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BOTTICELLI. 352 BOTTIGER. Equally interesting and important are his mythological works, painted for the most part in the period after his return from Rome, before he came imder the inlluenoe of Savonarola. The most famous of these is the "Realm of Venus," usually known as ".Spring" — a charming compo- sition of classical figures, over life-size, in a beautiful spring landscape, redolent with flow- ers. Its companion piece, the "Birth of Venus," represents the goddess perfectly nude, except for the covering of her wind-blown hair, being wafted ashore by the breath of the wind-gods. It is the most chaste and refined treatment of the nude, except perhaps Giorgione's "Sleeping Venus," iu modern painting. Both these pictures were painted for the Jledici ; the former is in the Ufiizi, the latter in the Florence Academy. Among his other important mythological works are "Calumny," after a description of a painting of Apelles by Lucian. in the Ufiizi, "Pallas Taming a Centaur" (Pitti), and "Mars and Venus," in the National Gallery, London. Although too subjective to be a great portrait- ist, Botticelli executed a number of portraits of a subtle charm. Among the best known are those of the Jledici and other Florentine notables in the "Adoration of the Magi" (Uffizi) ; his "Giu- liano dei Medici," the original being in the Gal- lery of Bergamo, not in Berlin, as Morelli has shown; and, most beautiful of all, the portrait of an unknown woman in the Frankfort Museum. Those who demand that a work of art shall merely please the eye will not be satisfied with Botticelli's works. There is none of the beauty of Raphael's figures in his typical Madonna, with her long, thin, and melancluily face, her over- ripe lips, her jirominent chin, and her long, lank limbs. But the lines that give character to a face, and those qualities which are directly life- communicating and life-enhancing, are almost never lacking in his works, and it is these char- acteristics that give all his productions, religious, poetical, or allegorical, an eternal human inter- est. Since Botticelli, except in one instance, neither signed nor dated his works, it is impossible to arrange them chronologically. The greater num- ber of his best productions are in Florence, but the Berlin Museum is also well supplied. A num- ber of these have been mentioned in the course of this narrative. Sandro also had an important school, by whoni many works assigned to him, like the "Venus" in the Berlin Jluseum, a copy of the figure in the "Birth of Venus," were prob- ably painted. Among his cliief works not men- tioned above are his two best-known Madonnas, both circular pictures, and in the I'fiizi. The "Magnificat" represents Our Lady dreamy and passionate, crowned and surrounded by angels with wistful, eager faces. It is the best speci- men of his early period, as its companion piece is of his later. Among the best-known of his remaining works are "Scenes from the Life of Saint Zenol)ius," in Dresden; his frescoes of the Villa Lcnimi, now in the Louvre, and his large ".Vssumption of the Virgin," in the Na- tional Gallery, London. BiKLiooHAPiiY. Berenson, The Florentine Painters of the Renaissance (New York and Lon- don, 1898) ; Cole, Italian Masters (New York, 1802) ; Cartwright, The Painters of Florence (London, 1901); Crowe and Cavalcnselle. His- tory of I'aintiny in Italy (London, 18G-1) ; Crowe, in Gazette des Beaux-Arts (Vo. 11., 1896); Lander, "A New Botticelli in Florence," Art Journal (London, 1900) ; Lippmann, Handro Hot- ticrllis Zeiclinnnf/cn :u Dantcs (Jiittlichcr Como- die (Berlin, 1SS7): MUntz, Lcs I'riTuiscurs de la Renaissance (Paris and London, 1882) ; id., Lcs Collections dcs Mcdiris au XV. Siicle. Appcn- diee aux Precurseurs de la Renaissance ( Paris and London, 1888) ; and "Apropos de Botticelli," Oazette des Beaux-Arts (Paris, 1898) ; Pater, iSiudies in the History of the Renaissance (Lon- don, 1873) ; Plunkett, Sandro Botticelli (Lon- don, 1900): Phillimore, Botticelli (New York, 1894) ; Steinman, Botticelli (English transla- tion, Dodgson, New York, 1901) : Supino, Handro Bottieelli (Florence, 1900) ; Uhuann, Sa»irf)-o Bot- iieelli (Munich, 1893) ; Woermann, "Sandro Bot- ticelli," in Dohme's Kunst nnd KUnstler (Leipzig, 1878) ; Vasari, Lives of ticcenty of the Most Eminent Painters, Sculptors, and Arehiteets (English translation, E. H. and E. W. Blash- field, and A. A. Uopkins, New Y'ork, 189G) ; Ven- turi, Tesori d'Arte Inediti di Roma (Rome, 1896) ; Waagen, Treasures of Art in Great Brit- ain (London, 18.52) ; and Warburg, Sandro Bot- ticelli's Geburt der Venus und Friihiing (Ham- burg and Leipzig, 1893). BOTTICHEB, bet'-ti-Ker, Karl (1800-89). A German arch-tologist, born in Nordhausen. He studied at the Academy of Architecture in Berlin, and was afterwards appointed an instructor in the School of Design of the Industrial Institute there. In 1844 he was appointed a professor in the Academy of Architecture. His chief work is the Teldotiik der HeUenen (1844-52), a splendid contribution to the study of Greek architecture. Others of his works are: Bericht iihcr die Viiter- sueliuni/en auf der Akropolis in Athen (1863); Der Zophoj-os am Parthenon (1875) ; and Die Thymele der Athena Nike auf der Akropolis von Athen (1880). BOTTICHEB, Karl Heinricii vo. (1833—). A German statesman. He was born in Stettin, and as educated at the universities of Wiirz- burgand Berlin. He was Governor of Schleswig in 1876, Lieutenant - General of Schleswig- Holstein in 1879, Secretary of the Interior in 1881. In 1888 he became vice-president of the Prussian Ministry of State, and in 1898 Lieuten- ant-General of the Province of Saxony. As the representative of the Chancellor he introduced numerous social reforms, and the enactment of the invalid and old-age insurance laws, in 1889, was due principally to his splendid energy and execut ive ability. BOTTICHEB, Paix. Sec Lagarde, Paul Antox |)K. BOTTIGEB, bPt'ti-ger, Carl Viliielm (1807- 78). A Swedish writer. He was horn in Wes- terSs, and studied at the University of Upsala, where, after extensive travels, he was appointed professor of modern literature in 1845, and in 1858 professor of irsthetics, from which post he retired in 1867. lie was cxcci'iliugly active as translator. [)oet. dramatist, and literary critic. Most of his pul)lication3 in the latter capacity appeared among the Transactions of the Swed- ish Academy. It is perhaps by his verse that he is known to best advantage. His publications include: Lyriska stycken (Lyrical Pieces, 1837- 39) ; Relirjiiisa Sanger (Religious Songs, 1841) ; and translations of Tasso's Gcrusalenune Liber-