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especially true of the left fragment, in which the outlines of the agitated group merge and dissolve almost indistinguishably resulting in a ���strongly atmospheric and psychologically disturbing��� scene.36 Seen together, the Adoration fragments contrast fraught movement with a very sensuous moment of devotion. In addition, they juxtapose the almost sfumato-like rendering of the horses with the carefully accentuated group of horsetamers and, even more importantly, the holy family, to create a dramatic ambiance. How Botticelli achieves this effect can be seen in earlier drawings attributed to him such as Faith and Autumn or Abundance, both in the British Museum. Prior to, or while drawing with brown ink, he would coarsely rub chalk onto paper ground which would later exceed contours or in the case of the latter, could be scumbled using a wet brush. Thus, the surface colour and texture become an immanent part of the drawing. Botticelli seems to have recreated these effects on the fragment���s canvas ground. Even the female type in Faith seems to be directly related to the Madonna in the Adoration. In the absence of many securely datable paintings, compounded by the versatility of his style and unknown extent of workshop participation, it is difficult to plot the course of Botticelli���s output in the later part of his career. Among the works from 1490 onwards only the Cestello Annunciation (Uffizi), the Munich Lamentation (Alte Pinakothek) and the Mystic Nativity (National Gallery, London) can be firmly given the dates of 1490, 1492 and 1501, respectively. Slightly less certain are the dates HYLAND 17