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504:, Book 5, 2 May). In this the wood nymph Chloris recounts how her naked charms attracted the first wind of Spring, Zephyr. Zephyr pursued her and as she was ravished, flowers sprang from her mouth and she became transformed into Flora, goddess of flowers. In Ovid's work the reader is told 'till then the earth had been but of one colour'. From Chloris' name the colour may be guessed to have been green β the Greek word for green is
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675:. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.
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698:, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting,
537:; from those drawings of classical remains by contemporary artists which were circulated in the Florentine workshops, like the architects' pattern-books of the 18th century; from such scanty and mediocre material, Botticelli has created one of the most personal evocations of physical beauty in the whole of art, the Three Graces of the
427:
In a different interpretation the Earthy carnal love represented by
Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what
423:
Cupid's arrow is aimed at the middle Grace β Chastity, according to Wind β and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards
Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals,
276:
The costumes of the figures are versions of the dress of contemporary
Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to
519:. As Poliziano's poem, "Rusticus", was published in 1483 and the painting is generally held to have been completed by around 1482, some scholars have argued that the influence was reversed, bearing in mind that Poliziano is generally thought to have helped with devising the allegory in the painting.
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In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of
Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the
305:
of the burgeoning fertility of the world." It is thought that
Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to
272:
The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by
Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora,
471:
Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either
Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute
449:
The basic identification of the figures is now widely agreed, but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called
Primavera (a personification of Spring),
317:
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left
Mercury, the god of the month of May in an early
252:
The interactions between the figures are enigmatic. Zephyrus and
Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two
268:
These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like
367:
had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.
318:
Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in
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classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the
232:
In the centre (but not exactly so) and somewhat set back from the other figures, stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her, a blindfolded
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The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the
693:
It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was
220:
The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is as follows: At the far right,
649:. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian
526:", which includes the lines, "Spring-time and Venus come, and Venus' boy, / The winged harbinger, steps on before, / And hard on Zephyr's foot-prints Mother Flora, / Sprinkling the ways before them, filleth all / With colors and with odors excellent."
577:, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.
328:
describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."
229:, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is seen scattering roses on the ground." The transformation is indicated by the flowers coming out of Chlorisβs mouth
269:
pearls on a string". It is now known that in the setting for which the painting was designed, the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.
273:
respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.
117:
made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".
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includes "descending to the ludricous β a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."
628:. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the
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375:
are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting
402:(Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
533:
But where, in the visual rather than the literary sense, did the vision come from? That is the mystery of genius. From antique sarcophagi, from a few gems and reliefs, and perhaps some fragments of
1946:
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were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the
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Where there is a plethora of literary sources, most of them probably not known directly by Botticelli, or set out for him by advisors, the visual sources are a different matter:
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in 1893, in his seminal dissertation on the painting. The group at the right of the painting was inspired by a description by the Roman poet Ovid of the arrival of Spring (
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181:, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet
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Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological
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2015:
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592:("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large
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2001:
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Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting,
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193:, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the
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of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.
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Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew
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in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an
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with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but
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Of the very many literary sources that may have fed into the painting, the clearest was first noted in modern times by
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600:. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.
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722:, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the
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The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the
336:
130:
1126:
Kline, Jonathan (2011). "Botticelli's "Return of Persephone": On the Source and Subject of the "Primavera"".
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1903:
1889:
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616:
596:, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a
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653:. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.
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based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the
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It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was
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1112:)" is blamed for some writers wanting to identify a figure as the personification of Primavera. For
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on a very large scale, they were virtually unprecedented in Western art since classical antiquity.
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241:, a group of three females also in diaphanous white, join hands in a dance. At the extreme left
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The history of the painting is not certainly known; it may have been commissioned by one of the
1078:
Deimling, 45β46. But Mercury seems clearly to be looking above him, as he works on the clouds.
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158:, also in the Uffizi. They are among the most famous paintings in the world, and icons of the
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see this couple as one to match Chloris and Zephyrus on the other side of the painting.
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in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.
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seem to look at each other. Flora's smile was very unusual in painting at this date.
