English: Small Allegorical painting (from the description of a picture by Apelles) relating to CALUMNY in the Uffizi at Florence; by S Botticelli.

Identifier: newhistoryofpain02crow (find matches)
Title: A new history of painting in Italy, from the second to the sixteenth century
Year: 1864 (1860s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ecture ; whilst the figures in their gipsy wildness, althoughthey are here and there admirably draped, remind us thatvehemence of action may be carried too far. During his later career, Botticelli no doubt producedmany more fine works. He certainly received great com-missions. That entrusted to him and to Ghirlandaio topaint in the Sala delP Udienza of the Public Palace atFlorence in 1482, is on record,2 though it is not ascer-tained that he carried out the work intended for him.It is ascertained with sufficient certainty that he executedfour panels illustrating Boccaccios fable of Nastagiodegli Onesti for the wedding of Pierfrancesco di Gio-vanni Bini with Lucrezia Pucci in 1487; and these piecesare described by the annotators of Vasari as a happy 1 This fresco is on the wall tothe right of the entrance. 2 Uffizi. Scuola Toscana.No. 1192. The picture belonged to Fabio Segni. The verses quotedby Vasari are no longer on thebasement. Vide Vas. Vol. V. p.p. 122 3. 3 Gaye. Vol. I. p. 578.
Text Appearing After Image:
Chap. XVIII. SANDROS IMPROVIDENCE. 423 mixture of difficult conceits, beautiful colour and naturalelegance in the figures.1 An honourable commission in/every respect to Botticelli was that entrusted to him infl491 by the influence of Lorenzo de; Medici, in com-pany with Domenico and David Ghirlandaio, to executethe mosaics of the cappella 8. Zanobi in S. M. delFiore; and it is sincerely to be regretted that the ob-literation of that work, which was interrupted at Loren-zos death, should preclude our judging Sandros abilityin a branch of art which he had hitherto not been knownto practise.2 His continued presence in Florence is, afterthis time, proved by casual circumstances, — by a letteraddressed through him to Lorenzo de Medici by MichaelAngelo in 1496,3 — his income tax paper of 1498, inwhich he describes himself as residing with his brotherSimone in the popolo S. Lucia of Ognissanti,4 and hisopinion given in 1503 as to the place best fitted forMichael Angelos David.5 But from

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