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and have been cleaned and restored. The New York panel is in the poorest condition, having been cleaned too aggressively in the past, so that colours appear to have leached. Until 1946 the skeletons in the centre scene were hidden under over-painting. The
Dresden panel is merely covered by thick yellowish
355:
The
Dresden panel reached the art market in the 1820s, and entered the museum in 1868. The other panels came from the Rondinelli collection in Florence around the 1880s. The New York panel was acquired in London by the museum in 1911, having been in an English collection, and the London ones in 1924
368:
The four panels have rather different appearances, which in the past has led some scholars to suggest different authorship. But the differences arise from different treatment, cleaning and restoration, showing the effect different approaches can have. The two London panels are in the best condition,
351:
given by the father for one of these weddings, probably that of Zanobi
Girolami in 1500. This was proposed by Ellen Callmann in an article in 1984. The subjects are not typical for art celebrating a wedding, but in the case of the Girolami family their pride in the connection may well explain this.
344:
by Fra
Clemente Mazza in 1475. This account is closely followed by Botticelli in all the panels. The Girolami family claimed descent from Zenobius' father, had what was said to be his episcopal ring, and had created two chapels dedicated to him. Two of Francesco Girolami's sons married around this
213:
The somewhat stark style of the panels, with contorted figures in anguish and an interest in the architectural backgrounds, is typical of
Botticelli's last years. Various degrees of participation in the painting by workshop assistants have been suggested. The drawing of the largely nude figure of
167:
In the
Dresden panel a single miracle is shown in three scenes, from left to right. A young man is run over by a cart and killed. His distraught mother, a widow, carries him to the church. He is resurrected by a prayer of Zenobius (not shown) and reunited with his mother. At right, Zenobius on his
148:
range, and restores him to life, with the help of the relics. At right a sub-deacon called
Eugenius (who also became a saint) is shown three times: in the bishop's palace interior Zenobius gives him a cup of salt and water, which he carries and then administers to a female relative who had died
271:
The clergy wear essentially contemporary clerical dress, while most of the laity wear "iconographic" costume, the
Renaissance idea of ancient dress, except for men's hats, and the porter, boys and servants, who wear modern dress with shorter jackets. The modern elements in the men's costume,
143:
The New York panel shows: at left
Zenobius encounters the funeral procession of a youth, and restores him to life. At centre Zenobius finds a group weeping at the death of a porter who had carried the relics of saints (shown as skeletons in a coffin) over the
332:
The panels were possibly commissioned by a religious institution in
Florence to be set into wood paneling around a room. It was claimed by C. F. von Rumohr, a German writer, in 1827 that they came from a Compagnia di San Zenobio attached to
1254:
164:". She had left him with the bishop while she made a pilgrimage to Rome, and he died. At right, outside the cathedral he restores the sight of a blind beggar, who had promised to become a Christian in that event.
1123:
602:
66 (September 1984), pp. 492–96; Christiansen's "References" section give excellent summary notes of the views on this and other matters in the main recent literature. Cecchi (2005) prefers the 1497 wedding.
187:
by Fra Clemente Mazza (1475) was identified as the source, rather than another version; the paintings clearly follow the sequence, details and chapter divisions of this, and the sequence appears complete.
103:
shows (left to right): Zenobius rejects the bride chosen by his parents, then walks away; Zenobius is baptized; his mother is baptized by the bishop of Florence; he is consecrated as Bishop of Florence by
798:
555:
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It is generally agreed that the paintings come from the last phase of Botticelli's career, perhaps c. 1500–1505; some authorities regard them as possibly the artist's latest surviving works.
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Davies, 109; Christiansen, who cites the Ettlingers and Lightbown as regarding them as possibly the latest. Lightbown (in 1989) calls them, with the Histories of
1155:
340:
Alternatively, they may have been intended for a home. A possible patron was Francesco di Zanobi Girolami (1441–1515), whose brother commissioned the written
272:
especially the "gold-embroidered peaked hats with contrasting turned-up or turban-shaped crowns" of the upper-class figures, are rather out of date for 1500.
252:
ornament on the richer buildings is notable. Botticelli has grasped the Roman style so effectively that it is suspected he may have visited Rome since Nero's
1162:
791:
556:
Dunkerton, J., Roy, A. 'The Materials of a Group of Late Fifteenth-century Florentine Panel Paintings'. National Gallery Technical Bulletin Vol 17, pp 20–31.
