite delicacy of expression in the original. Something of +the same quality will be found in the "Mars and Venus" in the National +Gallery, which was probably painted about the same time. The two +figures on the left are usually described as Zephyrus and Zephyritis, +representing the south and south-west winds: that on the right may be +one of the Hours of Homer's Hymn, or possibly the Spring. + +[Illustration: PLATE I.--THE BIRTH OF VENUS.] + +===================================================================== + + + + +BOTTICELLI + + + +BY HENRY BRYAN BINNS + + + ILLUSTRATED WITH EIGHT + REPRODUCTIONS IN COLOUR + + + +[Illustration: title page logo] + + + +LONDON: T. C. & E. C. JACK + +NEW YORK: FREDERICK A. STOKES CO. + +1907 + + + + +The plates are printed by BEMROSE DALZIEL, LTD., Watford + +The text at the BALLANTYNE PRESS, Edinburgh + + + + +LIST OF ILLUSTRATIONS + + +Plate + + I. The Birth of Venus . . . . . . . . . . . . _Frontispiece_ + From the tempera on canvas in the Uffizi + + + II. Spring + From the tempera on wood in the Florence Academy + + + III. Portrait of a Man + From the panel in the Florence Academy + + + IV. The Madonna of the Magnificat, known also as the Coronation + of the Virgin + From the tondo in the Uffizi + + + V. The Madonna of the Pomegranate + From the tondo in the Uffizi + + + VI. The Annunciation + From the panel in the Uffizi + + + VII. The Virgin and Child with St. John and an Angel + From the panel in the National Gallery + + + VIII. The Virgin and Child by an Open Window + From the panel in the National Gallery + + + + + + + + + +[Illustration: Botticelli] + + +From Florence, in the second half of the fifteenth century, men looked +into a new dawn. When the Turk took Constantinople in 1443, the "glory +that was Greece" was carried to her by fleeing scholars, and she became +for one brilliant generation the home of that Platonic worship of +beauty and philosophy which had been so long an exile from the hearts +of men. I say Platonic, because it was especially to Plato, the +mystic, that she turned, possessed still by something of the mystical +intensity of her own great poet, himself an exile. When, in 1444, Pope +Eugenius left her to return to Rome, Florence was ready to welcome this +new wanderer, the spirit of the ancient world. And the almost childish +wonder with which she received that august guest is evident in all the +marvellous work of the years that followed, in none more than in that +of Sandro Botticelli. + +===================================================================== + +PLATE II.--SPRING. (From the tempera on wood in the Florence Academy) + +The date of this painting is much debated. It may probably be about +1478, before the Roman visit. It is somewhat larger than the "Venus," +but the figures are of similar size. Reading from the left they are +usually described as Mercury, the Three Graces, Venus, Primavera the +Spring-maiden, Flora, and Zephyrus. The robed Venus is in striking +contrast with that of the later picture. + +[Illustration: PLATE II.--SPRING.] + +===================================================================== + +He indeed was born in the very year of that new advent, lived through +the period of its sunshine into one of storms--Stygian darkness and +frightful flashes of light--and went down at last, an old broken man, +staggering between two crutches, to his grave. His times were those of +Lorenzo the Magnificent, who was a few years his junior, the +unacknowledged despot of the Tuscan Republic, a prince, cold and hard +as steel, worthy to be an example for young Macchiavelli, yet none the +less a poet, and a devoted lover both of philosophy and of all +beautiful things. + +It was an age when a new synthesis was being made, and old enemies +reconciled, so that men were less ready then to blame than to admire, +and the best feeling of the time was that of reverent wonder. It is +this which, more than any other painter, Botticelli has expressed for +us. His pictures are living witnesses to the reverence which, in his +day, the mystery of human life evoked in spirits such as his. + +But while this is true, and true in the first degree of Sandro and his +work, they express besides other moods, and betray other influences. +The later quatrocento was the time not only of Lorenzo and the +Platonists, but of Savonarola also, the last great figure of the Middle +Ages, strangely proclaiming the new days; and with him, of foreign +incursions into Italy and Florence, of violence and all the black-brood +of religious and civil strife. And at the end of those days came +Michael Angelo, whose sombre masculine genius stands in such striking +contrast to all the subtle grace and wistful gladness of Botticelli. + +But Botticelli, who was of the circle of the neo-Platonists, was also +among those who loved the friar of Ferrara; if he was the friend of +Leonardo da Vinci he was associated also with Michael Angelo. In his +life, and in the work which is the expression of that life, we can read +plainly the perplexity and the discords, as well as the new and +arresting harmonies of that time. His wonder is not all a glad +reverence; it is sometimes, and increasingly, a poignant questioning of +the sibyls. + + + + +I + +The life of the painter appears to have been uneventful, and all that +is known of him can be told in little space. His father was a +Florentine tanner, and his elder brother followed the same trade, and +was nicknamed Botticello, "little barrel." The family patronymic was +dei Filipepi, but the painter signed himself "Sandro di Mariano," the +latter being his father's name. Sandro (Alexander) was, perhaps, the +son of a second marriage, for he was young enough to have been the +child of his brother Giovanni, the tanner, whose nickname became +affixed to him. He was probably born in 1444, in a house close to All +Saints (Ognissanti) Cemetery in the present Via della Porcellana. His +father was now in middle life, and a prosperous man. The lad was +delicate, quick and wilful, perhaps a spoilt child. He was older than +usual when he went at about fifteen into a goldsmith's shop, doubtless +that of Antonio his second brother. But he was not long contented +there. A year or two later he was studying painting under that famous +friar, Fra Lippo Lippi. Unless Browning has misunderstood the +Carmelite brother, the worship of beauty was his real religion; and, +mere child of nature as he was, he sought to tell the significance +which he found in her face--not indeed by the mere illustration of +theological doctrine and pietistic conception, but by the transcription +in pure line and perfect colour of a language that had for him no other +words. + +The friar was living in the neighbouring city of Prato, painting +frescoes in the Cathedral, when Sandro joined him and became his +favourite pupil. How long he remained with his master is uncertain, +but it is probable that the fruitful