# The Mystic Nativity is dated 1500 on the panel and carries an apocalyptic Greek inscription Date: 1500 ## The fact Botticelli’s Mystic Nativity in the National Gallery, London, is dated 1500 on the work and is a completed late-style sacred panel with an apocalyptic inscription. This Fact is that dated picture, not a proven personal auto-da-fé of mythological canvases. It is one event. ## Context Late sacred style after the 1490s crises is a cohesion-and-devotion object. Contested Savonarola influence belongs in related people, not as a burned-studio headline. [Sandro Botticelli](/people/sandro-botticelli)’s documented role is bounded by other offices and collaborators named in the sources below. Sharing a field with them is not a reason to drop a documented act, and it is not a reason to assign later consequences done in the name after death. The London panel is inscribed with a date in years since the Incarnation and a Greek text about troubles and the devil. Savonarola’s Florence is the neighbourhood, not a signed party card. Vasari’s later claim that Botticelli burned his own paintings in the Bonfire of the Vanities is not upgraded to a Fact here. Named person as heading of the dated public instrument. Later editors, museums, printers, or offices share publication. Complex where later carriers are the surviving public file. ## Evidence and sources National Gallery object page and Britannica independently describe the 1500 dating and late manner. Official or archival record: National Gallery — Botticelli, Mystic Nativity (https://www.nationalgallery.org.uk/paintings/sandro-botticelli-mystic-nativity; The National Gallery, London). ## Significance A self-dated sacred panel is a public religious-image path. Confidence high on 1500 as painted date. ## What is established and what is not Established: Mystic Nativity dated 1500 under his heading. Not established: that he burned Primavera-scale works in 1497. What would change the picture: a contradictory original with a different date or name, or a measured series that can be argued, with lag and alternatives, as a consequence of this instrument rather than of later institutions. The date is the date of this instrument, not a licence to back-date every later harm or benefit. Established here: a sourced, dated public instrument with a named contribution by Sandro Botticelli. They are not a public rating. The driver `social-cohesion` is attached because the mechanism named in Significance follows from this instrument, not because a standing list of welfare headings needed another tick. Sandro Botticelli did not file a later UNESCO form, a later Loeb colophon, or a later museum label as a personal act. A portrait or conventional bust is not this mechanism. Allegation, reconstruction, and established occurrence stay distinct. A Greek inscription is not a confession of arson. Keep Vasari’s bonfire as later colour. Keep the carrier date of later English distinct from the received historical year stored in the date field. Do not read a later English edition as a recovered autograph of Sandro Botticelli. ## People - Sandro Botticelli: https://factrail.ai/people/sandro-botticelli ## Drivers - Social Cohesion: https://factrail.ai/drivers/social-cohesion ## Sources - https://www.nationalgallery.org.uk/paintings/sandro-botticelli-mystic-nativity - https://www.britannica.com/biography/Sandro-Botticelli ## Methodology https://factrail.ai/methodology Canonical: https://factrail.ai/facts/sb-mystic-nativity-1500