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Updated: May 27, 2025
Piero di Cosimo is here, religious and not mythological; and here are a very straightforward and satisfying Mariotto Albertinelli the "Virgin and S. Elizabeth," very like a Fra Bartolommeo; a very rich and beautiful "Deposition" by Botticini, one of Verrocchio's pupils, with a gay little predella underneath it, and a pretty "Holy Family" by Franciabigio. But Andrea remains the king of the walls.
No. 8, called officially School of Verrocchio, and by one firm of photographers Botticini, and by another Botticelli, is a fine free thing, low in colour, with a quiet landscape, and is altogether a delight.
Michelangelo The David The tomb of Julius A contrast Fra Angelico The beatific painter Cimabue and Giotto Masaccio Gentile da Fabriano Domenico Ghirlandaio Fra Angelico again Fra Bartolommeo Perugino Botticelli The "Primavera" Leonardo da Vinci and Verrocchio Botticelli's sacred pictures Botticini Tapestries of Eden.
And if this is the Annunciation as it happened long ago in Tuscany, in heaven the angels danced for sure, thinking of our happiness, as Botticini knew; and so he has painted those seven angels playing various instruments, while about their feet he has strewn a song of songs. A S. Andrea and St.
Compare the embroidery and gold thread work in "The Virgin adoring the Infant Christ," ascribed to Andrea Verrocchio, No. 296, Room V; "The Annunciation" by Carlo Crivelli, No. 739, Room VIII; in "The Angel Raphael accompanies Tobias on his Journey into Media" attributed to Botticini, No. 781, Room V; in "Portrait of a Lady," school of Pollaiuolo, No. 585, Room V; in "A Canon of the Church with his Patron Saints" by Gheeraert David, No. 1045, Room XI; or indeed the general run of the gold embroidery of the period as shown in our gallery.
As to the theology, I say nothing, nor as to its new ascription to Botticini; but the picture has a greater interest for us in that it contains a view of Florence with its wall of towers around it in about 1475.
In the gallery itself a few lovely things have been gathered together, of which certainly the finest are the angels of Botticini, two children winged and crowned with roses, dressed in the manner of the fifteenth century, with purfled skirts and slashed sleeves powdered with flowers, who bow before the S. Sebastian of Rossellino.
Two other works attributed to Botticini, certainly not less lovely, are to be found here: an Annunciation in the manner of his master Verrocchio, where Mary sits, a delicate white girl, under a portico into which Gabriele has stolen at sunset and found her at prayer; far away the tall cypresses are black against the gold of the sky, and in the silence it almost seems as though we might overhear the first Angelus and the very message from the angel's lips.
It represents Tobias and the three angels, and Raphael moves nobly, although not with quite such a step as the radiant figure in a somewhat similar picture in our own National Gallery No. 781 which, once confidently given to Verrocchio, is now attributed to Botticini; while our No. 296, which the visitor from Florence on returning to London should hasten to examine, is no longer Verrocchio but School of Verrocchio.
When we think of these attributions and then look at No. 154 in the Accademia another Tobias and the Angel, here given to Botticini we have a concrete object lesson in the perilous career that awaits the art expert,
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