the gray water, moving forward the dainty-lipped shell on which she sails, the sea "showing his teeth", as it moves, in thin lines of foam, and sucking in, one by one, the falling roses, each severe in outline, plucked off short at the stalk, but embrowned a little, as Botticelli's flowers always are. Botticelli meant all this imagery to be altogether pleasurable, and it was partly an incompleteness of resources, inseparable from the art of that time, that subdued and chilled it. But his predilection for minor tones counts also; and what is unmistakable is the sadness with which he has conceived the goddess of pleasure, as the depository of a great power over the lives of men. I have said that the peculiar character of Botticelli is the result of a blending in him of a sympathy for humanity in its uncertain condition, its attractiveness, its investiture at rarer moments in a character of loveliness and energy, with his consciousness of the shadow upon it of the great things from which it shrinks, and that this conveys into his work somewhat more than painting usually attains of the true complexion of humanity. He paints the story of the goddess of pleasure in other episodes besides that of her birth from the sea, but never without some shadow of death in the gray flesh and wan flowers. He paints Madonnas, but they shrink from the pressure of the divine child, and plead in unmistakable undertones for a warmer, lower humanity. The same figure--tradition connects it with Simonetta, the mistress of Giuliano de' Medici-appears again as Judith, returning home across the hill country, when the great deed is over, and the moment of revulsion come, when the olive branch in her hand is becoming a burthen; as _Justice_, sitting on a throne, but with a fixed look of self-hatred which makes the sword in her hand seem that of a suicide; and again as _Veritas_, in the allegorical picture of _Calumnia_, where one may note in passing the suggestiveness of an accident which identifies the image of Truth with the person of Venus. We might trace the same sentiment through his engravings; but his share in them is doubtful, and the object of this brief study has been attained if I have defined aright the temper in which he worked.