relationship continued until after +he came of age. Perhaps he was twenty-four when he returned to +Florence, and became associated with the brothers Pollajuolo, for whom, +in 1470, he executed the first commission of which we have record. But +as he was now twenty-six, this cannot be his earliest work. There is a +hillside shrine near Settignano, which contains a Madonna--Madonna +della Vannella--formerly ascribed to the friar, but which is now +believed to be one of the earliest efforts of his pupil. And in the +National Gallery the long panel of the "Adoration" officially ascribed +to "Filippino Lippi" has by general consent been transferred to Sandro, +and assigned to the period before his association with the Pollajuoli. + +Here it should be said that none of Botticelli's paintings is clearly +signed and dated; and even indirect documentary proofs are wanting in +the case of the majority of his works. Much has therefore to be +decided by the doubtful and highly technical tests of internal +evidence. These are rendered more difficult by the receptivity of this +artist, who came late to maturity and was throughout his life +profoundly affected by external influence; but on the other hand, his +work has certain mannerisms as well as excellences special to it, which +even his imitators and students failed to reproduce. + +The brothers Piero and Antonio Pollajuolo exercised a profound +influence over the young artist. Filippo had taught him to paint +emotion--the Pollajuoli were masters in another school, and sought to +delineate physical force. There is a little panel by Antonio in the +Uffizi, of Hercules and the Hydra, in which every line is almost +incredibly tense with the expression of energy--the fierce muscular +swing and clutch of struggle. To some extent Sandro was already a man +standing upon his own feet; and the scientific studies of anatomy and +perspective in which he was now encouraged, increased his power of +expression without distracting it from its proper purpose. + +In 1469 Fra Filippo died, and three years later his son Filippino, then +fourteen years old, became Sandro's pupil. From this it would appear +that by 1472, when he was twenty-eight years of age, Botticelli had +left the Pollajuoli, and had a workshop, or bottega, of his own, in the +family house where the income-tax returns of 1480 describe him as still +working. Here in 1473 Lorenzo the Magnificent, who four years earlier +had become master of Florence, commissioned him to paint a St. +Sebastian; and from this time forward the Medici gave him frequent +proofs of their appreciation. In the following year he went to Pisa, +where he had some prospect of a large commission. This, however, fell +through; he failed, Vasari tells us, to satisfy himself in his trial +picture of the Assumption of the Virgin, a subject not well suited to +his mind. Instead he returned home and painted a banner of Pallas, for +Lorenzo's younger brother Giuliano, the idol of Florence, to carry in +the magnificent tournament of January 1475. The banner has been lost, +but it marks a point of departure in Sandro's art; as a banner, it +recalls the fact that the artist was also a craftsman, and introduced a +new method of making such things; the new patron, too, whose life and +love were alike destined to so brief a course, whose personality was so +vivid and so knightly, exercised no little influence on the painter; +but most of all we note the changed theme, first among those classical +subjects which the artist was in a special sense to make his own. +Botticelli painted portraits both of Giuliano dei Medici and his adored +lady, Simonetta, the beautiful young wife of Marco Vespucci; and, +though these are lost, it is generally believed that Simonetta's lovely +and innocent charm of face and character inspired many of his happiest +fancies. She died in 1476, and two years later, Giuliano was +assassinated during Mass in the Duomo. Sandro was employed by his +brother--who himself had narrowly escaped death on the same +occasion--to commemorate the assassins' shame by painting their +portraits on the face of the Palazzo Publico. A task more suited to +his temper was the celebration of Lorenzo's diplomatic success, when in +1479 he succeeded in detaching the King of Naples from a hostile +alliance against Florence. This occasioned the painting of "Pallas and +the Centaur," now on the walls of the Pitti, one of Sandro's most +consummate pieces of decorative work. + +===================================================================== + +PLATE III.--PORTRAIT OF A MAN. (From the panel in the Florence Academy) + +This portrait of a young man holding a medal of Cosimo dei Medici is +interestingly related to the only other undisputed separate portrait of +Sandro's, that in the National Gallery. It is supposed to represent +Giovanni, younger son of Cosimo, who died in 1461: if this be correct +the portrait cannot have been painted by Botticelli for several years +after its subject's death. There is little convincing evidence on the +matter. The panel measures 21 by 14 inches. + +[Illustration: PLATE III.--PORTRAIT OF A MAN.] + +===================================================================== + +The enumeration of these commissions shows that the artist had become +closely associated with the Medici. Lorenzo's palace and country +villas were at this time the centre of the most brilliant group of +scholars, philosophers, poets, and artists in the world. In this +atmosphere Botticelli's genius came to flower. He appears, moreover, +to have enjoyed the friendship of Leonardo da Vinci, a man eight years +his junior, who had been studying in Verocchio's workshop, hard by that +of the Pollajuoli. His was a spirit yet more subtle than Sandro's +own--subtle even with the subtlety of the serpent--and the two men must +have understood one another intimately. Botticelli himself was a +pleasant, even a jovial man, but a man of moods. Like Leonardo he +never married. + +Another contemporary, very different from Leonardo, with whom Sandro +was brought into frequent contact, was Ghirlandajo, the dexterous genre +illustrator, decorator, and popular realist. Ghirlandajo's work is, in +its essentials, the antithesis of Sandro's, but it is marked by great +journalistic talent. Crowded with interest for the Florentines, it +brought its author an immense success. In 1480 both he and Botticelli +were painting together in the Church of All Saints, and at the close of +the year they were both invited to Rome by Pope Sixtus IV. to decorate +his new (Sixtine) Chapel. Thither they repaired with their assistants +and other artists, probably remaining there during the greater part of +the next three years. Sandro is believed to have had some general +oversight or arrangement of the whole work, while he himself +contributed certain portraits of Popes, and three great frescoes +occupying nearly a thousand square feet of the chapel