Description

This great work commissioned by Silvia Salvadori has provided an accurate and long initial study of faces and drapes. There was a great mastery of execution. Each detail has been meticulously retrieved and exalted by the finest pigments and by a meticulous rendering of every single detail, from the hairs made with a thin tip of ermine brush and finely finished in gold, as well as every flower, golden brocade and veil of silk. For this work, Silvia Salvadori used the most precious pigments used by Sandro Botticelli, including blue lapis lazuli, red carmine, gold leaf powder and shell silver.

History: The Virgin Mary of Pomegranate is a tempered painting on the table (diameter 143.5 cm) by Sandro Botticelli, dated 1487 and kept in the Uffizi Gallery in Florence. The Virgin Mary of Pomegranate is considered  one of the greatest italian masterpieces of the fifteenth century.

The work is one of the few dates of Botticelli's mature production. It remains a mention of Milanesi about the commission of a Tondo with the Virgin Mary and Child in 1487 by the Florentine magistrate of the Massai di Camera to decorate his Hall of Exhibits, which was in Palazzo Vecchio.

Identification with this work is for Herbert P. Horne, who recognized on the frame, made by Giuliano da Sangallo's workshop, the lilies of France in the blue field, hypothesizing for this a possible public placement of the work, celebrating the historical alliance with the French. The impossibility of tracing the original document has raised some doubt in some of the criticisms. If the Botticellian autograph has never been questioned, the chronology is more varied. Some, like Ulmann, propose before 1480, others like Arnold Bode (followed by Schmarsow, Yaschiro and Venturi) date the opera after the return from Rome (about 1482), and finally Van Marle to 1480-1481.