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of 1490, 1495, 1500 for the Milan Lamentation (Museo Poldi-Pezzoli), the Story of Virgina (Accademia Carrara, Bergamo) and Lucretia (Isabella Steward Gardner Museum) and the Mystic Crucifixion (Fogg Art Museum, Harvard).37 All attributions after 1501 are speculative. However, the poses in the Pentecost (Birmingham), the Agony (Museu de la Capilla de los Reyes, Granada) and the Transfiguration (Galleria Palavicini) seem to be more exaggerated than in the Mystic Nativity, whereas the rendering of drapery tends towards greater simplicity. This suggests that they (including the fragments) were executed after Botticelli���s last datable work. The Virgin with her devout facial expression, accentuated stomach and wide robe is mirrored in the Pushkin Annunciation (Moscow), whereas the figure of Joseph can be inferred from the unfinished Uffizi panel. The same panel shows a depiction of the oldest king that is closely related to the one in the fragments. Alternatively, Andreas and Philip in the Pentecost or Augustine in the Transfiguration could be cited. ���The foremost figure stooping forward with hands crossed over [his] breast��� in the left fragment is similar to another apostle in the Pentecost.38 The drapery of the spectator in full length in the right fragment almost exactly matches that of Moses in the Transfiguration. It seems likely that compositional and stylistic elements come from the bronze reliefs Botticelli often saw. For example, the agitated movement in Giovanni di Bertoldo���s Battle Relief of c. 1478 (Bargello, Florence) or the centralised arrangements in Donatello���s pulpits might have stimulated Botticelli���s imagination. The way HYLAND 18