walls. During +his prolonged stay in Rome he must also have painted some easel +pictures; one, an "Adoration of the Magi," is now in St Petersburg. +This Roman interlude in his Florentine life, marked by direct rivalry +and daily contact with artists of genius different from his own, is in +every respect central in his story. He was now in his maturity, a man +approaching forty years of age, working on a conspicuous task, in that +Eternal City to which the greatest sons of Florence were ever the +foremost to offer spiritual homage. + +But it may be doubted whether the task itself was calculated to evoke +his highest powers and most characteristic qualities. Neither in its +subjects, its scale, nor the conditions under which it was +accomplished, was it well suited to Sandro's genius, and while the +frescoes contain noble passages and inimitable illustrations of his +art, they cannot be regarded as among his masterpieces. + +The frescoes were completed and the chapel opened in August 1483. +Vasari tells how great renown, above that of all his fellows, in the +work, Sandro gained in Rome, and what large sums he received and +squandered there. Before settling again in his own city, he worked +with Ghirlandajo upon the decorations of the Medici Villa at Volterra. + +From 1480 to 1490 he was probably regarded as the greatest of living +masters in Florence, and was busy with many commissions. To this +period belong several of his greatest works, probably the "Birth of +Venus," greatest of them all, with the Madonnas of the Pomegranate and +of St. Barnabas, certainly the Lemmi frescoes and the Bardi Madonna. +Venus and the frescoes are in the perfect manner which characterises +his classical subjects. The others are marked by some decline in +technical handling. But in saying this, one must add that Sandro's +work is, in all periods, amazingly unequal, alike in execution and +conception. One almost wishes indeed that Vasari's dictum, that he +worked "when he was minded," was even more true than it appears to be. +For Sandro's subtle, wilful, whimsical genius hardly ever expressed its +true nature in mere rivalry with other artists, or in the service of +ecclesiastical patrons. Yet his undisputed works are too few, hardly +fifty in all, for us really to wish any away. Even the panels of the +St. Barnabas predella, and the tondo of the Ambrosiana Madonna can +hardly be spared. + +We come now to the later and stormier years of his life and work--years +dominated for him and for Florence by the figure of the Dominican Prior +of San Marco. Savonarola had already been for a time in the city, but +it was not till 1490 that he made it his home, and began to fill it, as +he was soon to fill the whole world, with his prophetic denunciations +of corruption both in the Republic and in the Church. 1492 saw not +only the death of Lorenzo, and with him of the golden age in Florence, +but the enthronement of a Borgia as Father of the Church. It was the +end of an epoch. For a few years the prior held the city by the power +and fascination of his inspired personality. He welcomed Charles VIII. +of France as a new Cyrus, the sword of the Lord, restorer and protector +of the liberties of the Republic; and when the king and his army became +a public menace, it was he who bade them on their way. In 1496 he was +at grips with the Pope. But two years later he had lost his hold upon +Florence, and died upon the gallows amid the ferocious yells of the +populace. + +Sandro, the poet-painter, was less happy than Pico della Mirandola, the +beautiful marvellous youth, who had died at the beginning of these +troubles wrapped in a friar's cloak, the beloved follower of the +lion-hearted preacher. His own brother Simone, with whom he lived, was +one of the Prate's followers, and suffered exile for his cause. There +can be no doubt that he himself was profoundly influenced by +Savonarola. After the tragedy of May 23, 1498, his workshop became a +rendezvous for the many unemployed artists who had sympathised with the +lost cause; and during the long evenings, those men would talk together +of the dead days when "Christ was King of Florence." Sandro lived on +for more than a decade, through evil days. Ghirlandajo had died in the +same year as Pico, when Charles had entered the city: in 1504 his own +pupil Filippino preceded him to the grave. The Pollajuoli were dead; +Leonardo was but an occasional visitor, while Michael Angelo was +dividing his time between Florence and Rome. In 1503 Botticelli was +one of the artists consulted as to the position which should be +allotted to the great sculptor's "David." He still shared some small +property with his brother, but his principal patrons were dead, the +times were out of joint, and he was seeking consolation in the study of +Dante. A folio volume of drawings by his hand, illustrating the Divine +Comedy, remains uncompleted; whether owing to the death of him for whom +it was intended, or of the artist himself, we cannot tell. Sandro died +on May 17, 1510, and was buried in All Saints. + +===================================================================== + +PLATE IV.--THE MADONNA OF THE MAGNIFICAT, KNOWN ALSO AS THE CORONATION +OF THE VIRGIN. (From the tondo in the Uffizi) + +Probably painted about 1479, this is the most perfect example of +Botticelli's circular pictures. The lines of the composition have been +compared with those of the corolla of an open rose. The colour is rich +and harmonious, and every detail exquisitely finished. The Virgin is +still writing her song of the Magnificat, while the Child handles a +symbolic pomegranate. The tondo is 44 inches in diameter. + +[Illustration: PLATE IV.--THE MADONNA OF THE MAGNIFICAT, KNOWN ALSO AS +THE CORONATION OF THE VIRGIN.] + +===================================================================== + + + + +II + +Botticelli was a Florentine in as intimate a sense as was Dante +himself, and nowhere but in his native city can his work be fully +appreciated. It is true that notable examples of his art have been +carried away from time to time to other places, and that pictures +attributed to him are still more widely scattered. New York has one of +his most beautiful early works, the Madonna formerly belonging to +Prince Chigi, for whose sale to America the unpatriotic Prince was +heavily fined; St. Petersburg has an "Adoration of the Magi" belonging +to Sandro's years in Rome. The "St. Sebastian" painted for Lorenzo has +found its way to Berlin, where there is besides the Bardi Madonna; the +badly damaged frescoes celebrating the wedding of Lorenzo Tornabuoni +are at the head of a staircase in the Louvre; Rome has the Sixtine +frescoes; Milan has two Madonnas; Bergamo has a panel; while our own +National Gallery has five works, ranging from the earliest to the +latest period. + +But it is in Florence that all but a small minority of Sandro's +masterpieces are to be found, and it is in Florence that