SANDRO BOTTICELLI (original name Alessandro di Mariano

SANDRO BOTTICELLI (original name Alessandro di Mariano Filipepi),
Workshop of
(Florence, 1 March 1445–17 May 1510, Florence)
Madonna with Child Surrounded by an Angel and St. John the Baptist
Tempera/oil on poplar wood (height of tondo 86.7 cm max., width 87.6 cm max.) in a
modern 19th-century frame.
Florence, approx. 1483–85
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PROVENANCE:
- Sold at auction as a Botticelli on 2 May 1826, probably in Paris (Vivant Denon, Dominique Vivant Denon,
“Description des objets d’arts qui composent le cabinet de feu M. le Baron V”).
- Prior to 1925 in the Arnold van Buuren/Nardus collection as a Botticelli, ascribed.
- In 1925, Mak van Waay auction, Amsterdam, Vente Publique les 26-27 Mai 1925, lot 9 as a Botticelli – no
bid accepted.
- In 1940, referenced in the list of paintings of the van Buuren/Nardus collection as “enemy property,”
Deutsche Revisions- und Treuhand- Aktiengesellschaft (German Revision and Trustee Stock Company),
The Hague office, as of 10 September 1940, as a Botticelli.
- In 1943, auction in Cologne, Lempertz on 2 June 1943, lot 7, as Sandro Botticelli school, sold for 19,000
reichsmarks.
- Since then privately owned in the Rhineland region.
LITERATURE:
-
Mak van Waay auction catalog, Amsterdam, 1925. Tableaux anciens Antiquités-Collections Arnold van
Buuren "T Loover", Naarden, Vente Publique les 26–27 Mai 1925, lot 9.
Lempertz auction catalog, Cologne, 1943. “Math. Lempertz’sche Kunstversteigerung” 420, 2-3 June
1943, lot 7.
Gabriele Mandel, in Carlo Bo, L’Opera completa del Botticell, Milan 1967, p. 99 in cat. 93.
The rediscovery of this Renaissance tondo of the Virgin Mary, from a private collection
in the Rhineland region, provides fascinating insight into the busy activities of one of the
most successful painting workshops during the Florentine Renaissance, that of Sandro
Botticelli.
The Virgin Mary is sitting on a balustrade in a simple, closed room offering no
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view outside; she snuggles her lovely face gently against the cheeks of the divine child
whom she caresses very tenderly and hugs tight. To mark their divine quality, the two
are shown underneath a green canopy with pearl garland and red throne cloth.
This divine familiarity is witnessed, on the left, by an angel dressed in yellow, holding an
open book and pointing at the text of the neatly written Magnificat, while on the right
the youthful Baptist has entered the frame who, inspired with prophetic power, directs
his eyes upward.
Even back when it made its first appearance on the art market – probably as early as 2
May 1826 on the occasion of an auction (if the painting listed there is indeed identical
with this painting) – the lovely tondo was justifiably associated with Botticelli’s name.
This theory has little to object to even today, nearly two centuries later, although the
notion that Botticelli painted the picture with his own hand must be rejected.
This opens a fascinating new chapter on the issue of how Botticelli’s workshop operated
and on his commercial skills.
After his training with Fra Filippo Lippi and likely brief visits to Verrocchio’s workshop,
where he must have crossed paths with Leonardo da Vinci, who was training there,
Botticelli founded his own artists’ workshop in 1470. The beginnings of his career as an
independent artist cannot have been easy considering the tough competition by
Florence’s leading companies of the brothers Pietro and Agnolo Pollaiuolo on the one
hand and Verrocchio’s on the other. Artistically, his first works still very much follow the
style of these painters, with Verrocchio’s influence clearly being the most dominant next
to his unmistakable roots in Lippo Lippi’s workshop. Toward 1480 Sandro Botticelli
must have become firmly established in the art scene of Florence, not least thanks to his
privileged relations with the Medici clan. This is the only way we can explain why he,
along with the artistic elite of Florence and Umbria, was called upon to help paint the
sequence of frescoes about the Old and New Testaments in the Sistine Chapel, and in a
central position at that. Today his paintings are regarded among the most successful
frescoes in this sequence of works.
After his return to Florence in 1483, Botticelli’s workshop was one of those most in
demand in his hometown, so the master must have hired a large staff. In addition to his
most ingenious creations, his representations of ancient myths as they were perceived
by Florence’s humanist-poets and put into new words – in particular Primavera and The
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Birth of Venus at the Uffizi – Botticelli produced numerous portraits for Florence’s rich
merchant elite and a sheer endless series of pictures of the Madonna for private prayers
which adorned the palazzi of Florence’s oligarchy.
