DOI Page / Citation link:
https://doi.org/10.11588/diglit.31769#0117
Madonna and Child with SS. John
the Baptist and John the Evangelist
(.Bardi AltarpieceJ
1484—85
however, he completes an altar-
piece showing the Assumption of
the Virgin; this work was des-
troyed in the sixteenth century.
In Pisa, Botticelli has ample
opportunity to see numerous
sarcophagi from antiquity that
were preserved there, and to study
their figurative decorations. He
also studies important examples
of fourteenth-century Italian
frescoes.
1475-1476
Botticelli produces a standard to
commemorate a knightly tour-
nament — the famous giostra
(joust) won by Giuliano de’
Medici — with a depiction of
Minerva and the symbols of the
Medici family (this work is no
longer extant). It is possible that
this standard marked the begin-
ning of Botticelli’s long involve-
ment with the Medici.
Between 1475 and 1476 he
paints Adoration of the Magi for the
Guasparre del Lama Chapel in
Santa Maria Novella in Florence.
This small-format painting is
well known for its inclusion of
several portraits of the Medici
family; it is also thought to in-
clude a self-portrait of the artist,
who is on the far right, gazing to-
wards the viewer.
1478
During the Pazzi Conspiracy
against the rule of the Medici in
Florence, Giuliano de’ Medici, the
brother of Lorenzo il Magnifico
de’ Medici (Lorenzo the Magnifi-
cent), is murdered. Botticelli is
commissioned to depict the
hanged ring-leaders at the Porta
della Dogana, portraying their
shame (these paintings were des-
troyed in 1494 when the Medici
were driven out of Florence).
Botticelli makes a panel portrait
of the murdered Giuliano, of
which a number of copies and
variations are still extant.
1480
Botticelli carries out a commis-
sion for the Vespucci family to
paint a fresco of St. Augustine
for the church Ognissanti
(All Saints) in Florence.
1481-1482
Botticelli, by now one of the
most distinguished painters in
Italy, is invited to Rome by Pope
118
the Baptist and John the Evangelist
(.Bardi AltarpieceJ
1484—85
however, he completes an altar-
piece showing the Assumption of
the Virgin; this work was des-
troyed in the sixteenth century.
In Pisa, Botticelli has ample
opportunity to see numerous
sarcophagi from antiquity that
were preserved there, and to study
their figurative decorations. He
also studies important examples
of fourteenth-century Italian
frescoes.
1475-1476
Botticelli produces a standard to
commemorate a knightly tour-
nament — the famous giostra
(joust) won by Giuliano de’
Medici — with a depiction of
Minerva and the symbols of the
Medici family (this work is no
longer extant). It is possible that
this standard marked the begin-
ning of Botticelli’s long involve-
ment with the Medici.
Between 1475 and 1476 he
paints Adoration of the Magi for the
Guasparre del Lama Chapel in
Santa Maria Novella in Florence.
This small-format painting is
well known for its inclusion of
several portraits of the Medici
family; it is also thought to in-
clude a self-portrait of the artist,
who is on the far right, gazing to-
wards the viewer.
1478
During the Pazzi Conspiracy
against the rule of the Medici in
Florence, Giuliano de’ Medici, the
brother of Lorenzo il Magnifico
de’ Medici (Lorenzo the Magnifi-
cent), is murdered. Botticelli is
commissioned to depict the
hanged ring-leaders at the Porta
della Dogana, portraying their
shame (these paintings were des-
troyed in 1494 when the Medici
were driven out of Florence).
Botticelli makes a panel portrait
of the murdered Giuliano, of
which a number of copies and
variations are still extant.
1480
Botticelli carries out a commis-
sion for the Vespucci family to
paint a fresco of St. Augustine
for the church Ognissanti
(All Saints) in Florence.
1481-1482
Botticelli, by now one of the
most distinguished painters in
Italy, is invited to Rome by Pope
118