one first +really comes under the spell of the magician. There, in the Uffizi, in +the Sala de Lorenzo Monaco, in the holy company of Fra Angelico's +saints and angels, is Sandro's masterpiece, "The Birth of Venus." It +is a large canvas painted in tempera:[1] but a horizontal join just +apparent and running right across the picture, together with the medium +used, gives it at first sight the appearance of being executed upon +wood. It is in the pale cool colours of early morning, enriched by the +heavy red of the robe which is about to embrace the wanderer's lovely +form. There is a great sense of space behind her, over the grey sea. +All about her the wind blows, making the light very clean and clear. +She stands upon the edge of the great gleaming shell which has carried +her, tilting it down with her weight as she leans forward to step +ashore. Her figure, tall, slender, and quite central in the picture, +feels the wind and light about it, but not shrinkingly. It floats and +moves, yet without consciousness of movement, as it were a somnambulist +moving across the sea. The pearly luminous quality of this living +ethereal body, the heavy golden tresses of the long hair that hangs +heavily against the wind, which with one hand she holds, while she lays +the other dreamily on her breast, these are in the most perfect harmony +with that flower-like immortal wistfulness which Sandro has put into +her face. In striking contrast with this sea-born vision of Love, this +strange visitant from an unknown world, stands the comparatively +prosaic maiden who welcomes her and is about to wrap her in a rich +mantle. This earth maiden, the representative of the Spring, in her +pale gown sprigged with cornflowers, and her long plaits of dark hair, +is garlanded, like the goddess in "Pallas and the Centaur," with olive +branches. The curves of the mantle, which she holds out against the +boisterous wind, make a delicious line that balances that of the +"Venus." After the figure of the goddess, however, who really is no +Venus, but rather the Muse of Sandro's art, the ideal of his +aspirations--after her figure, the interest of the picture lies in the +intricate whirl of living lines, of dark wings, pale limbs, and +delicately coloured scarfs, with which Botticelli has symbolised the +winds of Spring, stirring up the water with their feet and blowing the +voyager on her way. + +===================================================================== + +PLATE V.--THE MADONNA OF THE POMEGRANATE. (From the tondo in the +Uffizi) + +A companion to the earlier tondo, this was probably not painted before +Sandro's return from Rome, about the same time as the "Venus." It is +broader in treatment and of more sombre colour than the "Magnificat." +The eyes of the Child, who raises his hand in blessing, look straight +out of the picture, in marked contrast to the attitude of the earlier +work. There is a striking resemblance in many details, but the two +pictures are quite distinct in character and feeling. This tondo +measures 56 inches. + +[Illustration: PLATE V.--THE MADONNA OF THE POMEGRANATE.] + +===================================================================== + +Any attempt to convey by description the mystical significance of this +decorative design would obviously be idle. Yet to miss that +significance is to miss all. Regarded as the mere illustration of some +verse of Politian's, or of Homer's hymn, the picture is open to endless +criticism--the figure of Venus is out of drawing; the promontories, +waves, and laurel trees are bare shorthand notes. It is when the +spirit in the onlooker responds to the spirit entangled in the magical +lines and tones and colours of the painting, that its indefinable +beauty dawns upon him. You must love Botticelli's drawing if you are +to understand it. + +In the same room hangs a smaller picture, very different in style, an +"Adoration of the Kings"--a masterpiece too, and worthy of the closest +study, but worlds removed from the "Venus." It is very highly and +deliberately finished, and unlike its companion, belongs to the years +before Sandro worked in Rome. It contains portraits of the Medicis +and, more important to us, of the painter himself.[2] Detached from +the others he stands in the right-hand corner, under the peacock, +wrapped in an orange mantle, gazing at us over his shoulder--a tall +figure of a man with powerful enigmatic face. The composition of this +picture, with its thirty figures and varied colouring, has been often +and rightly praised. In spite of the clear individualisation of +personalities and the elaboration of magnificent accessories, the unity +and balance of design with its semi-circular grouping and the nobility +and distinction of its lines, are well kept. If it was painted in +rivalry with Ghirlandajo, for whose work it was at one time mistaken, +it is marked by an intensity of realisation foreign to that worthy +painter. + +These two pictures of the Sala di Lorenzo Monaco, the "Venus" and the +"Adoration," are representative of the two realms in which Sandro +worked; the one, of pure imagination, wedding Platonic ideas with a new +conception of the possibilities of decorative art; the other, of the +patrons and atmosphere of fifteenth-century Florence. Very few of his +pictures belong exclusively to the one realm or the other, but to one +or other belongs the influence which predominates in any one. Of the +first class are notably the remaining works painted with classical +motives. Foremost among these is the "Spring" of the Florence Academy, +with its inimitable group of the Graces dancing in a marvellous rhythm +of flowing intertwining lines, somewhat over-mannered, it is true, and +with feeling a little forced, but yet of quite unique grace and +intensity of conception. Much wordy debate over the literary +signification of this painting has come between the vital meaning of +the design and those who behold it. We may find suggestions in Lucian +or Alberti, in Politian's or Lorenzo's verses, but as a work of art it +derives only secondarily from any of these. It is a representation of +beauty in a whimsical and even bizarre group of figures gleaming +whitely under the dark trees between whose trunks shines the pale +serene sky, while the grass through which their delicately modelled +feet are moving is rich and full of flowers. This picture, in which +the figures are nearly life size, while it has much in common with the +"Venus," belongs to an earlier period, and is probably nearer in date +to the "Adoration" already described, painted when the artist was about +thirty-four years old. + +Some two years later he painted his "Pallas and the Centaur." The +figure of the goddess, beautiful as it is, lacks something of the +vitality and motion of the "Spring" and the "Venus"; perhaps the artist +has given too much thought to the lovely wreathing of the symbolic +olive boughs about her breast and