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Quattrocento Neoplatonism and Medici humanism in Botticelli's mythological paintings
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have possessed. Poliziano is usually thought to have been involved in this, though
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639:, published in 1550, Giorgio Vasari said that he had seen this painting, and the
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310:, another member of Lorenzo de' Medici's circle and a key figure in Renaissance
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686:), but changed his mind after the assassination of Giulo's father, his brother
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Another inspiration for the painting seems to have been the poem by Lucretius "
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390:(1435), which Botticelli certainly knew. From the left they are identified by
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355:, no clouds were allowed there. Venus stands in front of the dark leaves of a
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258:
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presides over the garden β an orange grove (a Medici symbol). It is also the
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190:
186:
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Wind, 116β117. Vasari's "recollection that the picture 'signifies spring' (
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209:
67:
202 cm Γ 314 cm (80 in Γ 124 in)
1525:
Culture & Values, Volume II: A Survey of the Humanities with Readings
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512:β and may be why Botticeli painted Zephyr in shades of bluish-green.
476:(Lorenzo in Italian). Mercury was the god of medicine and "doctors",
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324:
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the Vespucci, run through all Botticelli's mythological paintings.
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290:
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The Primavera of Sandro Botticelli: A Neoplatonic Interpretation
1585:, Oxford Art Online. Oxford University Press. Web. 15 May. 2017.
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182:
1838:
733:. The work has darkened considerably over the course of time.
515:
Other specific elements may have been derived from a poem by
1947:
Venus and the Three Graces Presenting Gifts to a Young Woman
580:
The 1499 inventory records it hanging in the city palace of
339:
of classical myth, from which the golden apples used in the
225:, the biting wind of March, kidnaps and possesses the nymph
237:
aims his bow to the left. On the left of the painting, the
1522:
Cunningham, Lawrence S.; John J. Reich (16 January 2009).
1229:
1227:
671:
Most scholars now connect the painting to the marriage of
438:, in which "love oriented towards knowledge" (embodied by
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849:"Spring mysteries: Botticelliβs Primavera", Artstor, 2013
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that were popular decorations for palaces at the time.
245:, clothed in red with a sword and a helmet, raises his
2279:
Virgin and Child with the Young Saint John the Baptist
1954:
A Young Man Being Introduced to the Seven Liberal Arts
781:
2272:
Virgin and Child with the Infant St. John the Baptist
1714:
The art of the Uffizi Palace and the Florence Academy
762:
760:
758:
363:, Venus had been born of the sea after the semen of
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2145:
1986:
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415:(1482) has been proposed as the companion piece to
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63:
55:
47:
37:
23:
2319:Portrait of a Man with a Medal of Cosimo the Elder
1645:
1622:(Inglese ed.). Giunti Editore Firenze Italy.
1518:, various eds., page refs from Pelican ed. of 1960
943:Ettlingers, 118β119 gives a spirited quick summary
610:, the goddess of flowers and the season of spring.
442:) proves triumphant over lust (symbolized by the
1770:. Peter Lang International Academic Publishers.
1087:Lightbown, 126β140; Ettlingers, 122β124; Dempsey
1152:
283:as well as typically static Gothic allegories.
1813:, Penguin 1965 (page nos from BCA edn, 1979).
1809:(1550, 1568), selected & ed. George Bull,
249:or wooden rod towards some wispy gray clouds.
133:which then fascinated intellectual circles in
1850:
1644:Foster, Richard; Tudor-Craig, Pamela (1986).
480:in Italian. Such puns for the Medici, and in
121:The painting depicts a group of figures from
8:
2418:Paintings by Sandro Botticelli in the Uffizi
1940:The Story of Nastagio Degli Onesti, part one
428:many believe hung as the companion piece to
2250:Madonna Adoring the Child with Five Angels
1857:
1843:
1835:
1116:, 96, Chloris is "Spring"; Ettlingers, 124
20:
2357:Portrait of a Young Man holding a Roundel
1233:
1096:
2413:Allegorical paintings by Italian artists
1275:
1057:
886:
835:
553:
2002:The Discovery of the Body of Holofernes
961:Wind, 113β114, 126β127; Ettlingers, 129
754:
2129:Scenes from the Life of Saint Zenobius
1449:
1320:
1254:
1287:
766:
351:fruits, exotic to them. According to
137:. The subject was first described as
96:
7:
1758:, William Ellery Leonard, trnsl. at
1596:, Thames and Hudson (World of Art),
1335:
898:Lightbown, 123; Ettlingers, 120, 122
1245:Lightbown, captions to his pictures
1036:Lightbown, 130β132; Ettlingers, 120
673:Lorenzo di Pierfrancesco de' Medici
582:Lorenzo di Pierfrancesco de' Medici
563:Lorenzo di Pierfrancesco de' Medici
347:Greeks had decided that these were
189:, and may also allude to a poem by
2408:15th-century allegorical paintings
2108:The Last Communion of Saint Jerome
1829:Pagan Mysteries in the Renaissance
1791:. Velhagen & Klasing. p.