His output took on the character of an almost industrial production, as it were, with an
intensity that was comparable to that of Sano di Pietro’s workshop in neighboring Siena,
which is why specifically the category of Madonna paintings was produced in series.
Botticelli’s great, masterly drafts were serially perpetuated at will in many different
varieties and all kinds of figural combinations by his assistants.
As a result, in addition to works that were undoubtedly created by Botticelli himself, an
endless number of paintings have been handed down to us that were either created in
his workshop under and his supervision, where he personally contributed here and
there, or that were entirely painted by assistants based on the master’s drafts.
A third group of Botticellian works, however, are those usually more modest paintings
by typically less gifted painters outside of the workshop who simply picked up the
master’s ideas for pictures and mechanically emulated them.
Today it is up to experts to make heads or tails out of this archipelago of
Botticellian Madonna pictures and separating the wheat from the chaff. When analyzing
the paintings, the focus must be directed on strictly technical aspects as well as those of
artistic quality. This strategy also forms the core of the art historical assessment of the
tondo in question here. In addition to art historical criteria – especially an appraisal of
the artistic quality – our analysis will also include aspects of painting technique as
brought to light by Rüdiger Beck’s prudent technological examination.
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1
If we now compare our tondo to Botticelli’s famous tondo of the Virgin Mary, which he
probably painted himself after completing the frescoes in the Sistine Chapel, the
Madonna del Magnificat in den Uffizi (1), we can clearly make out shortcomings in our
painting in terms of artistic quality. The comparison quickly establishes that we are
dealing with an – albeit magnificent – product of his workshop, even though it still
remains to be decided if the master’s hand was involved in its production or if he left it
entirely up to his workshop.
The Florentine painting appears to be a harmonious picture concept whose elegant
actors show great emotional intensity, whether in terms of their psychological
expressiveness or in their gestures, which intermingle and interact sensitively with one
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another. By contrast, in our painting the actors, some of whom are outstandingly well
executed – the elegantly clothed, elegant angel deserves special mention – are strung
together one after the other, almost cliché-like even. Clearly, this is a case of serial
painting; the artist himself did not think up a new concept but ordered his workshop to
produce a painting of the Madonna based on his stock of ideas, combining in the best
way possible individual elements from his most successful works. Therefore it is hardly
surprising that Rüdiger Beck’s technological results concerning our painting have clearly
revealed that the central area with Madonna and her child was painted first and the two
supporting actors, the angel and John the Baptist, were done in subsequent steps in
relation to the central figures. No doubt the workshop assistant handling the central
group of figures of Madonna and her child was able to resort to an existing cartoon by
the master which, as a series of related paintings of Madonna in Sao Paolo (2) and
Indianapolis (3) suggest, must have enjoyed a certain popularity.
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2
3
This type of Madonna painting, which depicts the mother and her child cheek to cheek in
tender devotion to one another, was subsequently varied in different ways in Botticelli’s
workshop. The second type, as embodied in a workshop painting in Tel Aviv (4) and
others (5, 6), is distinguished from our work only by the different – vertically aligned –
posture of the child.
4, 5, 6
The latter concept – which was probably taken from Donatello’s oeuvre (7) – was
already prefigured in the work of his teacher Fra Filippo Lippi and was picked up by
Botticelli himself back during his earliest creative period (Virgin and Child Supported by
an Angel in a Garland, Ajaccio, Musée Fesch, 8) and subsequently developed further. A
drawing study by Botticelli in the British Museum in London (1895.0915.449) (9)
provides insight into the artistic creation process for this type of Madonna painting.
After the first, still more or less searching and cursory studies, a definitive cartoon of the
finalized composition was probably produced, which was then reused by the workshop
for further pictures of this type.
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7, 8, 9
This probably also applied to the Madonna of the tondo under scrutiny here, because
contrary to the secondary figures, for whom the infrared photos showed numerous
underdrawings, no such preparatory drawings could be detected for them. We may
regard this as an indication that the Madonna and her child were traced from a cartoon.
