The long wooden panels that covered the space under the altar picture often became a stumbling block for artists. Usually they were filled with multi-figure scenes from the lives of

One of the surviving frescoes of Villa Marcelli portrays a group of four young women in ancient Roman apparel, approaching the young lady standing opposite them, and handing her their

“In the Church of St. Maria Maggiore in Florence near the chapel of Panchatika there is a very well-written Lament for Christ with small figures” Vasari. Botticelli is increasingly revealing

This magnificent composition is the main picture of the altar, which the shop of jewelers ordered Botticelli for the chapel of St. Eligius, the patron of the workshop, which was

This picture is one of the last works of Botticelli. Most likely, Botticelli turned to the biblical lines: “And the servant brought her out and locked the door behind her.”

Sandro Botticelli created during the transition from quattrocento to the High Renaissance, but in his art there is little joy in the first and breathtaking grandeur of the second. The

The name of Botticelli usually evokes in memory the image of the Madonna. The future artist lived and was brought up in a patriarchal, deeply religious family, which left an

Return of Botticelli, we owe the English artists of the mid-19th century, who called themselves Pre-Raphaelites. In full accordance with the name, they turned to the art of the pre-Raphaelite

This fresco and its copy came from Villa Lemmy near Florence in 1873, which belonged to the family of Thornabuoni, the friend of the Medici. It is supposed that it

Painting by artist Sandro Botticelli “The Madonna of Bardi”, the full title of the painting “The Madonna with John the Baptist and John the Theologian”. The size of the altar

In the late 1480s, religious images of an intimate, chamber plan were replaced in the works of Botticelli by large-scale compositions, as if addressed to a more mass audience. If

The plot of the picture reveals three wonderful events that Saint Zinovy has put into practice. In the left part of the picture, Saint Zinovy heals two demoniacs. In the

On the fresco of Villa Marcelli “Lorenzo Tornabuoni and Free Arts” depicts a young man who appears before the personifications of the Free Arts, the main among them is Rhetoric,

Satyr-prankster, a fragment of the painting by artist Sandro Botticelli “Venus and Mars”. Historians and researchers of Botticelli’s work suggest that the image of satyrs in “Venus and Mars” is

The composition of the picture is very clear. On a simple ohrist background, a dark silhouette stands out for a dark suit and the hair of a young man. The