1475:Capretti, Elena (1 January 2002).
743:List of works by Sandro Botticelli
614:In the same room was Botticelli's
149:, just outside Florence, by 1550.
14:
1700:"Denis Healey: the artist within"
1652:. Woodbridge, UK: Boydell Press.
462:in contemporary paintings of the
314:, has also often been mentioned.
170:. As depictions of subjects from
2206:Virgin and Child with Two Angels
2198:Virgin and Child with Two Angels
2100:Lamentation over the Dead Christ
2076:Lamentation over the Dead Christ
2009:The Return of Judith to Bethulia
1977:
1744:Sandro Botticelli: Life and Work
1711:Heyl, Charles Christian (1912).
1592:with Helen S. Ettlinger (1976),
1550:Deimling, Barbara (1 May 2000).
1481:. Giunti Editore Firenze Italy.
645:, hanging in the Medici country
29:
2448:Paintings based on Fasti (poem)
2326:Portrait of Giuliano de' Medici
2062:Punishment of the Sons of Korah
1553:Sandro Botticelli, 1444/45-1510
1516:The Nude, A Study in Ideal Form
714:Whenever this painting and the
101:, meaning "Spring") is a large
2214:Virgin and Child with an Angel
2184:Madonna in Glory with Seraphim
2154:Virgin and Child with an Angel
1698:Healey, Tim (5 January 2011).
1507:. University Press of America.
166:is even better known than the
1:
2428:Paintings of the Three Graces
2304:Portrait of Smeralda Brandini
1667:Harris, Beth; Steven Zucker.
1219:Foster & Tudor-Craig 1986
1128:The Sixteenth Century Journal
1069:Lightbown, 133; Wind, 119β121
1016:Foster & Tudor-Craig 1986
814:Ettlingers, 134; Legouix, 118
803:Foster & Tudor-Craig 1986
680:Giulio di Giuliano de' Medici
16:Painting by Sandro Botticelli
2084:Saint Augustine in His Study
2038:Saint Augustine in His Study
1821:(in a different translation)
1648:The Secret Life of Paintings
635:In the first edition of his
561:may have been modeled after
261:("thousand flower") Flemish
1831:, 1967 ed., Peregrine Books
1766:Snow-Smith, Joanne (1993).
1729:(rev. ed.), Chaucer Press,
1386:Lightbown, 142; Vasari, 148
782:Cunningham & Reich 2009
588:. They were the cousins of
2479:
2243:Madonna of the Pomegranate
2191:Madonna of the Rose Garden
1811:Artists of the Renaissance
1609:Flowers of the Renaissance
1173:Ettlingers, 128; Clark, 96
277:the world of pageants and
2229:Madonna of the Magnificat
1975:
1872:
1785:Steinmann, Ernst (1901).
1577:Dempsey, Charles (2000),
988:Wind, 123β124, 123 quoted
632:had a large white frame.
565:, or possibly his cousin
508:, the root of words like
51:late 1470s or early 1480s
28:
1995:Sant'Ambrogio Altarpiece
1669:"Botticelli's Primavera"
847:Giovanni Garcia-Fenech,
337:Garden of the Hesperides
131:Renaissance Neoplatonism
1755:On the Nature of Things
1725:Legouix, Susan (2004),
1395:Lightbown, 122; Dempsey
1200:Lightbown, 140; Dempsey
1027:Lightbown, 127β128, 130
720:Galleria dell'Accademia
2286:Madonna del Padiglione
2041:(Florence: Ognissanti)
1904:Pallas and the Centaur
1616:Fossi, Gloria (1998).
1607:Fisher, Celia (2011).
1503:Cheney, Liana (1985).
1110:dinotando la primavera
711:
710:Detail of Flora's gown
668:
617:Pallas and the Centaur
611:
586:Giovanni "Il Popolano"
570:
547:
435:Pallas and the Centaur
420:
412:Pallas and the Centaur
298:
217:
94:Italian pronunciation:
2115:The Mystical Nativity
2092:Pala delle Convertite
2069:Cestello Annunciation
2050:Temptations of Christ
2016:Adoration of the Magi
1968:The Story of Lucretia
1961:The Story of Virginia
1931:Illustrations to the
1717:. L.C. Page. p.