In the upper area of this figure we can indeed make out a depression in the still-soft
gypsum primer, which suggests tracing. The above-mentioned additive method in the
composition of the picture, which makes it look somewhat reserved in its dynamic and
rigid compared to Botticelli’s masterpieces, was also employed for the secondary
figures, the angel and John the Baptist, who was added at a later time. We may assume
that the method of using a cartoon, which we have established for the Madonna with
child, was also applied for the angel holding the prayer book (11), of which two
additional versions have come down to us (10, 12).
10
11
12
These paintings, too, are pictures that were serially produced in Botticelli’s workshop.
However, it turns out that in the genesis of our tondo, this figure – doubtless the most
beautiful in the painting – was not traced, because various pentimenti which the IR
photo (13) revealed are a clear indication that a searching and at the same time creative
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artist was at work here.
The deviations in the final execution from the underdrawing primarily concern the
angel’s right hand, his eyebrows, and the position of his right eye, which was probably
discarded quickly in favor of the present version. If a searching artist was at work here,
we may assume that our angel was the first of the three angels under comparison here,
who were all painted on the basis of the same model.
9
13
This fact gives us profound insight into the authorship of the angel, in particular since
there seems to be a world of difference between the execution of the angel’s garment, his
face, and the realization of the other figures. In other words, there are indications that in
this figure, which received its inspiration from other paintings of Botticelli with a similar
theme – for instance the angel at the extreme right in Madonna del Magnificat in the
Uffizi (1) from the early 1480s – Botticelli personally collaborated in this painting, at
least in the concept of the picture as revealed in the underdrawing. According to our
analysis, our angel is therefore the first among the three angels, not only chronologically
but also with respect to his artistic quality.
The figure of John the Baptist looks to a certain extent like a foreign body in our painting,
especially since – contrary to the figure opposite him – he is not integrated into the
tondo’s round shape, whose rhythm is broken up by his posture. Moreover, his typology
also contradicts Botticelli’s repertoire in terms of form. He appears as a gentle, sensitive,
graceful youth who shows no trace of any of the asceticism whose signs are written in
the face of the last among the prophets in other of Botticelli’s or his contemporaries’
paintings, for example those of Verrocchio. As the X ray photographs (14) reveal, this
figure was added later, but still during the production of the panel, because underneath
today’s figure we can see a darker area which was once a blank space for yet another
figure, for which – so the technical analysis tells us – blue was used, apparently the blue
of a sky.
14
10
15
So, the original plan was for a painting where the Madonna appeared inside an abode,
but one which initially – and as opposed to the final version – was to provide a view of
the landscape, similar to the concept of a picture of the Madonna from Botticelli’s
workshop in the Golconda collection in Tel Aviv (15). The outlines of the figure on the
right clearly show that, in distinction to the final version, this figure – whether it was
John the Baptist or another angel – integrated more harmoniously into the round shape
of the tondo and, moreover, was placed further to the left, toward the center of the
painting.
Stylistically, John the Baptist, who was apparently painted last, stands out clearly
from the other figures, even from the repertoire of Botticelli’s types. With the youth’s
perky glance, which is directed slightly upward, as well as the actual type of his face, his
character is rather reminiscent of creations from the circle of Botticelli’s main
competitor, Domenico Ghirlandaio. This can be neatly demonstrated by comparing the
angel’s face, looking slightly upward, in Baptism of Christ in the choir chapel in Santa
Maria Novella in Florence (18) and our John the Baptist (17). There are also clear
differences in the painting technique used for John the Baptist, because his
underpainting is less compact than that of the other figures, whose faces are also more
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17
18
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vivid and ultimately more clearly modeled. Contrary to the more detailed garments of
the angel and the Madonna, which have somewhat sharper and harsher shapes that
make them look more three-dimensional and elegant, the folds of John the Baptist’s
garment are softer and fall in more generous lines, as is also the case for the paintings in
Ghirlandaio’s tradition. In contradistinction to Botticelli’s slightly open mouths – which
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makes them look rather languishing – John the Baptist’s mouth is closed, and with his
upturned gaze he looks more like a perky David in the style of Verrocchio than a
visionary ascetic.
.
