Botticelli's "Birth of Aphrodite" expresses this transient moment in the history of the Renaissance with more felicity. It would be impossible for any painter to design a more exquisitely outlined figure than that of his Venus, who, with no covering but her golden hair, is wafted to the shore by zephyrs. Roses fall upon the ruffled waves, and the young gods of the air twine hands and feet together as they float. In the picture of "Spring" there is the same choice of form, the same purity of line, the same rare interlacement in the limbs. It would seem as though Botticelli intended every articulation of the body to express some meaning, and this, though it enhances the value of his work for sympathetic students, often leads him to the verge of affectation. Nothing but a touch of affectation in the twined fingers of Raphael and Tobias impairs the beauty of one of Botticelli's best pictures at Turin. We feel the same discord looking at them as we do while reading the occasional _concetti_ in Petrarch; and all the more in each case does the discord pain us because we know that it results from their specific quality carried to excess. Botticelli's sensibility to the refinements of drawing gave peculiar character to all his work. Attention has frequently been called to the beauty of his roses.[186] Every curl in their frail petals is rendered with as much care as though they were the hands or feet of Graces. Nor is it, perhaps, a mere fancy to imagine that the corolla of an open rose suggested to Botticelli's mind the composition of his best-known picture, the circular "Coronation of the Virgin" in the Uffizzi. That masterpiece combines all Botticelli's best qualities. For rare distinction of beauty in the faces it is unique, while the mystic calm and resignation, so misplaced in his Aphrodites, find a meaning here[187]. There is only one other picture in Italy, a "Madonna and Child with S. Catherine" in a landscape by Boccaccino da Cremona, that in any degree rivals the peculiar beauty of its types[188]. Sandro Botticelli was not a great painter in the same sense as Andrea Mantegna. But he was a true poet within the limits of a certain sphere. We have to seek his parallel among the verse-writers rather than the artists of his day. Some of the stanzas of Poliziano and Boiardo, in particular, might have been written to explain his pictures, or his pictures might have been painted to illustrate their verses[189]. In both Poliziano and Boiardo we find the same touch upon antique things as in Botticelli; and this makes him serviceable almost above all painters to the readers of Renaissance poetry.