1619:Botticelli. Primavera
1349:Inventory publication
709:
659:
606:
557:
531:
408:
382:Leon Battista Alberti
294:
216:standing in her arch.
212:
185:and, less certainly,
141:by the art historian
98:[primaΛvΙΛra]
2177:Madonna delle Grazie
2162:Madonna della Loggia
1579:"Botticelli, Sandro"
1528:. Cengage Learning.
2382:Botticelli (crater)
2236:Madonna of the Book
1746:, Thames and Hudson
1431:Ettlingers, 118β119
1299:Lightbown, 137, 138
1153:Harris & Zucker
925:Ettlingers, 119β120
620:, and also a large
567:Giuliano de' Medici
359:bush. According to
172:classical mythology
160:Italian Renaissance
123:classical mythology
111:Italian Renaissance
2458:Paintings of Flora
2438:Paintings of Cupid
2423:Paintings of Venus
2377:(2016 documentary)
2375:Botticelli Inferno
2336:(Washington, D.C.)
2136:The Man of Sorrows
2122:Mystic Crucifixion
2087:(Florence: Uffizi)
1925:Calumny of Apelles
1918:The Birth of Venus
1611:. London: Lincoln.
1590:Ettlinger, Leopold
1461:Lightbown, 143β145
1422:Lightbown, 120β122
1413:Lightbown, 121β122
1404:Lightbown, 142β143
1359:Lightbown, 120β122
979:Lightbown, 136β137
868:Lightbown, 128β135
859:Lightbown, 126β128
712:
696:Simonetta Vespucci
682:(who later became
669:
651:Lorenzo de' Medici
637:Life of Botticelli
612:
590:Lorenzo de' Medici
571:
421:
341:Judgement of Paris
299:
218:
162:; of the two, the
155:The Birth of Venus
2390:
2389:
2169:Madonna and Child
1866:Sandro Botticelli
1760:Project Gutenberg
1740:Lightbown, Ronald
1659:978-0-85115-439-8
1629:978-88-09-21459-0
1563:978-3-8228-5992-6
1535:978-0-495-56926-8
1488:978-88-09-21433-0
700:Leopold Ettlinger
647:Villa di Castello
460:Archangel Gabriel
115:Sandro Botticelli
85:
84:
42:Sandro Botticelli
2470:
2453:Pregnancy in art
1981:
1859:
1852:
1845:
1836:
1803:
1801:
1799:
1781:
1762:
1722:
1707:
1694:
1692:
1690:
1681:. Archived from
1663:
1651:
1640:
1638:
1636:
1612:
1583:Grove Art Online
1574:
1572:
1570:
1546:
1544:
1542:
1508:
1499:
1497:
1495:
1462:
1459:
1453:
1447:
1441:
1440:Legouix, 115β118
1438:
1432:
1429:
1423:
1420:
1414:
1411:
1405:
1402:
1396:
1393:
1387:
1384:
1378:
1375:
1369:
1366:
1360:
1357:
1351:
1347:Lightbown, 142;
1345:
1339:
1338:, p. 89-90.
1333:
1324:
1318:
1309:
1306:
1300:
1297:
1291:
1285:
1279:
1273:
1267:
1264:
1258:
1252:
1246:
1243:
1237:
1231:
1222:
1216:
1210:
1207:
1201:
1198:
1192:
1189:
1183:
1180:
1174:
1171:
1165:
1162:
1156:
1150:
1144:
1143:
1123:
1117:
1106:
1100:
1099:, p. 82-84.
