The Case Of The Missing Botticelli

In this cozy mystery, American art history major Hadley Evans joins an art detective agency in Florence, Italy, working for Massimo Domingo, once a major player, now the Inspector Clouseau of the art world. Determined to save the flailing agency and prove her worth, Hadley and her sexy carabiniere boyfriend, Luca Ferrari, take on a mysterious client behind her boss's back. While hot on the trail of a missing masterpiece, they discover a hidden cache of stolen Nazi art in a Venetian villa and encounter a dangerous enemy with a link to an evil past.

Hadley Evans Ferrari, art detective in Florence, Italy, is on the scent of a forgotten Fragonard painting at a villa in Rome when she stumbles across a treasure trove of stolen artwork—from Hermann Göring’s personal World War II stash. When she and the palazzo’s interior decorator are held hostage by the head of a secret Nazi organization and required, in a race against time, to appraise all the artwork in the house for private sale, she fears they will never escape with their lives. Can her sexy carabinieri husband Luca Ferrari and the police department’s Art Squad get there in time to come storming in and “save the day” before the villa’s evil Count “ties up loose ends”?

A New Yorker Best Book of 2022 “Brilliantly conceived and executed, Botticelli's Secret is a riveting search for buried treasure.” —Stephen Greenblatt, author of The Swerve Some five hundred years ago, Sandro Botticelli, a painter of humble origin, created works of unearthly beauty. A star of Florence’s art world, he was commissioned by a member of the city’s powerful Medici family to execute a near-impossible project: to illustrate all one hundred cantos of The Divine Comedy by Dante Alighieri, the ultimate visual homage to that “divine” poet. This sparked a gripping encounter between poet and artist, between the religious and the secular, between the earthly and the evanescent, recorded in exquisite drawings by Botticelli that now enchant audiences worldwide. Yet after a lifetime of creating masterpieces including Primavera and The Birth of Venus, Botticelli declined into poverty and obscurity. His Dante project remained unfinished. Then the drawings vanished for over four hundred years. The once famous Botticelli himself was forgotten. The nineteenth-century rediscovery of Botticelli’s Dante drawings brought scholars and art lovers to their knees: this work embodied everything the Renaissance had come to mean. From Botticelli’s metaphorical rise from the dead in Victorian England to the emergence of eagle-eyed connoisseurs like Bernard Berenson and Herbert Horne in the early twentieth century, and even the rescue of precious art during World War II and the fall of the Berlin Wall in 1989, the posthumous story of Botticelli’s Dante drawings is, if anything, even more dramatic than their creation. A combination of artistic detective story and rich intellectual history, Botticelli’s Secret shows not only how the Renaissance came to life, but also how Botticelli’s art helped bring it about—and, most important, why we need the Renaissance and all that it stands for today.

What if you went outside one evening to observe the Blood Moon and when you came back in, it was three years later, on the night of the next Blood Moon. And everything had changed during those lost years. There was another woman in your husband’s bed, younger and slimmer than you. Your daughter had gotten married to the man whose mother had taken your place. They have a daughter, who was named after a missing and presumed dead grandmother—you. What would you do? Try to reclaim your life? Or realize it was the time and the season for starting over?

After five years in Africa, researching the decline of elephant populations, Kate Caraway’s project comes to a screeching halt when she shoots a poacher and is forced to leave the country. Kate and her husband, Jack Ryder, flee to a friend’s ranch in Texas to recuperate. But before Kate has a chance to unpack, her friend’s daughter pleads for Kate’s assistance. The young woman has become entangled in the ugly world of greyhound abuse and believes Kates is the only one with the experience and tenacity to expose the crime and find out who is responsible. On the case for only a few hours, Kate discovers a body, complicating the investigation by adding murder to the puzzle. Now she’s in a race against time to find the killer before she becomes the next victim.

He was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, “instructed in all such things as children are usually taught before they choose a calling.” However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair – he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi – would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint, but the master’s realism scarcely touched Lippi, for Botticelli was a dreamer and a poet. Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself. This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.

Excerpt from Sandro Botticelli Esides acknowledging my general indebtedness to Mr. Horne for the amount that I have derived, in statements of fact, from his exhaustive book on Botticelli, I have to thank him for his kindness to me in Florence. Among other benefits, I owe to him a visit, made in his company, to the Annunciation which he discovered in the chapel of the Corrigendi. From my conversations with him I anticipate that he will show more indulgence than others who know less about Botticelli to my dissent in certain points fi'om the conclusions at which he hintself has arrived. The purpose of the book being to estimate the work of Botticelli as far as possible as a contemporary fact, I have not elaborated these points of difference the chief of which in its effect upon my view of Botticelli is that I attach greater importance to certain of the later pictures which are generally neglected as being mere products of his school. I owe thanks also to my friend and colleague Mr. Eluc maclagan for criticism, as charitable as it was valuable, when the Introduction was in proof. I am. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.