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Which spouted forth size of life, Maria Maggiore Reta with fire: as he did a St Sein Florence, be- He also printed many poorly done. his hand is gracefully. In the with of Duke still two Cosimo's; one repre- Winds and to earth, with the Cupids; whom the Graces seen to have expressed very figures Boccaccio's tale of Nastagio charming and beautiful workmanship... tains the Adoration of the Magi, is seen the foot of 46 by of the Faith effected in the first old most It con- and wonderful man, who, kissing Our Lord, and melting with tender- to desert his painting, and, to live on, feU into having no very great distress.

It is how it came to Milan, but it could not clear have been a gift of Charles VIII of France to the Duke is set Midas, depicted with deliberately cryptic, as is indicated by the The scene of Milan. distance a withered and bony old woman, dressed in black and white. Repentance, turns toward Truth, a nude woman pointing towards heaven. 37 PRODUCTION: THE LAST WORKS ST AUGUSTINE STUDY IN HIS 1495, (c. Florence, Uffizi). This small panel, according to some, was executed for two followers of Savonarola, Giacomo and Giovanni Bernardo.

TTie ecstatic, dreamy female faces painted by Botticelli appealed greatly to the English Pre-Raphaelite school, in particular to Burne-Jones, Dante Gabriel Rossetti, and William Edward Holman Hunt. Tliey without doubt had the opportunity in England to study Botticelli's images, even in simple reproductions, and to take from them the rhythmic play of line aimed at creating an aesthetic ideal of perfection. if The faces he painted represented a model of reference even thefr femininity is reinterpreted in a dark and passionate or enigmatic key, prefiguring the myth of the androgynous figure.

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