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21
How such a youthful John the Baptist as conceived by Botticelli’s workshop might have
looked is suggested by the youthful John the Baptist in a picture of the Madonna from
the Botticelli workshop in the Cleveland Museum of Fine Art, shown mirror-inverted
here (22, 23). It strictly follows Botticelli’s repertoire of types around 1485. These
figures are characterized by their slightly open mouth, finely drawn eyelashes, and
gently articulated eyelids, flesh tones that contain the most subtle transitions, as well as
magnificent heads of hair consisting of neatly painted tufts of hair with vivid curls, which
gives them the appearance of having a life of their own. All these characteristics of
Botticelli’s art are missing in this John the Baptist. As the X ray of our tondo (24) shows,
such a figure modeled on Botticelli’s art may certainly have been planned before another
hand that had not trained with Botticelli added a figure of different design later on. For
this reason we tend to believe that this figure not merely shows an obviously different
hand – rather, that it did not belong to a member of Botticelli’s direct circle of pupils but
to one who must have trained with another workshop, possibly Ghirlandaio’s.
12
22
23
24
This makes for an interesting scenario for our tondo.
Clearly, Botticelli’s workshop was due to produce a round painting whose central group
of figures it had planned to base on a successful model of the master and where initially
the Holy Family was supposed to be placed inside a space with a view of the landscape. A
John the Baptist figure was to be placed on the right, possibly in a shape that had been
designed for the round painting at the Cleveland Museum of Fine Art (22, 23). A photo
montage (25) on whose right side with John the Baptist we have superimposed the
mirror-inverted John the Baptist amidst a landscape from the Cleveland tondo (22, 23)
may give us an idea of the approximate original and later discarded plan for our tondo.
25
26
An angel had been planned on the left side who was modeled on those in the successful
pictures of the Madonna, specifically that of the Madonna del Magnificat. As the highquality underdrawings of the angel (14) which are recognizable in the IR photo indicate,
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it is likely that the master personally set his hand to the painting, which might also be
true for the execution of the angel’s beautifully painted yellow robe. He left the
remaining parts of this figure as well as mother and child, who were probably traced
from a cartoon, to an able member of his workshop. How the change of the concept for
the right side of the picture came about, and thus also the intervention by a Florentine
painter outside of the inner circle of Botticelli’s workshop, we do not know; we can only
speculate as to the reasons.
Considering that Botticelli’s workshop produced pictures of the Madonna serially, it
would not be inconceivable for Botticelli to have sold the nearly completed tondo still in
an unfinished state to a close painter colleague who needed it urgently and then
completed it on his own. Commercial transactions of this kind are documented for the
art production in Florence since the waning 14th century, and were even customary (cf.
G. Freuler, “The Production and Trade of Late Gothic Pictures of the Madonna in
Tuscany,” in: Italian Panel Painting of the Duecento and Trecento, Washington 2002, pp.
427–441, with additional literature). This scenario – however hypothetical – would
furnish a plausible explanation for the overall composition with John the Baptist looking
like a veritable foreign body that gives it a somewhat disharmonious appearance from
today’s point of view. This would also explain the obvious stylistic break in the figure of
John the Baptist, whose source appears to be found more in the tradition of Ghirlandaio
than in an idea of Botticelli’s.
The unknown third collaborator in this tondo, who assumed responsibility for the final
version of John the Baptist, was most likely one of those artists who may have worked in
a painting workshop that contributed to the frescoing of the Sistine Chapel. His style is
closer to the art produced in Ghirlandaio’s environment and the less gifted Cosimo
Rosselli than to Botticelli’s painting style. This becomes noticeable when we compare
the painting with a tondo in the Courtauld Art Gallery in London (19), as whose author
research has alternatively identified Ghirlandaio’s pupil Bartolomeo di Giovanni and
Cosimo Rosselli’s pupil Agnolo di Donnino del Mazziere (alias Master of Santo Spirito).
Another comparison with the face of the privately owned Pax figure of a spalliera by
Agnolo di Donnino del Mazziere (here shown mirror-inverted for clarification, 16),
which has a slight Botticelli touch probably for a reason, confirms our observations.
Interestingly, Agnolo di Donnino del Mazziere was an assistant of the team of painters of
Cosimo Rosselli at the time he was collaborating on the fresco cycle for the Sistine
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Chapel. He was thus undoubtedly also in contact with Botticelli, who at that time was
introducing revolutionary innovations especially in the execution of secular painting
themes, specifically ones from ancient mythology in Florence, becoming the measure of
all things in this area. With this in mind it is understandable that Agnolo di Donnino for
once also made an artistic reference to Botticelli for his Pax figure. Regardless of
whether it is Agnolo di Donnino’s hand behind the author of our John the Baptist (17,
21) or whether the actual author is another master from the environment of Ghirlandaio
and Rosselli, the stylistic link between John the Baptist and painters from the sphere of
the Florentine painting workshops working in the Sistine Chapel and, particularly,
Ghirlandaio’s style establishes the approximate chronological framework for our
painting – the years immediately following the frescoing of the Sistine Chapel, in other
words, the period immediately after 1483.
