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Painting required not only inspiration and talent but also a great deal of fundamental skills and muscle technique. The seemingly simple horizontal and vertical lines, as well as shadows, required precise control of strength to achieve.
Yet Raphael’s sketch not only portrayed the muscles around the nose, forehead, and neck, but it also captured the details of the eyebrows and eyelids with incredible precision.
Incredible—
Da Vinci turned his attention fully to the drawing, "Is this a technique you taught him?"
"No, his father is an experienced artist," Botticelli explained. "Although not wealthy or famous, he did teach the boy some essential basics."
As their conversation continued, Botticelli led Da Vinci to another of his paintings.
This was probably the third version of The Adoration of the Magi that Botticelli had created. The banker’s guild had insisted on commissioning him again, and so he had altered the composition and theme for a fresh interpretation.
When Da Vinci had worked on his own version of The Adoration of the Magi, despite his verbal disdain, he had honestly studied Botticelli’s composition and coloring for quite some time.
That was several years ago, but Da Vinci still remembered it clearly—though he couldn’t agree with Botticelli’s expression of relationships and emotions in the figures, at least in terms of color and composition, his friend had a truly unique approach.
Now, as they looked at this new painting together, it felt as if two old friends were silently understanding each other’s perspectives.
Raphael, still a young apprentice, had only helped with adding details like flowers and children in the courtyard.
But even with just those few touches, Da Vinci could easily recognize Raphael's hand in them.
“He’s going to be a genius,” Da Vinci murmured. “His understanding of angles and positioning... it’s almost unbelievable.”
"Right?" Botticelli smiled, waving for Raphael to come over and explain his thoughts and ideas while painting.
The three of them spent time in the studio, either admiring the painting or discussing techniques. Eventually, they mixed paint together, demonstrating and explaining to each other. Before they knew it, the day had turned to evening.
As it came time to leave, little Raphael had already started to see Da Vinci as a teacher.
“Goodbye, Mr. Da Vinci,” he said, his voice bright and clear as he held his head high. “Will you come again tomorrow?”
“I definitely will, little angel,” Da Vinci replied, reaching out to pinch his cheek. “Tomorrow, I’ll teach you how to paint neck muscles and the curve of fingers, how does that sound?”
The boy cheered and gave him a big hug.
Da Vinci, smiling, returned to his quarters. As he walked back, it suddenly hit him.
What was I even supposed to be doing with Botticelli today?
Was I supposed to be painting?
No, wait—
He suddenly snapped to attention, realizing he hadn’t even bothered to wash the paint off his hands as he rushed downstairs to find Botticelli.
Botticelli was lazily reclining on a bench, surrounded by a group of women, eating apricots. The air around them was filled with the sweet, swirling sounds of songs and the seductive rhythm of their dances, giving the entire courtyard a dreamy atmosphere.
When Botticelli saw Da Vinci return quickly, he gestured for the women to rest on the other side and waved the apricot in his fingers. “The little angel has gone to bed. He needs to grow taller first.”
“No…” Da Vinci, now standing right in front of him, hesitated slightly.
“What’s the matter?” Botticelli straightened up, signaling for Da Vinci to sit next to him. “Is there a problem in Milan? Is Sforza causing you trouble?”
Da Vinci fell silent for a moment before quietly responding, “No, it’s about her.”
“She?” Botticelli raised an eyebrow. “Is your friend getting married? Do you think your friendship is under threat?”
