This picture was actually attributed to Orcagna, till the artist’s name—Domenico di Michelino—and the date of execution, 1466, were discovered.[208] Benozzo Gozzoli’s most important works—his Pisan frescoes—were executed from 1469 onwards; they display great creative power, though the harmony is defective and the masses and spaces are ill distributed. It is observable in the works of Filippo Lippi, Gozzoli, and Baldovinetti, a far inferior artist, that the custom was growing in Florence of introducing into historical and religious compositions portraits of spectators who had nothing to do with the subject. Nothing remains of the frescoes painted by Baldovinetti for the Gianfigliazzi in the choir of Sta. Trinità; they contained portraits of Lorenzo and Giuliano de’ Medici, Bongianni and others of the Gianfigliazzi, Luigi Guicciardini, Luca Pitti, Diotisalvi Neroni, Filippo Strozzi, Lorenzo della Volpaia, and Paolo Toscanelli.[209] This branch of painting reached its highest development in the hands of Baldovinetti’s famous pupil, Domenico Ghirlandajo. Sandro Botticelli and Filippino Lippi pursued the same branch of art. The former learned the goldsmith’s trade in his youth, and shows traces of the influence of the Pollaiuoli. He was the pupil of Fra Filippo and became the master of his son, whom he survived, though Filippino was his junior by twenty years. In the paintings of both there is a peculiar fantastic element, attractive and interesting at first, but tiresome after a time. In the faces it degenerates into a constantly recurring type, and in the composition becomes mannerism. The way, too, in which both painters employ allegory increases the appearance of affectation. Yet both were men of great talent, with a fine and delicate sense of beauty when not marred by superficiality and exaggeration. Both had much to do with Lorenzo. None of the pictures painted for him by Botticelli are now in existence, but his fine picture of the Epiphany must have been a commission from the Medici, for in this work (formerly in Sta. Maria Novella, and now in the Uffizi) the Three Kings have the features of three members of the family—Cosimo the elder, his younger son Giovanni, and his grandson Giuliano.[210] The colouring is more like that of Ghirlandajo, to whom the picture was long attributed, than the brighter, thinner tone of most of Botticelli’s works. Florence contains many of his allegorical pictures, as well as Madonnas and saints; among them the Coronation of the Virgin, painted for the church of San Marco, as a commission for the Silk-workers’ Guild.[211] Botticelli not only introduced likenesses into his historical pictures, he painted separate portraits; among them those of Lorenzo’s mother and Giuliano’s early lost love, the ‘bella Simonetta,’ very pleasing in the gentle simplicity which characterises her expression, her attitude, and even her dress. Both heads are in profile, the contour a little exaggerated,