This chronological conclusion also matches the general style of the painting, which is in
line with the synthetic painting style characteristic of Botticelli, which at the beginning
of the 1480s had led to a somewhat linear manner of painting within paler flesh tones. In
its graceful artificiality it corresponded perfectly to the poetic requirements of visually
translating mythological themes, thus setting itself apart from the more naturalist
tendencies of a Filippo Lippi or Verrocchio, and even more so from the painstakingly
researched natural poetry of a Leonardo da Vinci.
This puts our tondo, which must probably be dated between 1483 and 1485, to the
beginning of a series of related pictures of the Madonna which are similar in form – but
were painted considerably later, probably not until the early 16th century – and are
housed in the Indianapolis Museum of Art and the Sao Paolo Museum of Art (2, 3, 27,
28).
27
28
The question of whether these three round pictures are indeed works by one and the
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same painter, as Everett Fahy postulated in a written note to its owner, shall remain
undecided for the time being. Whoever has painted these Madonnas had without a doubt
access to Botticelli’s cartoons.
29,30
This qualifies at least the author of the tondo in question as a member of Botticelli’s
workshop. At the time this painting was created, he no doubt worked under Botticelli’s
tutelage, which is also apparent in the figure of the angel, where – as already mentioned
– Botticelli seems to have collaborated personally, if only as a training supervisor. At
least parts of the underdrawing and, perhaps, of the angel’s robes seem to have been
painted by Botticelli, while the major part of the picture, with the exception of John the
Baptist, was done by a talented assistant.
In view of the close agreement of some details, the theory that – as Fahy believes – it was
the same painter who also created the Madonnas in Sao Paolo and Indianapolis later on,
cannot be rejected out of hand.
Yet, if this were true, we would regard these paintings as works which were created
outside of Botticelli’s workshop – and at least the one in Indianapolis (27, 30) probably
even after his death (1510). For what catches the eye in the painting in Indianapolis is a
refined modeling technique which makes the flesh tones with their heightened
luminance and fleshiness look softer and gentler, similar to the way with which we are
familiar from paintings by Fra Bartolomeo (tondo in the Galleria Borghese in Rome) that
were created in the waning 15th century. Whether we are standing before a group of
works by an unknown painter who came from Botticelli’s workshop but had gone on to
became an independent and mature painter to whom the Madonna in the Golconda
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Collection (15, 32) and the Madonna in the Bob Jones Museum collection in Greenville
(12, 33, 34) can certainly be ascribed, remains an open question for the time being and a
tempting hypothesis.
31
32
33
34
Based on technological analyses and the examination performed here, specifically the
close stylistic review, we can conclude that our tondo must have been created in
Botticelli’s workshop under the master’s supervision. Stylistically, it continues the works
painted following Botticelli’s return from Rome, in particular the Madonna del
17
Magnificat in the Uffizi (1), and was probably produced around 1483–85. Botticelli’s
contribution to the creation of this tondo was minimal, but we recognize his hand in the
angel (underdrawing and sections of the robe). The major part of the picture was
painted by a clearly gifted assistant who combined the different figures from Botticelli’s
ideas for paintings into an additive composition. The hand of a third painter, who was
probably not trained by Botticelli, contributed the figure of John the Baptist, discarding –
for reasons unknown – an early artistic intention which had probably been inspired by
Botticelli and is clearly recognizable in the X ray.
Despite the serial production of tondi of this kind in Botticelli’s workshop, our round
painting is one of its high-quality products from its mature period around 1483–85.
With these pictures Botticelli’s workshop responded to keen demand by the members of
Florence’s upper middle class, who wanted paintings of this kind for the rooms in their
palazzi. Their esthetic quality and purposefully employed picture elements were to
stimulate their devotional prayers. This is clearly referred to by the book held up by the
angel with the text of the Magnificat, a Bible passage which – as we can read in said book
in our painting – was understood as a Canticum Beate Virginis. This eulogy in honor of
the Virgin was part of the customary vespers prayer, which suggests that our tondo
decorated the bedroom of a rich Florentine townhouse and was meant to inspire its
inhabitants to pray the Magnificat to the Virgin Mary.