1094:
1088:
1085:
1079:
1076:
1070:
1067:
1061:
1055:
1046:
1043:
1037:
1034:
1028:
1025:
1019:
1013:
1007:
1004:
998:
995:
989:
986:
980:
977:
971:
968:
962:
959:
953:
950:
944:
941:
935:
932:
926:
923:
917:
914:
908:
905:
899:
896:
890:
884:
878:
875:
869:
866:
860:
857:
851:
845:
839:
833:
824:
821:
815:
812:
806:
800:
794:
791:
785:
779:
770:
764:
724:Italian campaign
626:Virgin and Child
584:and his brother
398:, Castitas, and
296:The Three Graces
280:tableaux vivants
100:
95:
59:Tempera on panel
33:
21:
2478:
2477:
2473:
2472:
2471:
2469:
2468:
2467:
2433:Spring (season)
2393:
2392:
2391:
2386:
2362:
2291:
2141:
2024:Saint Sebastian
1982:
1973:
1877:
1868:
1863:
1797:
1795:
1784:
1778:
1765:
1751:
1710:
1697:
1688:
1686:
1685:on 6 March 2012
1666:
1660:
1643:
1634:
1632:
1630:
1615:
1606:
1568:
1566:
1564:
1549:
1540:
1538:
1536:
1521:
1502:
1493:
1491:
1489:
1474:
1471:
1466:
1465:
1460:
1456:
1448:
1444:
1439:
1435:
1430:
1426:
1421:
1417:
1412:
1408:
1403:
1399:
1394:
1390:
1385:
1381:
1376:
1372:
1367:
1363:
1358:
1354:
1346:
1342:
1334:
1327:
1319:
1312:
1307:
1303:
1298:
1294:
1286:
1282:
1274:
1270:
1265:
1261:
1253:
1249:
1244:
1240:
1232:
1225:
1217:
1213:
1208:
1204:
1199:
1195:
1190:
1186:
1181:
1177:
1172:
1168:
1163:
1159:
1151:
1147:
1125:
1124:
1120:
1107:
1103:
1095:
1091:
1086:
1082:
1077:
1073:
1068:
1064:
1056:
1049:
1044:
1040:
1035:
1031:
1026:
1022:
1014:
1010:
1005:
1001:
996:
992:
987:
983:
978:
974:
969:
965:
960:
956:
951:
947:
942:
938:
933:
929:
924:
920:
915:
911:
907:Ettlingers, 122
906:
902:
897:
893:
885:
881:
876:
872:
867:
863:
858:
854:
846:
842:
834:
827:
823:Ettlingers, 119
822:
818:
813:
809:
801:
797:
792:
788:
780:
773:
765:
756:
751:
739:
552:
524:De rerum natura
492:
308:Marsilio Ficino
289:
207:
93:
17:
12:
11:
5:
2476:
2474:
2466:
2465:
2460:
2455:
2450:
2445:
2440:
2435:
2430:
2425:
2420:
2415:
2410:
2405:
2403:1482 paintings
2395:
2394:
2388:
2387:
2385:
2384:
2379:
2370:
2368:
2364:
2363:
2361:
2360:
2353:
2345:
2337:
2329:
2322:
2315:
2307:
2299:
2297:
2293:
2292:
2290:
2289:
2282:
2275:
2268:
2267:
2266:
2261:
2253:
2246:
2239:
2232:
2225:
2218:
2210:
2202:
2194:
2187:
2180:
2173:
2165:
2158:
2149:
2147:
2143:
2142:
2140:
2139:
2132:
2125:
2118:
2111:
2104:
2096:
2088:
2080:
2072:
2065:
2056:Youth of Moses
2045:Sistine Chapel
2042:
2034:
2031:Life of Esther
2027:
2020:
2012:
2005:
1998:
1990:
1988:
1984:
1983:
1976:
1974:
1972:
1971:
1964:
1957:
1950:
1943:
1936:
1928:
1921:
1914:
1911:Venus and Mars
1907:
1900:
1893:
1885:
1883:
1879:
1878:
1873:
1870:
1869:
1864:
1862:
1861:
1854:
1847:
1839:
1833:
1832:
1822:
1804:
1782:
1777:978-0820417363
1776:
1763:
1748:
1747:
1737:
1723:
1708:
1695:
1664:
1658:
1641:
1628:
1613:
1604:
1586:
1575:
1562:
1547:
1534:
1519:
1512:Clark, Kenneth
1509:
1500:
1487:
1470:
1467:
1464:
1463:
1454:
1442:
1433:
1424:
1415:
1406:
1397:
1388:
1379:
1377:Lightbown, 122
1370:
1368:Lightbown, 122
1361:
1352:
1340:
1325:
1310:
1301:
1292:
1280:
1268:
1259:
1247:
1238:
1234:Steinmann 1901
1223:
1211:
1209:Lightbown, 140
1202:
1193:
1184:
1182:Hartt, 332β333
1175:
1166:
1157:
1145:
1134:(3): 665β688.
1118:
1101:
1097:Steinmann 1901
1089:
1080:
1071:
1062:
1047:
1038:
1029:
1020:
1008:
999:
997:Lightbown, 126
990:
981:
972:
963:
954:
945:
936:
927:
918:
916:Lightbown, 122
909:
900:
891:
879:
877:Lightbown, 138
870:
861:
852:
840:
825:
816:
807:
795:
786:
784:, p. 282.