arms and head; but on the other hand, +the melancholy Centaur whom she leads by his heavy forelock is one of +the most perfect expressions of his art. It is among the peculiar +qualities of Sandro that he makes one feel, in looking at this picture, +that it is one's own hand which grasps those dark curling locks; just +as in the "Venus" one is conscious of the light and the wind falling +upon one's own body. Behind the Centaur rises a mass of sculptured +overhanging rocks, beyond lies a boat in the bay. Almost always there +is some note of vista and distance in Botticelli's pictures. The +colour of this large canvas is very pleasing. Pallas is clad in a +loose green mantle and an under-robe of white adorned with the triple +rings of the Medici; she is wreathed with olive, her auburn hair blows +out behind her, and her feet are covered with a sort of orange buskin. +Nothing could be finer than the contrast she presents with the dark, +wild, pathetic figure of "Chaos and Old Night" whom she is leading +captive. + +The most beautiful of Sandro's earlier works, a little panel only 10 +inches by 8, representing the return of Judith to Bethulia after the +slaying of Holofernes, is in the Uffizi. It has suffered from +repainting, the figure of Judith having been shortened and its movement +limited by the drawing back of the right foot at least half an inch, so +that it does not now correspond with that of Abra following so close +behind with her horrid burden; but in spite of this, it retains a +wonderful joyous serenity of light, line, and colour, and the same +windy clearness of air and buoyant rhythmical movement as distinguishes +the "Venus." The figure of Judith is so closely related to that of the +Fortezza, painted for the Pollajuoli in 1470, and exhibited in the same +gallery, that it may well belong to the years immediately succeeding +it, when Sandro was between twenty-six and thirty years of age. The +companion panel of Holofernes, though interesting, is much inferior as +a design and is somewhat comic in its frank and ghastly violence; it +was evidently painted while the artist was under the influence of the +Pollajuoli. + +===================================================================== + +PLATE VI.--THE ANNUNCIATION. (From the panel in the Uffizi) + +This interesting picture is probably only in part the work of +Botticelli. It seems to have been produced in his workshop about 1490 +for the monks of Cestello. It is less harmonious and convincing in +colour than Sandro's masterpieces, but is redeemed by the living +movement expressed in the figure of Gabriel, which is usually regarded +as his work. This figure is related to two others of his angels, one +in the Ambrosiana tondo, the other in the predella of the "Coronation." + +[Illustration: PLATE VI.--THE ANNUNCIATION.] + +===================================================================== + +There are two other masterpieces which belong to this division of +Sandro's work, but they are neither of them in Florence. The +beautiful, but sadly mutilated fresco of Giovanna (Albizzi) Tornabuoni, +with Venus and the Graces, long hidden under coats of whitewash in a +villa near Fiesole, was discovered in 1873 by Dr. Lemmi, then its +owner, and carefully cleaned and removed. In 1882 it was acquired by +the French government. In spite of the blank patches, and the great +cracks which break its surface, this remains one of the most gracious +and captivating of Sandro's works. It has the joyousness of +flower-like colour, the breadth and simplicity of treatment, and withal +the virginal quality which, in his best moments, were characteristic of +the artist. The masterly contrast between the flowing moving lines and +strange symbolic faces of the four visitors, and the upright demure +girl with the kerchief on her head who receives them is very striking. +The second fresco, of Giovanna's husband, Lorenzo, introduced into the +company of the Liberal Arts and Philosophy, is less interesting. A +third fell to pieces immediately after discovery. All were painted +about the year 1486, probably a little later than the "Venus." + +The remaining picture of this group is the so-called "Mars and Venus" +in our own National Gallery, a long panel designed to stand above a +doorway, and probably painted about the same time as the more famous +"Spring." As in the case of that picture, its subject has been a +matter of much ingenious conjecture. Some commentators see in the two +figures portrait studies of Giuliano dei Medici, and of Simonetta +Vespucci, and conceive that the sleeping Giuliano is dreaming of his +lady, formerly clad in all the panoply of Pallas, but now disarmed by +laughing loves. It is obvious, however, that the armour belongs to the +man who lies asleep leaning upon some of it. The little satyrs with +their roguish baby faces, curly goats' flanks, and budding horns, who +play with the warrior's lance and helm, blow the conch in his ear, and +wriggle through his breastplate, seem to have been suggested by a +passage in Lucian describing the marriage of Alexander. But the +subject of the picture need not now detain us, nor need the long +outstretched figure of the dreaming warrior; its charm is in the +exquisitely realised youthful grace of the lady in her long white robe, +leaning upon a crimson cushion with the dark grove of laurels behind +her. She is of the same spiritual family as the Graces, and the +central figure of Venus in the "Spring." She may indeed be Simonetta, +perhaps Simonetta already deceased, of whom her lover dreams; but, +whatever her name, her face and figure, and from her the whole picture, +is radiant with that singleness and intensity of artistic conception, +which gives to some of Sandro's pictures the power of suggesting a sort +of immortality of life. And they have a surcharge of meaning, an +enigmatic quality like that of life itself, which is seen in no other +pictures of the time with the exception of Leonardo's--and in Sandro's +the enigma suggests no sinister solution. His women are creations of +passionate love and human intimacy, but withal they have an abiding +quality which only a very reverent and chaste lover, a lover not unlike +Pico della Mirandola, could have adored and chosen. The date of this +picture is quite uncertain. The lady's face is curiously related to +the faces in the Lemmi fresco described above. + + +[1] Though his contemporaries were beginning to use the new medium of +oil for their easel paintings, Botticelli adhered to _tempera_, or +distemper, in which yolk of egg was generally the vehicle employed. +Nearly all his pictures, except, of course, his frescoes, are upon +wood. The "Pallas and the Centaur," "Venus," and "Nativity" of 1500, +are however on prepared canvas. + +[2] There are two separate portraits by Sandro which are full of +character and interest: the portrait of a youth in our National +Gallery, and of a man holding a medal in the