35
University of Zurich, July 2013
Prof. Gaudenz Freuler
18
Illustrations:
1 Sandro Botticelli, Madonna del Magnificat, Florence, Galleria degli Uffizi
2 Sandro Botticelli, successor, Madonna with Child and the Baptist (detail), Sao Paulo, Sao
Paulo Museum of Art
3 Sandro Botticelli, successor, Madonna and Child with St. John the Baptist (detail),
Indianapolis, Indianapolis Museum of Art
4 Sandro Botticelli, workshop, Madonna with Child, Tel Aviv, Golconda collection
5 Sandro Botticelli, workshop, Madonna and Child with John the Baptist (detail),
Cleveland, Cleveland Museum of Art
6 Sandro Botticelli, workshop, Madonna with Child and John the Baptist, Avignon, Musée
du Petit Palais
7 Donatello, Madonna with Child, Fort Worth, Kimbell Art Museum
8 Sandro Botticelli, Virgin and Child Supported by an Angel in a Garland, Ajaccio, Musée
Fesch
9 Sandro Botticelli, Madonna with Child (drawing), British Museum, London
10 Sandro Botticelli, workshop, angel (detail from Madonna with Child and Angel,
unknown location
11 Sandro Botticelli and workshop, angel (details from Madonna with Child and Angel
and John the Baptist), privately owned, Rhineland region
12 Sandro Botticelli, workshop, angel (detail from Madonna and Child with an Angel),
Greenville, Bob Jones University Art Museum
13 IR photograph of Sandro Botticelli and workshop, angel (detail from Madonna with
Child and Angel and John the Baptist), privately owned, Rhineland region
14 X ray photograph of Sandro Botticelli, workshop, Madonna with Child and Angel and
John the Baptist), privately owned, Rhineland region
15 Sandro Botticelli, workshop, Madonna with Child, Tel Aviv, Golconda collection
16 Agnolo di Donnino del Mazziere, Pax (detail, mirror-inverted), private collection
17 Florentine painter in Botticelli’s workshop, detail of John the Baptist (from Madonna
with Child and Angel and John the Baptist), privately owned, Rhineland region
18 Domenico Ghirlandaio, two angels from Baptism of Christ, Florence, Santa Maria
Novella
19 Agnolo di Donnino del Mazziere, detail from Madonna and Child with Angel, Courtauld
Institute Galleries, London
19
20 Sandro Botticelli and workshop, angel (detail from Madonna with Child and Angel and
John the Baptist), privately owned, Rhineland region
21 Florentine painter in Botticelli’s workshop, detail of John the Baptist (from Madonna
with Child and Angel and John the Baptist), privately owned, Rhineland region
22 Sandro Botticelli, workshop, Madonna and Child with John the Baptist (detail, mirrorinverted), Cleveland, Cleveland Museum of Art
23 Sandro Botticelli, workshop, Madonna and Child with John the Baptist (detail, mirrorinverted), Cleveland, Cleveland Museum of Art
24 X ray of Sandro Botticelli, workshop, Madonna with Child and Angel and John the
Baptist (detail of John the Baptist), privately owned, Rhineland region
25 Photo montage of the hypothetical reconstruction of the first draft for the privately
owned tondo in the Rhineland region
26 Sandro Botticelli, workshop, Madonna with Child and Angel and John the Baptist
(detail of John the Baptist), privately owned, Rhineland region
27 Sandro Botticelli, successor, Madonna with Child and John the Baptist, Sao Paolo, Sao
Paolo Museum of Art
28 Sandro Botticelli, successor, Madonna and Child with St. John the Baptist, Indianapolis,
Indianapolis Museum of Art
29 Sandro Botticelli, workshop, Madonna with Child and Angel and John the Baptist
(detail of Madonna and child), privately owned, Rhineland region
30 Sandro Botticelli, successor, Madonna and Child with St. John the Baptist (detail of
Madonna and child), Indianapolis, Indianapolis Museum of Art
31 Sandro Botticelli, successor, Madonna with Child and John the Baptist (detail of
Madonna and child), Sao Paulo, Sao Paulo Museum of Art
32 Sandro Botticelli, workshop, Madonna with Child (detail), Tel Aviv, Golconda
collection
33 Sandro Botticelli, workshop, Madonna (detail from Madonna and Child with an Angel),
Greenville, Bob Jones University Art Museum
34 Sandro Botticelli, workshop, Madonna and Child with an Angel, Greenville, Bob Jones
University Art Museum
35 Bedroom in the Palazzo Davanzati in Florence
20