771:
753:
752:
750:
747:
746:
745:
738:
735:
716:Birth of Venus
642:Birth of Venus
575:Sistine Chapel
551:
548:
491:
488:
483:Venus and Mars
474:Saint Laurence
288:
285:
206:
203:
195:Uffizi Gallery
147:Villa Castello
145:who saw it at
143:Giorgio Vasari
103:panel painting
83:
82:
73:
69:
68:
65:
61:
60:
57:
53:
52:
49:
45:
44:
39:
35:
34:
26:
25:
15:
13:
10:
9:
6:
4:
3:
2:
2475:
2464:
2461:
2459:
2456:
2454:
2451:
2449:
2446:
2444:
2441:
2439:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2419:
2416:
2414:
2411:
2409:
2406:
2404:
2401:
2400:
2398:
2383:
2380:
2378:
2376:
2372:
2371:
2369:
2365:
2359:
2358:
2354:
2351:
2350:
2346:
2343:
2342:
2338:
2335:
2334:
2330:
2328:
2327:
2323:
2321:
2320:
2316:
2313:
2312:
2308:
2306:
2305:
2301:
2300:
2298:
2294:
2288:
2287:
2283:
2281:
2280:
2276:
2274:
2273:
2269:
2265:
2262:
2260:
2257:
2256:
2255:Annunciation
2254:
2252:
2251:
2247:
2245:
2244:
2240:
2238:
2237:
2233:
2231:
2230:
2226:
2224:
2223:
2222:Bardi Madonna
2219:
2216:
2215:
2211:
2208:
2207:
2203:
2200:
2199:
2195:
2193:
2192:
2188:
2186:
2185:
2181:
2179:
2178:
2174:
2171:
2170:
2166:
2164:
2163:
2159:
2156:
2155:
2151:
2150:
2148:
2144:
2138:
2137:
2133:
2131:
2130:
2126:
2124:
2123:
2119:
2117:
2116:
2112:
2110:
2109:
2105:
2102:
2101:
2097:
2094:
2093:
2089:
2086:
2085:
2081:
2078:
2077:
2073:
2071:
2070:
2066:
2064:
2063:
2058:
2057:
2052:
2051:
2046:
2043:
2040:
2039:
2035:
2033:
2032:
2028:
2026:
2025:
2021:
2018:
2017:
2013:
2011:
2010:
2006:
2004:
2003:
1999:
1997:
1996:
1992:
1991:
1989:
1985:
1980:
1970:
1969:
1965:
1963:
1962:
1958:
1956:
1955:
1951:
1949:
1948:
1944:
1942:
1941:
1937:
1935:
1934:
1933:Divine Comedy
1929:
1927:
1926:
1922:
1920:
1919:
1915:
1913:
1912:
1908:
1906:
1905:
1901:
1899:
1898:
1894:
1892:
1891:
1887:
1886:
1884:
1880:
1876:
1875:List of works
1871:
1867:
1860:
1855:
1853:
1848:
1846:
1841:
1840:
1837:
1830:
1826:
1823:
1820:
1818:
1812:
1808:
1805:
1794:
1790:
1789:
1783:
1779:
1773:
1769:
1764:
1761:
1757:
1756:
1750:
1749:
1745:
1741:
1738:
1736:
1732:
1728:
1724:
1720:
1716:
1715:
1709:
1705:
1701:
1696:
1684:
1680:
1676:
1675:
1670:
1665:
1661:
1655:
1650:
1649:
1642:
1631:
1625:
1621:
1620:
1614:
1610:
1605:
1603:
1599:
1595:
1591:
1588:"Ettlingers":
1587:
1584:
1580:
1576:
1565:
1559:
1555:
1554:
1548:
1537:
1531:
1527:
1526:
1520:
1517:
1513:
1510:
1506:
1501:
1490:
1484:
1480:
1479:
1473:
1472:
1468:
1458:
1455:
1451:
1446:
1443:
1437:
1434:
1428:
1425:
1419:
1416:
1410:
1407:
1401:
1398:
1392:
1389:
1383:
1380:
1374:
1371:
1365:
1362:
1356:
1353:
1350:
1344:
1341:
1337:
1332:
1330:
1326:
1323:, p. 12.
1322:
1317:
1315:
1311:
1305:
1302:
1296:
1293:
1289:
1284:
1281:
1278:, p. 43.
1277:
1276:Deimling 2000
1272:
1269:
1263:
1260:
1257:, p. 52.
