ing the ineffectiveness of federal tax and benefit policies.

¡¡¡¡35.Towards the issue, what the writer is most concerned about will be

¡¡¡¡[A] to advocate radically reforming government policies.

¡¡¡¡ to take into account the benefits upon retirement.

¡¡¡¡[C] to put in practice what Hudson researchers believe in.

¡¡¡¡[D] to prolong the practicability of older experienced employees.

¡¡¡¡Text 4

¡¡¡¡The history of responses to the work of the artist Sandro Botticelli (1444¡ª1510) suggests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli¡¯s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellows Florentine, Michelangelo. Even when antiª²academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli¡¯s work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes.)

¡¡¡¡The primary reason for Botticelli¡¯s unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.

¡¡¡¡Another reason for Botticelli¡¯s unpopularity may have been that his attitude toward the style of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art.

¡¡¡¡In any case, when viewers began to examine more closely the relationship of Botticelli¡¯s work to the tradition of fifteenthª²century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticelli¡¯s personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli¡¯s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines ¡ª features such as skillful representation of anato

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