In No.

916 in the National Gallery is a "Venus with Cupids" (which might be by Botticelli and might be by that interesting painter of whom Mr.Berenson has written so attractively as Amico di Sandro), in which Politian's description of Venus, in his poem, is again closely followed.
After the tournament pictures we come in Botticelli's career to the Sixtine Chapel frescoes, and on his return to Florence to other frescoes, including that lovely one at the Villa Lemmi (then the Villa Tornabuoni) which is now on the staircase of the Louvre.

These are followed by at least two more Medici pictures--the portrait of Piero di Lorenzo de' Medici, in this room, No.

1154, the sad-faced youth with the medal; and the "Pallas and the Centaur" at the Pitti, an historical record of Lorenzo's success as a diplomatist when he went to Naples in 1480.
The latter part of Botticelli's life was spent under the influence of Savonarola and in despair at the wickedness of the world and its treatment of that prophet.

His pictures became wholly religious, but it was religion without joy.