Florence Academy. Other +portraits, such as those of Giuliano dei Medici at Berlin and Bergamo, +and of Simonetta, may have come from his workshop, but are not now +numbered among the master's own works. + + + + +III + +We must turn to the principal pictures in Botticelli's other, and as I +think, inferior manner, indicating first, however, the links which +exist between the two groups. + +The first of these is the "Calumny," painted to the description given +in Alberti's Treatise on Painting of a picture by Apelles. It is a +comparatively small panel, 2 feet by 3, containing ten figures, and an +elaborate background of sculptured marble arches, literally covered +with friezes and bas-reliefs. It belongs to Sandro's later years, and +is marred by a busy and somewhat theatrical violence. One can hardly +look without laughing at the helpless boyish figure of Innocence, with +crossed ankles and folded hands, dragged along dancingly by the +ladylike Calumny; and unfortunately, these form the central motive. +Their poses mar a little the detached nude figure of Truth, standing on +the extreme left with arm upraised and noble face lifted to heaven. +She is intimately related to the figure of Venus Anadyomene--but here +she seems tragically out of place. The fancy lavished upon the +bas-reliefs bears witness to Sandro's whimsical imagination even in the +midst, as we may suppose, of the dark days when Florence was full of +the false spirit suggested in this panel. + +With the "Calumny" I must mention, though only in passing, the several +panels of the life of Saint Zenobius, two of which are in the +collection of Mrs. Ludwig Mond. Less theatrical, but often more +violent in manner than the "Calumny," and not less definitely of the +genre character of illustration, they contain some pleasing colour, +geranium reds, soft greys, and mauves, blues, and much white. These, +with the illustrative panels from the stories of Virginia and Lucretia, +were probably painted after 1490, for wedding chests. + +A more important group of pictures comprises the six--including the +"Adoration" already described--which centre in the three figures of the +Holy Family, whether they be called Adorations or Nativities; and the +Sixtine frescoes. All these pictures are full of figures, most of them +are set in large, carefully studied landscapes, which seem to challenge +Leonardo's assertion that Botticelli was indifferent to this part of +his art. The two most pleasing compositions, after the aforesaid +"Adoration"--the "Adoration" now in St. Petersburg, and the "Scenes +from the Life of Moses" in the Sixtine Chapel, were painted about the +same time in Rome. In the former, the Holy Family is housed, as in the +tondo in the National Gallery, under a wooden shed erected between the +ruined pillars of an older order, a temple or perhaps a palace of +kings. It contains some forty figures, besides horses, which Sandro +loved to introduce, not always very successfully, into his pictures. +Too often, like the charger of Holofernes, they are studied not from +life, but from some other model: occasionally, as for example in the +Medicean "Adoration," one recognises the real creature. This St. +Petersburg "Adoration" is broadly conceived, and full of interest, but +it suffers from that conscious and obvious emotion which belongs to +Sandro's inferior work. In his best, his figures are pure creations, +certain of their purpose, confident of conveying a sense of beauty +transcending mere subject-interest; they are not "lifelike," they are +ideas and symbols of life, and therefore able to convey the spiritual +contact of living forms. This is not the case in any of the Adorations +I am describing, nor is it in any of the Sixtine frescoes if we except +that of "Moses at the Well." + +===================================================================== + +PLATE VII.--THE VIRGIN AND CHILD WITH ST. JOHN AND AN ANGEL. (From the +panel in the National Gallery) + +This beautiful painting is no longer ascribed to Botticelli; but it is +obviously an indirect, if not a direct, product of his genius. The +Virgin is distinct in type from those of the master, and the painting +of the Child is dissimilar. The name of Giuliano da San Gallo, one of +Sandro's friends, and a famous Florentine architect, is written across +the back of the picture. + +[Illustration: PLATE VII.--THE VIRGIN AND CHILD WITH ST. JOHN AND AN +ANGEL.] + +===================================================================== + +But in this marvellous central scene of a large fresco, the very sheep +are so intensely realised as to have an individuality over and above +their mere sheepiness. By the well, under the great oak tree of the +Papal (Rovere) family, Moses is pouring water into the troughs for +Zipporah and her sister. His long luxuriant hair falls about a +sensitive face. Behind and below him are the sheep, so woolly that you +can in fancy pass your hand over their fleeces. On the opposite side +of the well are the two Midianitish maidens, standing out, the bright +central motive of the whole design; one with her back turned and hands +extended, the other walking in a sort of dream, her head drooping +forward under the long thick locks of its heavy hair. A skin full of +fruit is slung round her waist, and a distaff is in her hand. About +this group, whose lines follow those of the well-mouth, the painter has +contrived to introduce half-a-dozen other incidents from Moses' life. +It was of the little terrier in this picture that Ruskin wrote: +"Without any doubt I can assert to you that there is not any other such +piece of animal painting in the world--so brief, intense, vivid, and +absolutely balanced in truth: as tenderly drawn as if it had been a +saint, yet as humorously as Landseer's Lord Chancellor Poodle." He is +sure that the dog has been barking all the morning at Moses. + +I quote this because it is almost the only passage of Ruskin's which is +true to Botticelli's work. Sandro's "Venus" is a creative spirit, she +is not a mere individual, but a living Platonic Idea; and through his +power of realisation, this little terrier, a mere accessory in the +foreground of a great fresco filled with details, has a life of its +own. Thus, at its best, his work is not representation at all, nor +mere illustration; it is the re-creation in a new medium of the +creatures and ideas he has conceived, even to their least +characteristics. + +The two other Sixtine frescoes represent the "Punishment of Korah," +painted in celebration of the revolt and suicide of the Archbishop of +Krain; and that known either as the "Leper's Offering," or the +"Temptation of Christ," which was also intended to flatter the +sensibilities of the Pope. + + + + +IV + +We now come to the second great division of Sandro's pictures, his +Madonnas and Saints, tondos, panels, and altar-pieces, painted for +different patrons at intervals during his lifetime. The