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in an eye-catching and memorable way for the forgetful, and with full use of all emotional resources of the sense of sight���.53 This implicitly contradicts Burrough���s notion according to which there was no ���Savonarolan��� style as such.54 He admittedly bases his opinion on the scarcity of specific stylistic recommendations in the surviving documents. However, as Steinberg points out, the use of rich and varied imagery and numerous metaphors derived from the visual arts, on which Savonarola���s sermons were founded, might have easily caught the imagination of both artist and patron.55 Botticelli���s fragments of an Adoration of the Magi seem to follow Savonarola���s aspiration to create art that is ���straightforward and simple���.56 However, does this make Botticelli ���Savonarolan���? Does this make the fragments ���Savonarolan���? The fateful link between Botticelli and Savonarola was first established by Vasari in his Lives. [Botticelli] was apparently a follower of Savonarola���s faction, which led him to abandon painting; unable to make enough to live on, he fell into the direst of straits. Nevertheless, he obstinately remained a member of this faction and became a piagnone [���] which kept him away from his work. Thus, he eventually found himself both old and poor, and if [���] prominent men who were admirers of his talent, had not assisted him during the rest of his life, he would almost have starved to death.57 HYLAND 22