and at the foot is a
portrait of Matteo on his knees, with that of his wife. But for all that
the work is most beautiful, and should have silenced envy, nevertheless
there were certain malignant slanderers who, not being able to do it any
other damage, said that both Matteo and Sandro had committed therein the
grievous sin of heresy. As to whether this be true or false, I cannot be
expected to judge; it is enough that the figures painted therein by
Sandro are truly worthy of praise, by reason of the pains that he took
in drawing the zones of Heaven and in the distribution of figures,
angels, foreshortenings, and views, all varied in diverse ways, the
whole being executed with good design.

[Illustration: SANDRO BOTTICELLI: PALLAS AND THE CENTAUR

(_Florence: Pitti Palace, Panel_)]

[Illustration: SANDRO BOTTICELLI: GIOVANNA TORNABUONI AND THE GRACES

(_Paris: Louvre, 1297. Fresco_)]

At this time Sandro was commissioned to paint a little panel with
figures three-quarters of a braccio in length, which was placed between
two doors in the principal facade of S. Maria Novella, on the left as
one enters the church by the door in the centre. It contains the
Adoration of the Magi, and wonderful feeling is seen in the first old
man, who, kissing the foot of Our Lord, and melting with tenderness,
shows very clearly that he has achieved the end of his long journey. The
figure of this King is an actual portrait of the elder Cosimo de'
Medici, the most lifelike and most natural that is to be found of him in
our own day. The second, who is Giuliano de' Medici, father of Pope
Clement VII, is seen devoutly doing reverence to the Child with a most
intent expression, and presenting Him with his offering. The third,
also on his knees, appears to be adoring Him and giving Him thanks,
while confessing that He is the true Messiah; this is Giovanni, son of
Cosimo.

It is not possible to describe the beauty that Sandro depicted in the
heads that are therein seen, which are drawn in various attitudes, some
in full face, some in profile, some in three-quarter face, others
bending down, and others, again, in various manners; with different
expressions for the young and the old, and with all the bizarre effects
that reveal to us the perfection of his skill; and he distinguished the
Courts of the three Kings one from another, insomuch that one can see
which are the retainers of each. This is truly a most admirable work,
and executed so beau