most +celebrated of these are the two tondos, or round panels, of Mary with +the Child and several young angels, hanging opposite to one another in +the Uffizi. Somewhat similar in design, they are yet essentially +different. From its style, the first was probably painted about 1479, +and the second in the same period as the "Venus," and the "Bardi +Madonna" (1484-1485); the two pictures being thus separated by Sandro's +sojourn in Rome. The earlier, that of the "Magnificat," is more +brilliant and varied in colour, and of consummate finish: Mary's face +is related to that of the "Pallas "; between her and the group of +angels on the left is a distant landscape with curving river; behind +her shoulder, supporting on one side the celestial crown, which is so +much too large to rest upon her head, is a beautiful young angel of a +distinctive type which hardly recurs in Sandro's work. This +composition, with its intricately curved, and unobtrusively harmonious +lines, so perfectly adapted to the circular form, has often been +praised. In the later tondo, the Madonna with the Pomegranate, there +is no distant scene, but the sense of infinite vista is conveyed by the +far-away, pensive expression, not only of the central figure with her +slender drooping shoulders, but, as I think, of the Child himself. The +grouping is simple, but less perfect than in the earlier work; and +there is a lack of harmony between the secular little beings with their +wings, flowers, and singing books, and the rapt Mother and Child, which +we did not feel in the other, where Madonna herself, guided by the +Babe, is writing her song of praise. But here Botticelli has +concentrated the religious feeling of the picture in Mary's face, and +in it he has struck again the mystical note which vibrates through the +whole of his "Venus." Much has been said of the misery of this +Madonna; for myself, I see in her face far more of the rapt vision of +one who sees immortal things in a mystery. She is not glad because of +them, but her whole thought and being is separated by them from the +things that change, being set upon the things that endure. + +With these two tondos, I must mention for beauty and unity of +conception the "Chigi" Madonna and that in the Poldo-Pezzoli Gallery at +Milan. The former is generally regarded as among his earlier works. +An open casement shows a river winding among wooded hills, a church +steeple having been painted in as an afterthought. Mary's attitude, as +she fingers the ears of corn thrust among the grapes in the bowl +presented by a mysterious garlanded angel, is not unlike that of the +"Magnificat," to which the whole composition is related. But Mary +herself is of a very different type, more nearly related to the Madonna +at Milan of which I shall now speak. She, also, is seated by a window, +and like her sister of the "Magnificat" she is reading in a missal with +decipherable words. As in that picture too, the Child looks up at her +with his hand on hers, a crown of thorns circling his chubby wrist. +The colour is rich and harmonious; Mary being magnificently coiffed and +clad. Another Madonna in Milan, that in the Ambrosiana Gallery, bears +some resemblance both to the Virgin just described, and to her of the +"Magnificat." As in the Poldo-Pezzoli Madonna, the glories are either +repainted or unusually elaborate, and Mary has a star embroidered on +her left shoulder. Here again is the open missal, but now quite +undecipherable, resting upon a cushion. It is possible to conceive of +the Babe being another version of that in the Poldo-Pezzoli picture. +But this Ambrosiana Madonna with her unimaginative face and +uncompromising attitude, this grotesquely sentimental Child, these +three spiritless attitudinising angels prancing about on their errands, +is perhaps the least pleasing or characteristic of all the works now +attributed to the master. The picture is conventional to a degree; a +great canopy hangs in space over the Virgin, between its curtains are +seen the hills, towers, and river of a distant scene.[1] + +A somewhat similar canopy overhangs the Virgin in the Madonna of St. +Barnabas in the Florentine Academy. Here, too, angels are holding back +the curtains, while others display the crown of thorns and the nails. +Mary sits on a raised throne worked with elaborate bas-reliefs. Before +her, with their backs to her and the Child, are six saints, among them, +with beautiful face, but rather bunchy figure, St. Catherine. +Similarly elaborate and enthroned, though this time under a canopy of +palm, is the Bardi "Madonna with the two Saints John" at Berlin. This, +perhaps the most elaborately detailed of all Sandro's pictures, +measures 6 feet by 6. Like Augustine in the St. Barnabas picture, the +Evangelist is occupied with his book and pen, while an eagle stands +behind him; the Baptist, carrying his tall staff and banderole, "Behold +the Lamb of God," is very nobly drawn, recalling in handling the figure +of the "Centaur." But the picture is not a happy one; it is set and +conventional, the result of great skill and labour, but little love. + +===================================================================== + +PLATE VIII.--THE VIRGIN AND CHILD BY AN OPEN WINDOW. (From the panel +in the National Gallery) + +An interesting school-work, in which the different parts of the picture +are all taken from some design or painting of the master. The colour +and line are, however, lacking in the distinction belonging to his own +work. + +[Illustration: PLATE VIII.--THE VIRGIN AND CHILD BY AN OPEN WINDOW.] + +===================================================================== + +The same must be said of the "Coronation of the Virgin" in the Florence +Academy, one of Sandro's largest tempera works, an upright altar-piece +measuring 12 feet by 8, commissioned by the guild of gold-workers for +Savonarola's Church of San Marco. It is painted in two sections--like +Titian's "Assumption"--the lower, containing four too carefully posing +saints; the upper, a sort of tondo, with a golden ground, in which the +figures of the Virgin and the Father are both obviously incommoded by +the shape of the frame. But the picture is notable for its ring of +dancing angels, and the plucked roses scattered among them are like +those in the "Birth of Venus." + +Much the same plan is adopted in the last of Sandro's paintings, which +is evidently related to this one, the "Nativity" in the National +Gallery, already referred to. Here again is an upper and a lower +picture, and in the upper, the dancing angels re-appear against the +"glory." Instead of roses, however, there are crowns and banderoles, +and the angels carry olive branches. At the head of this picture is an +inscription in base Greek which has been thus translated: "This picture +was painted by me, Alessandro, at the end of 1500, during the troubles +of Italy, at the half time after the time which was prophesied in the +eleventh chapter of St. John the Evangelist, and the Second Woe of the +Apocalypse, and when Satan shall be loosed on the earth for three years +and a half. After which the devil shall be enchained, and we shall see +him trodden under foot as in this picture." It indicates Sandro's +belief in a final reconciliation and justification, and refers plainly +to the execution of Savonarola which had occurred just three and a half +years before. Thus it forms a kind of sequel to the "Calumny." While +the picture is somewhat naively explanatory, it is filled with intense +feeling, and suggests the influence upon Sandro of the Prate's +favourite master, Fra Angelico.