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708:
25:
Zenobius rejects the bride chosen by his parents and walks away; Zenobius is baptized; his mother is baptized; he is consecrated as Bishop of Florence by
248:
The architecture shows contemporary Florentine styles, which are arguably not in general inappropriate to depict the city in about 360–415. The use of
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on wood, and around 66 cm (26 in) high, though their length varies rather more, from about 149 to 182 cm (59 to 72 in).
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80:. Four panels from the series survive, which are now in three different museums. Each depicts three or more incidents from the life of
1110:
900:
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457:"the last surviving large paintings", dating them "c. 1500–1505" and the histories "c. 1496–1504", but then discussing the unfinished
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The London miracle panel has three scenes. At left, two young men had treated their mother badly, and been cursed by her. Zenobius
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175:, thought that the surviving series may not be complete, since one of the better known miracles of the saint, where a dead
245:(84 x 177 cm). In these, with a slightly larger scale, both figures, costumes and architecture are more elaborate.
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The series is comparable with another pair of paintings from these last years, also now in different museums. These are
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of 1500. In the London panel with the earlier life, the rich building at right represents both an early
265:
81:
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in London have been investigated recently. The pigment analysis revealed the usual pigments of the
1225:
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334:
261:
145:
85:
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214:
Zenobius being baptized has weaknesses, with an arm too puny for the torso and a strange foot.
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Christiansen. Citing: Ellen Callmann. "Botticelli's 'Life of Saint Zenobius'."
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them. At centre: Zenobius restores to life the son of a "noble lady from
157:
116:
in New York has a panel with another three miracles, also called by them
183:, is not shown in any of these scenes. But this was before the written
650:
Christiansen, Keith, Metropolitan Museum of Art catalogue entry, 2011,
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519:
Lightbown, Chapter 13, especially 266–268 and 278–279; Christiansen
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690:
1255:
Paintings by Sandro Botticelli in the National Gallery, London
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Sandro Botticelli, Three Miracles of Saint Zenobius, ColourLex
176:
799:
Venus and the Three Graces Presenting Gifts to a Young Woman
568:
Four Scenes from the Early Life of Saint Zenobius, ColourLex
337:. But it is thought unlikely that they owned any paintings.
345:
time, in 1497 and 1500, and the commission may have been
1131:
Virgin and Child with the Young Saint John the Baptist
806:
A Young Man Being Introduced to the Seven Liberal Arts
1124:
Virgin and Child with the Infant St. John the Baptist
663:, National Gallery Catalogues, 1961, reprinted 1986,
1218:
1147:
997:
838:
733:
179:burst into leaf after being touched by the saint's
1171:Portrait of a Man with a Medal of Cosimo the Elder
101:Four Scenes from the Early Life of Saint Zenobius
61:in three scenes, and the death of Saint Zenobius
256:was rediscovered around 1480, perhaps for the
108:(this in Rome). The second London panel shows
88:who perhaps died in 417. The works are all in
1265:Collection of the Gemäldegalerie Alte Meister
702:
132:in three scenes, and the death of the saint.
8:
792:The Story of Nastagio Degli Onesti, part one
1270:Paintings in the Metropolitan Museum of Art
1102:Madonna Adoring the Child with Five Angels
709:
695:
687:
1209:Portrait of a Young Man holding a Roundel
661:Catalogue of the Earlier Italian Schools
465:, "c. 1500–1505") last of all, on p.279.
99:in London has two panels. One of these,
51:
43:
32:
20:
16:Series of paintings by Sandro Botticelli
854:The Discovery of the Body of Holofernes
393:
48:Three miracles, London, 66.5 x 149.5 cm
981:Scenes from the Life of Saint Zenobius
69:Scenes from the Life of Saint Zenobius
7:
438:Aus dem Leben des heiligen Zenobius
436:Davies, 109; Dresden, they call it
292:. Botticelli employed red lake and
960:The Last Communion of Saint Jerome
383:List of works by Sandro Botticelli
268:for the consecration by the Pope.
14:
153:, which brings her back to life.
