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Updated: May 20, 2025
A denial was hardly worth while and quite useless. "You must ask him that, Miss Quisanté," May replied. Aunt Maria nodded and gazed at her long and steadily. "Yes, you're his Empress among women," she said at last with a little sneer. "Sandro has a phrase for everything and everybody. And are you in love with him?"
See speeches, meetings, committees, the Alethea so on so on. They're all what they call cancelled now." He turned the leaves and Aunt Maria stood by him, watching. "They won't get anybody to do 'em like you, Sandro," she said. He flung the book down on the floor in sudden peevishness, with an oath of anger and exasperation.
"Her sandals ravished his eyes, her beauty took his mind prisoner, and the fauchion passed through his neck." That is the leit-motif: Sandro the poet knew it perfectly well and taught it, to the no small comfort of Mr. Ruskin and his men.
At ten o'clock on the morning of April the twenty-sixth, a great bell began to toll: two beats heavy and slow, and then silence, while the air echoed the reverberation, moaning. Sandro, in shirt and breeches, with bare feet spread broad, was at work in his garret on the old bridge.
In Leonardo's treatise on painting only one contemporary is mentioned by Name Sandro Botticelli. This pre-eminence may be due to chance only, but to some will rather appear a result of deliberate judgment; for people have begun to find out the charm of Botticelli's work, and his name, little known in the last century, is quietly becoming important.
To this pile, Vasari tells us, Bartolommeo brought all his studies and drawings which he had made from the nude, and threw them into the flames; so also did Lorenzo di Credi and many others, who were called Piagnoni, among them, no doubt, Sandro Botticelli.
But he was probably still more at home in interpreting the work of the great painters. And of his "appreciations" of painters none is more characteristic than his study of Botticelli. It was written in 1870, and published in The Renaissance in 1873. In Leonardo's treatise on painting only one contemporary is mentioned by name Sandro Botticelli.
First, ANTONIO POLLAIUOLO; second, SANDRO BOTTICELLI; and lastly, LEONARDO DA VINCI. It is important to note that Pollaiuolo was first apprenticed to a goldsmith, and attained such proficiency in that craft that he was employed by Lorenzo Ghiberti in the carving of the gates of the Baptistry, and subsequently set up a workshop for himself.
Besides this, he had a most sumptuous decoration made in the great open court, all full of stories; on one side of the Greeks and Romans, and on the other sides of deeds done by illustrious men of that house of Medici, which were all executed under the direction of Tribolo by the most excellent young painters that there were in Florence at that time Bronzino, Pier Francesco di Sandro, Francesco Il Bacchiacca, Domenico Conti, Antonio di Domenico, and Battista Franco of Venice.
The painter of it, Sandro Botticelli, a Florentine, in whom were blended the piety of the Middle Ages and the intellectual life of the Renaissance, was a very interesting man, whose like we shall not find among the painters of his own or later days. He was born in 1446, in Florence, the city in Italy most alive to the new ideas and the new learning.
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