1256:
1251:
1248:
1242:
1239:
1236:, p. 80.
1235:
1230:
1228:
1224:
1221:, p. 45.
1220:
1215:
1212:
1206:
1203:
1197:
1194:
1188:
1185:
1179:
1176:
1170:
1167:
1161:
1158:
1154:
1149:
1146:
1141:
1137:
1133:
1129:
1122:
1119:
1115:
1114:Kenneth Clark
1111:
1105:
1102:
1098:
1093:
1090:
1084:
1081:
1075:
1072:
1066:
1063:
1060:, p. 45.
1059:
1058:Deimling 2000
1054:
1052:
1048:
1045:Wind, 117β119
1042:
1039:
1033:
1030:
1024:
1021:
1018:, p. 44.
1017:
1012:
1009:
1003:
1000:
994:
991:
985:
982:
976:
973:
967:
964:
958:
955:
949:
946:
940:
937:
931:
928:
922:
919:
913:
910:
904:
901:
895:
892:
889:, p. 49.
888:
887:Capretti 2002
883:
880:
874:
871:
865:
862:
856:
853:
850:
844:
841:
838:, p. 48.
837:
836:Capretti 2002
832:
830:
826:
820:
817:
811:
808:
805:, p. 42.
804:
799:
796:
790:
787:
783:
778:
776:
772:
768:
763:
761:
759:
755:
748:
744:
741:
740:
736:
734:
732:
727:
725:
721:
717:
708:
704:
701:
697:
691:
689:
685:
681:
676:
674:
666:
662:
658:
654:
652:
648:
644:
643:
638:
633:
631:
627:
623:
619:
618:
609:
605:
601:
599:
595:
591:
587:
583:
578:
576:
568:
564:
560:
556:
549:
546:
544:
543:Kenneth Clark
540:
536:
530:
527:
525:
520:
518:
513:
511:
507:
503:
502:
497:
489:
487:
485:
484:
479:
475:
469:
467:
466:
461:
455:
453:
447:
445:
441:
440:Pallas Athena
437:
436:
431:
425:
418:
414:
413:
409:Botticelli's
407:
403:
401:
397:
393:
389:
388:
383:
379:
374:
369:
366:
362:
358:
354:
350:
346:
342:
338:
334:
330:
327:
326:
321:
315:
313:
309:
304:
297:
293:
286:
284:
282:
281:
274:
270:
266:
264:
260:
254:
250:
248:
244:
240:
236:
230:
228:
224:
215:
211:
204:
202:
200:
196:
192:
188:
184:
180:
179:Medici family
175:
173:
169:
165:
161:
157:
156:
150:
148:
144:
140:
136:
132:
128:
124:
119:
116:
112:
109:paint by the
108:
104:
99:
91:
90:
81:
77:
74:
70:
66:
62:
58:
54:
50:
46:
43:
40:
36:
32:
27:
22:
19:
2443:Dance in art
2374:
2355:
2347:
2339:
2331:
2324:
2317:
2309:
2302:
2284:
2277:
2270:
2248:
2241:
2234:
2227:
2220:
2212:
2209:(Strasbourg)
2204:
2196:
2189:
2182:
2175:
2167:
2160:
2152:
2134:
2127:
2120:
2113:
2106:
2098:
2090:
2082:
2074:
2067:
2060:
2054:
2049:
2036:
2029:
2022:
2014:
2007:
2000:
1993:
1966:
1959:
1952:
1945:
1938:
1932:
1923:
1916:
1909:
1902:
1896:
1895:
1888:
1828:
1816:
1810:
1796:. Retrieved
1787:
1767:
1753:
1743:
1726:
1713:
1704:The Guardian
1703:
1687:. Retrieved
1683:the original
1679:Khan Academy
1674:SmARThistory
1672:
1647:
1633:. Retrieved
1618:
1608:
1593:
1567:. Retrieved
1552:
1539:. Retrieved
1524:
1515:
1504:
1492:. Retrieved
1477:
1457:
1445:
1436:
1427:
1418:
1409:
1400:
1391:
1382:
1373:
1364:
1355:
1343:
1304:
1295:
1283:
1271:
1262:
1250:
1241:
1214:
1205:
1196:
1187:
1178:
1169:
1160:
1148:
1131:
1127:
1121:
1109:
1104:
1092:
1083:
1074:
1065:
1041:
1032:
1023:
1011:
1002:
993:
984:
975:
966:
957:
948:
939:
930:
921:
912:
903:
894:
882:
873:
864:
855:
843:
819:
810:
798:
789:
769:, p. 5.
