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Even modern scholars such as Cleugh in 1975 and Lightbown in 1989 have accepted Botticelli���s later work as influenced by the Dominican preacher. Vasari���s allegation that Botticelli���s output had been in decline is contradicted by the strikingly large number of ���Botticellian��� paintings in his later years.58 Botticelli���s belated matriculation in the artists��� guild in 1502 indicates an intense period of production in the aftermath of Savonarola���s fall.59 It cannot be determined, whether, as Burroughs conjectures, Vasari���s assertions can be explained by the likelihood that he confused Sandro with his brother, Simone Filipepi, who was an ardent piagnone (i.e. follower).60 Botticelli���s studio was, at least on one occasion, the meeting place for the anti-Savonarolan Compagnacci which might explain why he never signed the petition against the excommunication of the preacher.61 Although we can neither establish a specific relationship between Savonarola and Botticelli, nor disprove one, there is indeed, a notable shift in Botticelli���s work from the mid1480s onwards, as Joannides notes.62 Savonarola���s influence over the changes in Botticelli���s work must be reevaluated in terms of content, style and subject matter. During the second half of his career, Botticelli seems to be predominantly interested in religious images. The aforementioned paintings are just a few examples that underpin a shift away from the secular content in his later works. On the other hand, paintings such as The Story of Virginia and the Calumny of Apelles of c. 1495 prove that his focus on religious imagery was not exclusive. His allegorical paintings demonstrate Botticelli was not only well versed in the liberal arts but also aware HYLAND 23