Domenico Neroni must have spent several years of his life--between 1470 and 1480--in Florence, but little of his work has remained in that city,--little, at least, that we can identify with certainty. For taking service, as he did, with the Pollaiolos, Verrocchio, Nanni di Banco, and even with Filippino and Botticelli, wherever his inquisitive mind could learn, or his restless, fastidious, laborious talent gain him bread, it is presumable that much of his work might be discovered alongside that of his masters, in the collective productions of the various workshops. It is possible thus that he had a hand in much metal and relief work of the Pollaiolos, and perhaps even in the embroidering and tapestries of which they were undertakers; also in certain ornaments, friezes of Cupids and dolphins, and exquisite shell and acanthus carving of the monuments of Santa Croce; and it may be surmised that he occasionally assisted Botticelli in his perspective and anatomy, since that master took him to Rome when commissioned to paint in the chapel of Pope Sixtus. Indeed, in certain little-known studies for Botticelli's Birth of Venus and Calumny of Apelles one may discover, in the strong sweep of the outline, in the solid fashion in which the figures are planted on their feet--all peculiarities which disappear in the painted pictures, where grace of motion and exquisitive research take the place of solid draughtsman-ship--the hand of the artist whom the restless desire to confront ever new problems alone prevented from attaining a place among the great men of his time.