728:
715:
713:
692:
677:
670:
640:
636:
634:
629:
625:
615:
613:
593:
579:
572:
538:
535:Aretine ware
532:
528:
521:
514:
505:
499:
493:
481:
477:
470:
465:Annunciation
463:
456:
448:
433:
429:
426:
422:
416:
410:
385:
373:Three Graces
370:
331:
323:
316:
312:Neoplatonism
300:
278:
275:
271:
267:
255:
251:
239:Three Graces
231:
219:
176:
167:
163:
153:
151:
138:
120:
88:
87:
86:
18:
2344:(Frankfurt)
2341:Young Woman
1825:Wind, Edgar
1752:Lucretius.
1689:29 February
1556:. Taschen.
1450:Healey 2011
1321:Fisher 2011
1255:Cheney 1985
510:chlorophyll
496:Aby Warburg
400:Pulchritudo
345:Hellenistic
205:Composition
2397:Categories
2352:(Florence)
2157:(Florence)
2019:(Florence)
1788:Botticelli
1735:1904449212
1727:Botticelli
1602:0500201536
1594:Botticelli
1478:Botticelli
1191:Hartt, 332
1164:Hartt, 332
1006:Hartt, 332
767:Fossi 1998
749:References
452:Persephone
392:Edgar Wind
387:De pictura
343:came; the
263:tapestries
259:millefleur
64:Dimensions
2349:Young Man
2333:Young Man
2311:Young Man
2296:Portraits
2172:(Avignon)
2095:(Trinity)
1987:Religious
1897:Primavera
1890:Fortitude
1336:Heyl 1912
1308:Clark, 92
1288:Lucretius
630:Primavera
624:with the
594:lettuccio
539:Primavera
517:Poliziano
430:Primavera
417:Primavera
201:, Italy.
191:Poliziano
187:Lucretius
168:Primavera
139:Primavera
89:Primavera
24:Primavera
2314:(London)
2264:New York
2217:(Boston)
2201:(Naples)
2146:Madonnas
2079:(Munich)
1827:(1958),
1742:(1989),
1514:(1949),
1140:23076486
737:See also
731:restored
688:Giuliano
665:Zephyrus
396:Voluptas
353:Claudian
303:allegory
247:caduceus
223:Zephyrus
199:Florence
135:Florence
127:allegory
113:painter
80:Florence
72:Location
2367:Related
2259:Glascow
2103:(Milan)
1882:Secular
1819:on-line
1815:Vasari
1798:16 July
1635:16 July
1569:16 July
1541:16 July
1494:16 July
1469:Sources
1266:Dempsey
970:Dempsey
952:Dempsey
934:Dempsey
793:Dempsey
661:Chloris
598:cornice
559:Mercury
550:History
506:khloros
490:Sources
444:centaur
384:in his
287:Meaning
243:Mercury
227:Chloris
107:tempera
2463:Anemoi
1807:Vasari
1774:
1733:
1656:
1626:
1600:
1560:
1532:
1485:
1138:
478:medici
378:Seneca
365:Uranus
361:Hesiod
357:myrtle
349:citrus
325:Aeneid
320:Virgil
76:Uffizi
56:Medium
38:Artist
1136:JSTOR
622:tondo
608:Flora
501:Fasti
333:Venus
235:Cupid
214:Venus
164:Birth
2059:and
1817:Life
1800:2010
1772:ISBN
1731:ISBN
1691:2012
1654:ISBN
1637:2010
1624:ISBN
1598:ISBN
1571:2010
1558:ISBN
1543:2010
1530:ISBN
1496:2010
1483:ISBN
684:Pope
663:and
371:The
183:Ovid
48:Year
541:. (
472:of
446:).
394:as
380:by
322:'s
197:in
105:in
2399::
2053:,
2047::
1793:78
1719:88
1702:.
1677:.
1671:.
1581:,
1328:^
1313:^
1226:^
1132:42
1130:.
1050:^
828:^
774:^
757:^
468:.
454:.
432::
78:,
1858:e
1851:t
1844:v
1802:.
1780:.
1721:.
1706:.
1693:.
1662:.
1639:.
1573:.
1545:.
1498:.
1452:.
1290:.
1155:.
1142:.
667:.
569:.
545:)
419:.
221:"
92:(
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