I never realised the sheer magnitude of Sandro Botticelli’s burning faith.

Only just discovering his deep reverence for Madonna. He painted her so many times, with sheer beauty.

Here are just a few of the finest...

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2. I never realised this until recently, but Botticelli is described by peers to have been intensely religious. Later even becoming a follower of Savonarola, he threw his paintings with Pagan themes to the fires to repent.

3. As the title of this one suggests, he painted the Mother of God’s inherent personality in this.

Above all her adoration for her child, knowing His destiny and glory to come; yet simultaneously in His humanity and vulnerability. Something so magnificent needed her.

4. Despite them being the same age, which Sandro was well aware of, Saint John the Baptist, patron saint of Florence is present on the left. The position of infant child in these pieces of work was mostly reserved for the Divine Infant.

5. Someone I initially associated with the vainer and more decadent side of Renaissance era Florence, I cannot believe how wrong I was about Botticelli.

With a closer look at this one it is hard not be moved if you are human. The closeness of the two is portrayed sublimely.

6. The expressions of the Regina Caeli are depicted with such respect. She comes across simultaneously loving and devout. Humble yet of inherent holiness.

A Godly creation. Favoured by the Father, and with a deep interpersonality by the Son, and the Holy Spirit.

7. The detail in this one is also indisputably magnificent.

8. You begin to understand how much genuine reverence young Sandro had for this scene as he revisited it again, again, and again. Each entirely unique in depiction.

9. Come and behold him, born the King of Angels. John the Baptist would eventually ask to be baptised by Christ himself in the Jordan.

How far they actually knew each other in childhood, and what their relation was to one another, may never be known in this life.

10. Can only assume this one was painted on a smaller frame- and seems to be on wood.

If you look at the details it is far more expressive than is customary for Botticelli, yet still fine tuned with absolute care.

Significant are the male and female angels on either side.

11. The grandeur of this one speaks for itself. Though, still resonating is how the Theotokos grips her child close to her.

12. You are beginning to get the picture of how much importance, meaning, and personal spiritual significance this scene held in Botticelli’s soul. Each piece is in its totality its own and no less beautiful. This is no exception. One of my favourites.

13. Again, this is among my personal favourites. It is not always easy to explain the inexplicable, but I would advise giving this one time in admiration.

14. I spoke the male and female angels before. Ηere again they make an appearance. In Christian angelology they are understood to transcend the at least human form of the distinction.

Yet, we know they do assume human forms and images. They have names and clear personalities.

15. ‘Madonna and the Book’.

Jesus’ unusually sharp, comprehensive, and deep knowledge of scripture in the Gospel was one of the primary reasons for confrontations with the Pharisees.

There was likely a supernatural element to this. But where and with whom did he learn it?

16. For the remained of this thread of beauty, the rest no longer require captions (if they ever did).

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19. The Magnificat.

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22. *I’ll break my rule briefly here; while the Christ Child is depicted playfully, Madonna’s expression is an enigma. She is perplexed but the exact emotion is hard to pin. Perhaps she is contemplating the fate her Son (which was described in prophecy) must meet at the cross.*

23. Will wrap it up here. Will leave you finally with Botticelli’s Lamentation over the Dead Christ.

Do give your attention in future to my man Sandro. A sincerely devout and truly Catholic artist. A timeless master and far deeper Christian than is often realised or given credit for.

Forever part of our artistic legacy.