[2] + +It is generally believed to be the last of his paintings, but it seems +probable that the drawings to illustrate the Divine Comedy may belong +to a time even later. They were made for a second-cousin and namesake +of the Magnificent, Lorenzo di Pier Francesco, who died in 1503 and was +a patron of Michael Angelo as well as of Sandro. The original MS. was +purchased about the beginning of last century by the then Duke of +Hamilton, but was sold in 1882 to the Prussian Government. It is now +in the Berlin Museum, and contains eighty-five drawings in +silver-point, finished with pen and ink. Eight other drawings +belonging to the same series are in the Vatican Library. As eight are +still missing, the complete series would have consisted of a hundred, +in addition to the chart of the Inferno. + +The drawings vary much in value and interest. Many of them are +deficient in both respects; but some are perfect examples of his art. +Such is the design for Paradise I., with its slender trees bowing their +tops to the morning breeze in the meadows watered by the circling +stream Eunoe, over which Beatrice and Dante rise together against the +wind, lifted by the light of Divine Love. It is full of aspiration and +wide air, and has a curious Japanese quality. Very different in +suggestion is that of the Chained Giants (Inferno XXXI.) which recalls +some early German work, and reminds us that Sandro may have been +influenced by the drawings of Schongauer, and other Northern artists +and designers. Vasari says that Botticelli was a prolific designer, +and some of his drawings, notably the exquisite "Abundance," in the +British Museum, are among his finest works. + + + +[1] The "Annunciation" in the Uffizi, is an interesting but doubtful +work. The figure of Gabriel is closely related to two others of +Sandro's; one the angel supporting the Child in the Ambrosian Madonna, +the other the Gabriel in the Predella to the Coronation. But in the +larger work the angel is much more fully realised; in face he is +nearest in type to the beautiful angel already noted in the tondo of +the "Magnificat," but graver. The colour of the picture is hard, +crude, and unpleasing. It is supposed to have been painted about 1490. + +[2] There are many other uncertain pictures which were formerly +credited to Botticelli; and several of these still parade under the +master's name in our National Gallery. No. 275, reproduced in this +volume, may have issued from his workshop. It has San Gallo's name +written on the reverse side. Neither Nos. 782 nor 1126 are by Sandro. +But the genuine works in London include the attractive portrait of a +young Florentine (No. 626); and the two "Adorations" ascribed to his +pupil Filippino Lippi (592, 1033). The Print-Room in the British +Museum has the exquisite drawing of the "Abundance" (Silver-point). In +the basement of the National Gallery are copies (Arundel Society) of +the Sixtine Frescoes, the "Birth of Venus," "Spring," and the best of +the Lemmi frescoes. Facsimiles of the drawings for the Divine Comedy +have been published. The other London pictures usually accredited to +Sandro are the "Madonna" (partly by his hand) in Mr. Heseltine's +collection and the panels already referred to in that of Mrs Mond, all +belonging to his later years. The former shows the use Botticelli made +of gold to give a sunny sheen between the spectator and distant +hillside. + + + + +V + +In reviewing the subjects chosen by Sandro for his pictures, one is +struck by certain characteristic omissions. With the exception of a +most perfunctory and even grotesque panel of Christ rising from the +Sepulchre, forming part of the S. Barnabas predella, of the doubtful +"Pieta" at Munich, which may have been partially executed by Sandro +after Savonarola's great sermons in Holy Week, and the figure of Christ +thrice introduced as an afterthought into the first of the Sixtine +frescoes; Botticelli has only painted the central figure of Christian +art as an infant. Twice only has he introduced the figure of God the +Father into his work, and then without distinction. His devotional +pictures represent a very young Madonna, with a chubby but thoughtful +child, and, where there are other figures, either an aged patriarchal +Joseph, or one or more attendant or messenger angels, winged in the +later work, and certain saints. His favourite amongst these was +Augustine. + +But Botticelli is at his best when he escapes from conventionality of +subject, and is able to give wing to a lyrical imagination comparable +to that of Shelley. He is one of those who feel the wind of the spirit +blowing out toward new worlds. He loved the wind, and all things that +the wind caresses, trees, draperies, floating hair, and the naked body. +Also he loved the light and hated darkness. He had inspired moments +when he beheld that the old order of the mediaeval world had passed +already away, and the hearts of men were turning to the pure worship of +living incarnate loveliness--the mystery of a re-born and immortal +pleasure, Venus Anadyomene, beheld with mystic sight. But in that age +it was a prophetic vision, and his own eyes failed him. He died in a +time of darkness. For four centuries his visions were forgotten, to be +beheld again by us with a renewal of the wonder and aspiration, the +passionate desire for freedom and for beauty, out of which they came. + + + + +Printed by BALLANTYNE, HANSON & Co. + +Edinburgh & London + + + + + IN THE SAME SERIES + + ARTIST. EDITOR. + + VELAZQUEZ. S. L. BENSUSAN. + REYNOLDS. S. L. BENSUSAN. + TURNER. LEWIS HIND. + ROMKEY. LEWIS HIND. + GREUZE. ALICE EYRE MACKLIN. + BOTTICELLI. HENRY B. BINNS. + ROSSETTI. LUCIEN PISSARRO. + BELLINI. GEORGE HAY. + FRA ANGELICO. JAMES MASON. + LEIGHTON. A. LYS BALDRY. + REMBRANDT. JOSEF ISRAELS. + WATTS. W. L. HARE. + TITIAN. S. L. BENSUSAN. + RAPHAEL. PAUL G. KONODY. + + _Others in Preparation_ + + + + + + + + + + + +End of the Project Gutenberg EBook of Botticelli, by Henry Bryan Binns + +*** END OF THIS PROJECT GUTENBERG EBOOK BOTTICELLI *** + +***** This file should be named 39942.txt or 39942.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/9/4/39942/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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