1058:Virgin and Child with Two Angels
1050:Virgin and Child with Two Angels
952:Lamentation over the Dead Christ
928:Lamentation over the Dead Christ
861:The Return of Judith to Bethulia
829:
681:Sandro Botticelli: Life and Work
510:Lightbown, 269–278; Christiansen
118:Three Miracles of Saint Zenobius
110:Three Miracles of Saint Zenobius
72:is a series of paintings by the
1178:Portrait of Giuliano de' Medici
914:Punishment of the Sons of Korah
239:Isabella Stewart Gardner Museum
1260:Paintings by Sandro Botticelli
1066:Virgin and Child with an Angel
1036:Madonna in Glory with Seraphim
1006:Virgin and Child with an Angel
1:
1156:Portrait of Smeralda Brandini
652:online (expand catalogue tab)
418:Davies, 108–109; Christiansen
936:Saint Augustine in His Study
890:Saint Augustine in His Study
231:(86 x 165 cm), and the
40:, New York, 67.3 x 150.5 cm
1286:
1095:Madonna of the Pomegranate
1043:Madonna of the Rose Garden
114:Metropolitan Museum of Art
1081:Madonna of the Magnificat
827:
724:
683:, 1989, Thames and Hudson
280:The two paintings in the
171:Some scholars, including
29:, London. 66.5 x 149.5 cm
847:Sant'Ambrogio Altarpiece
675:Dresden page (in German)
139:Stories of the miracles
1138:Madonna del Padiglione
893:(Florence: Ognissanti)
756:Pallas and the Centaur
329:
288:with the exception of
210:
149:without receiving the
128:has a panel showing a
64:
63:. Dresden, 66 x 182 cm
49:
41:
30:
967:The Mystical Nativity
944:Pala delle Convertite
921:Cestello Annunciation
902:Temptations of Christ
868:Adoration of the Magi
820:The Story of Lucretia
813:The Story of Virginia
783:Illustrations to the
459:Adoration of the Magi
327:
220:The Story of Virginia
202:The Story of Virginia
199:
55:
47:
36:
24:
1029:Madonna delle Grazie
1014:Madonna della Loggia
328:Detail from New York
1234:Botticelli (crater)
1088:Madonna of the Book
679:Lightbown, Ronald,
566:Sandro Botticelli,
296:for the red robes,
286:Italian Renaissance
264:in the baptism and
74:Italian Renaissance
1229:(2016 documentary)
1227:Botticelli Inferno
1188:(Washington, D.C.)
988:The Man of Sorrows
974:Mystic Crucifixion
939:(Florence: Uffizi)
777:Calumny of Apelles
770:The Birth of Venus
528:Lightbown, 260–269
335:Florence Cathedral
330:
316:(green verditer).
262:Florence Cathedral
211:
86:Bishop of Florence
65:
50:
42:
31:
1242:
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1021:Madonna and Child
718:Sandro Botticelli
312:, and artificial
266:Old Saint Peter's
234:Story of Lucretia
225:Accademia Carrara
207:Accademia Carrara
192:Style and context
78:Sandro Botticelli
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342:Life of Zenobius
282:National Gallery
276:Pigment analysis
185:Life of Zenobius
97:National Gallery
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122:Gemäldegalerie
38:Three miracles
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785:Divine Comedy
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727:List of works
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1061:(Strasbourg)
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358:Mond Bequest
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254:Golden House
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209:(86 x 165cm)
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117:
109:
106:Pope Damasus
100:
94:
68:
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27:Pope Damasus
18:
1196:(Frankfurt)
1193:Young Woman
673:"Dresden",
629:Davies, 109
611:Davies, 109
589:Davies, 109
501:Davies, 109
290:ultramarine
168:death bed.
84:, an early
1249:Categories
1204:(Florence)
1009:(Florence)
871:(Florence)
669:0901791296
645:References
320:Provenance
306:lead white
151:Last Rites
1201:Young Man
1185:Young Man
1163:Young Man
1148:Portraits
1024:(Avignon)
947:(Trinity)
839:Religious
749:Primavera
742:Fortitude
364:Condition
348:spalliere
314:malachite
294:vermilion
258:Holy Year
250:grotesque
158:exorcises
1166:(London)
1116:New York
1069:(Boston)
1053:(Naples)
998:Madonnas
931:(Munich)
455:Verginia
451:Lucretia
377:See also
146:Apennine
82:Zenobius
1219:Related
1111:Glascow
955:(Milan)
734:Secular
492:Dresden
371:varnish
356:in the
298:azurite
229:Bergamo
130:miracle
126:Dresden
120:. The
112:. The
90:tempera
76:artist
59:miracle
667:
463:Uffizi
310:ochres
243:Boston
237:, now
389:Notes
911:and
665:ISBN
453:and
181:bier
162:Gaul
95:The
227:in
177:elm
124:in
1251::
905:,
899::
659:,
373:.
360:.
308:,
304:,
300:,
241:,
205:,
57:A
710:e
703:t
696:v
461:(
440:.
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