Chapter I: Front Matter

MASTERPIECES IN COLOUR

EDITED BY T. LEMAN HARE

BOTTICELLI

=====================================================================

PLATE I.--THE BIRTH OF VENUS. From the tempera on canvas in the Uffizi. (Frontispiece)

This picture is generally regarded as the supreme achievement of Botticelli's genius. It was probably painted about 1485, after his return from Rome. The canvas measures 5 ft 8 in. by 9 ft 1 in., so that the figures are nearly life size. No reproduction can do justice to the exquisite delicacy of expression in the original. Something of the same quality will be found in the "Mars and Venus" in the National Gallery, which was probably painted about the same time. The two figures on the left are usually described as Zephyrus and Zephyritis, representing the south and south-west winds: that on the right may be one of the Hours of Homer's Hymn, or possibly the Spring.

=====================================================================

BOTTICELLI

BY HENRY BRYAN BINNS

ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR

LONDON: T. C. & E. C. JACK

NEW YORK: FREDERICK A. STOKES CO.

1907

The plates are printed by BEMROSE DALZIEL, LTD., Watford

The text at the BALLANTYNE PRESS, Edinburgh

LIST OF ILLUSTRATIONS

Plate

I. The Birth of Venus . . . . . . . . . . . . _Frontispiece_
From the tempera on canvas in the Uffizi

II. Spring
From the tempera on wood in the Florence Academy

III. Portrait of a Man
From the panel in the Florence Academy

IV. The Madonna of the Magnificat, known also as the Coronation
of the Virgin
From the tondo in the Uffizi

V. The Madonna of the Pomegranate
From the tondo in the Uffizi

VI. The Annunciation
From the panel in the Uffizi

VII. The Virgin and Child with St. John and an Angel
From the panel in the National Gallery

VIII. The Virgin and Child by an Open Window
From the panel in the National Gallery

From Florence, in the second half of the fifteenth century, men looked into a new dawn. When the Turk took Constantinople in 1443, the "glory that was Greece" was carried to her by fleeing scholars, and she became for one brilliant generation the home of that Platonic worship of beauty and philosophy which had been so long an exile from the hearts of men. I say Platonic, because it was especially to Plato, the mystic, that she turned, possessed still by something of the mystical intensity of her own great poet, himself an exile. When, in 1444, Pope Eugenius left her to return to Rome, Florence was ready to welcome this new wanderer, the spirit of the ancient world. And the almost childish wonder with which she received that august guest is evident in all the marvellous work of the years that followed, in none more than in that of Sandro Botticelli.

=====================================================================

PLATE II.--SPRING. (From the tempera on wood in the Florence Academy)

The date of this painting is much debated. It may probably be about 1478, before the Roman visit. It is somewhat larger than the "Venus," but the figures are of similar size. Reading from the left they are usually described as Mercury, the Three Graces, Venus, Primavera the Spring-maiden, Flora, and Zephyrus. The robed Venus is in striking contrast with that of the later picture.

=====================================================================

He indeed was born in the very year of that new advent, lived through the period of its sunshine into one of storms--Stygian darkness and frightful flashes of light--and went down at last, an old broken man, staggering between two crutches, to his grave. His times were those of Lorenzo the Magnificent, who was a few years his junior, the unacknowledged despot of the Tuscan Republic, a prince, cold and hard as steel, worthy to be an example for young Macchiavelli, yet none the less a poet, and a devoted lover both of philosophy and of all beautiful things.

It was an age when a new synthesis was being made, and old enemies reconciled, so that men were less ready then to blame than to admire, and the best feeling of the time was that of reverent wonder. It is this which, more than any other painter, Botticelli has expressed for us. His pictures are living witnesses to the reverence which, in his day, the mystery of human life evoked in spirits such as his.

But while this is true, and true in the first degree of Sandro and his work, they express besides other moods, and betray other influences. The later quatrocento was the time not only of Lorenzo and the Platonists, but of Savonarola also, the last great figure of the Middle Ages, strangely proclaiming the new days; and with him, of foreign incursions into Italy and Florence, of violence and all the black-brood of religious and civil strife. And at the end of those days came Michael Angelo, whose sombre masculine genius stands in such striking contrast to all the subtle grace and wistful gladness of Botticelli.

But Botticelli, who was of the circle of the neo-Platonists, was also among those who loved the friar of Ferrara; if he was the friend of Leonardo da Vinci he was associated also with Michael Angelo. In his life, and in the work which is the expression of that life, we can read plainly the perplexity and the discords, as well as the new and arresting harmonies of that time. His wonder is not all a glad reverence; it is sometimes, and increasingly, a poignant questioning of the sibyls.