The Birth of Venus sources and interpretations. Many art historians who specialize in the Italian Renaissance have found Neoplatonic interpretations, of which two different versions have been articulated by Edgar Wind and Ernst Gombrich, to be the key to understanding the painting. Botticelli represented the Neoplatonic idea of divine love in the form of a nude Venus. For Plato – and so for the members of the Florentine Platonic Academy – Venus had two aspects: she was an earthly goddess who aroused humans to physical love or she was a heavenly goddess who inspired intellectual love in them. Plato further argued that contemplation of
Sandro Botticelli Pollaiuolo and others, although views on this differ. A Botticello who was probably Sandro's brother Giovanni was close to Lorenzo. Although the patrons of many works not for churches remain unclear, Botticelli seems to have been used more by Lorenzo il Magnifico's two young cousins, his younger brother Giuliano, and other families allied to the Medici. Tommaso Soderini, a close ally of Lorenzo, obtained the commission for the figure of "Fortitude" of 1470 which is Botticelli's earliest securely dated painting, completing a series of the "Seven Virtues" left unfinished by Piero Pollaiuolo. Possibly they had been introduced by a Vespucci