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���dramatic drop in commissions in 1494��� in general, with ���no reversal of [this] trend after Savonarola���s death.69 The fact that Botticelli operated a busy workshop throughout this period illustrates once more an Albertian virtue, that of ���securing people���s favour���.70 It also shows that he might have agreed that painting was similar to other manufacturing arts and therefore catering to clients��� preferences was more important than the artists��� own ideals. Further stimulated by his ability to visualise texts, as shown in the illustration for Dante���s Divine Comedy and the Calumny, he gained acceptance in diverse circles.71 However, the devotional image was to become the true ���warhorse��� of the master and his workshop.72 With a transition towards increasing religious passion in Botticelli���s late work, due to his changing clientele, one would expect a change in technique as well. Leonardo has been widely credited with being the driving force behind Botticelli���s use of monochrome underdrawing.73 It is not impossible that Leonardo���s publicly displayed Adoration had an impact on Botticelli. Since Botticelli was the older artist and the only contemporary Leonardo mentions in his treatise this suggests that the influence might have been rather the other way round. On examination, Botticelli���s technique seems to conform to Cennini���s instructions on preparing and executing a painting.74 As Ciatti figured out, Botticelli typically used two layers of gesso as well as animal glue and oil as a sub-stratum.75 On the then prepared canvas, especially for a complex work, Botticelli sketched the outline using a fine pointed charcoal stick which he could later fix with HYLAND 25