Although too subjective to he a great portrait ist, Botticelli executed a number of portraits of a subtle charm. Among the best known are those of the Medici and other Florentine notables in the "Adoration of the Magi" (Uffizi) ; his "Giu liano del 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 Iluseum.
Those who demand that a work of art shall merely please the eye will not he satisfied with Botticelli's works. There is none of the beauty of Raphael's figures in his typical Madonna, with her long, thin, and melancholy face, her over ripe lips, her prominent chin, and her long, lank limbs. But the lines that give character to a face, and those qualities which are directly life column/denting 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 ehronologieally. The greater num ber of his best productions are in Florence, hut 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 whom ninny works assigned to him, like the "Venus" in the Berlin Museum, a copy of the figure in the "Birth of Venus," were prob ably painted. Among his chief works not men tioned above are his two best-known Madonnas, both circular pictures, and in the Uffizi. The "Magnifivat" represents Our Lady dreamy and passlimate. 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 Zenobius," in Dresden; his frescoes of the Villa Lenuni, now in the Louvre, and Ids large "Assumption of the Virgin," in the Na tional Gallery, London.
BIBLIOGRAPHY. Boren son, The Floret: t ineBibliography. Boren son, The Floret: t ine
Painters of the Renaissance (New York and Lon don, 189S) ; Cole, Italian Masters (New York, 1892) ; Cartwright, The Painters of Florence (London, 1901) ; Crowe and Cavaleaselle. His tory of Painting in Italy (London, 1 864 ) ; Crowe, in Gazette des Beaus'-Arts (Vol. IT., 1896); Lander, "A New Botticelli in Florence," Art Journal (London, 1900) ;.Lippmann, Sundro Zeiehnnnyen zu Douses Gottlicher Coni5 die ( Berlin, 1887) ; Miintz, Les Prt'•urseurs de la Renaissance (Paris and London, 1882) I id., Les Collections des au ..171'. Appen dice mar Pr6eU•SellIS de la Renaissance (Paris and London, 1SSS1 ; and "Apropos de Botticelli," Gazette des Beaux-Arts ( Paris, 189S) ; Pater, Studies in the History of the Renaissance (Lon don, 1873) : Plunkett, Sondro Botticelli (Lon don, 1900) ; Phillimore, Botticelli (New York, 1894) ; Steinman, Botticelli (English transla tion, Dodgson, New York, 1901 ) : Supine. Sandro Bot tieelli (Florence, 1900) ; L'Imann, Sandro not ticelli I S93 ) ; Woe rma nn, "Sandra Bot ticelli," in Dohtne's Kunst um/ Kiinstier (Leipzig, 1878) ; Vasari, Lives of Screnty of the Most Eminent Painters, Sculptors, and Architects (English translation, E. IL and E. IF. Blash field, and A. A. Hopkins, New York, 1896) ; Ven turi, Tcsori d'Arte Media di Rama (Rome, 1896) ; \Vaagen, Treasures of Art in Great (lin (London, 1852) ; and Warburg, Sandro tiecllPs Geburt der and Frithling ( ;un burg and Leipzig, 1893).
BoTTICHER, KARL (1806-89). A German archaeologist, born in Nordhausen. IIe 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 1S44 he was appointed a professor in the Academy of Architecture. Ills chief work is the Tektonik der Ilellenen- (1344-52), a splendid contribution to the study of Greek architecture. Others of his works are: Belicht biter die ['titer su•hunyen oaf der A kropolis in A then (1863) ; Der Zophoros ant Parthenon ( 1875 ) ; and Die Thymele der Athena S'ike oaf der Akropolis von Athens (1880).