The Story of Lucretia - Sandro Botticelli
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Description
A narrative Renaissance panel by Sandro Botticelli, depicting the Roman legend of Lucretia through a series of sequential scenes set within classical architecture.
The Story of Lucretia is a narrative panel painting by Sandro Botticelli, depicting the tragic Roman legend of Lucretia. The composition employs a continuous narrative technique, presenting multiple episodes of the story within a single architectural setting. On the left, the assault on Lucretia occurs, while the centre shows her suicide before a statue of David, and the right side depicts the subsequent public mourning and the oath of vengeance taken by Brutus and his followers.
Botticelli constructs this scene with a rigorous application of linear perspective. The classical architecture, featuring a triumphal arch and colonnaded structures, frames the figures and directs the eye toward the central action. The figures are rendered with the characteristic grace and elongated proportions associated with the artist's later period. The palette is balanced, utilising clear, distinct colours that define the figures against the pale stone of the buildings. The inclusion of the statue of David atop the central column serves as a symbolic reference to the Florentine Republic, linking the ancient Roman tale to the contemporary political climate of the city.
This work demonstrates the artist's interest in classical history and his ability to organise complex, multi-figure compositions. The architectural elements are not merely decorative, but function as a stage for the unfolding drama. The painting reflects the intellectual environment of late fifteenth-century Florence, where humanists and artists engaged with classical texts to explore themes of virtue, tyranny, and civic duty. The clarity of the spatial arrangement and the precise execution of the figures demonstrate the technical control Botticelli maintained during this phase of his career. The panel remains a significant example of the narrative tradition in Renaissance art, combining historical storytelling with a sophisticated approach to pictorial space.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Story of Lucretia - Sandro Botticelli
Artist Biography
Sandro Botticelli
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
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