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“... thought on minute particulars, and even if this is less clear than it might be from the plates in Ronald Lightbown’s massive monograph, Lightbown himself has a very keen eye for the subordinate, often tiny things which the artist painted so well, and has industriously inquired into what exactly they were, and also ...”

“... and inscribed with the date 1456, which is one of the first portrait busts made since antiquity. Ronald Lightbown, in the course of trying to discover more about the sitter for the catalogue of the museum’s collection which he was working on with Pope-Hennessy, discovered a manuscript autobiography by Chellini which revealed that he had been a friend ...”

“... problem from its beginnings. He redates the picture on stylistic grounds to the 1480s. Like Ronald Lightbown he argues that it was painted at the behest not of Lorenzo de’ Medici but of its eventual owner, Lorenzo di Pierfrancesco. And he interprets it as staking out political, not Neo-Platonic, ground for its patron. Primavera, he argues, evoked ...”