love and the yearning for beauty encapsulated only in
the mind. Stylistically, Botticelli probably interpreted this
sense of longing in such a way as to give it an almost
abstract quality, oscillating between presence and
absence through his unnaturalistic, linear depictions.83
Furthermore, his study of Dante���s Divine Comedy of c.
1480-1500, which Vasari notes, undoubtedly helped to
establish a powerful language, in which naturalism was
not a major concern. This appears alien to the conception
of art which Savonarola promoted in his impassioned
preaching.84
Conclusion
[Botticelli] is in one the most learned theologians,
the most perfect artist, and the most kind
gentleman whom Florence produced.85
Associating Botticelli with Savonarola was to provide
the basis for his rediscovery in the nineteenth century
when the Renaissance was regarded as an exclusively
religious era. Once praised for the innate purity of his
imagination, one might wonder why particularly his
late style, which has been described as deeply pious,
is so underestimated. The Adoration fragments play a
significant role in the understanding of Botticelli���s late
work. They demonstrate the continued conformity of his
HYLAND
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