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And, as you go on from day to day, it will be against nature if you do not get some grasp of his style and his spirit. For if you undertake to copy after one master today and after another one tomorrow, you will not acquire the style of either one or the other...because each style will be distracting your mind.

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If you follow the course of one man through constant practice, your intelligence would have to be crude indeed for you not to get some nourishment from it. Then you will find, if nature has granted you any imagination at all, that you will eventually acquire a style individual to yourself, and it cannot help being good;

...in the picture create a from of contact with the viewer. Often, there is an angel or occasionally a John the Baptist gazing directly at the believer who is looking at the picture.

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In this way, the painting constitutes the continuity of the biblical age into the present time of the viewer's own life.

Botticelli could hardly have devised a more charming way of stating the painter's claim that pictures should be understood.

...almost all the portraits reliably attributed to Botticelli, share clear stylistic traits. One particularly striking factor is the strong shading of the flesh tones, often resulting in clearly highlighted cheekbones and a firm, energetically jutting chin. ... Other typical features of his male faces are the distinctive nostrils, the broad and long nose, the full and sweeping line of the lips and clearly defined eyelids.

Botticelli used a certain facial type similar to his own, both for anonymous figures and for identifiable portraits.

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who even had a saying 'ogni pittore dipinge se', meaning 'every painter paints himself'.

At the lower left, on the stone frame, we notice a dried twig on which a turtle dove has perched. The turtle dove looks to the left, Giuliano to the right. The background, too, has a stone frame, but this time with a pair of shutters, one of which is open. Just as the window is half-open, so too are Giuliano's eyes half-open, and only one of them is fully visible. These two motifs have their origins in funerary art, which suggests that the painting was created after Giuliano's assassination. The turtle dove at the lower left-hand edge of the painting also has associations with death.

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