The second thing considered was that Sandro Botticelli did not much care for
women, but, on the contrary, rather frenetically liked young men. During his
early years, this was still accepted, but, a little later on, the Florentines
wanted nothing more to do with him because of this. It should be pointed out
that during the same era, there was an even more "frenetic painter"; he had been
nicknamed "il sodoma" [the sodomite], and this was used as a noble title. Why
would Botticelli have been set aside for that? This is not the reason either.
As these are the only two reasons suggested, we shall proffer a third, our own conclusion: what if, in fact, Botticelli had reached the end of his cycle? What if he had shown what he had to show, said what he had to say; what if he had painted what he had to paint, what if he had singled out what he wanted to single out, such as drawing and what if, in his last years, he was devoted to himself, to experience more intensely the one thing which, according to his contemporaries, was the most important thing to him: silence. In this disorderly Florence of the second half of the 15th century with which he was ceaselessly associated by virtue of his craft, what Botticelli could not abide was noise, passion, what he needed was silence.
This is why, to conclude, we shall look at some works which give the impression in which Botticelli, so to speak, incarnated himself. They are always images of people who found silence.