In Quattrocento Florentine School, painters' interests were concentrat ed chiefly on the anatomical studies of living things orthe perspe ctive of their background. And the representations of the flowering plants were still following the archaic forms, About the middle of the Quattro cento, through Alesso Baldovinetti's studies on the matter and the tech nique, the representation of flowers received a new sentiment, while the archaic forms still remained. But the method of the Sienese School had previously been brought to Florence, then sensuous, secular painters such as Fra Angelico or Fra Filippo Lippi appeared. Botticelli adopted their features effectively, and created the most gracious flowers, perfect in their vegetable forms. But his decorative forms show us also the limits of the Quattrocento in flower painting. He preserved the same decorative forms not only in composition, but also in every object on the canvas. Even in a figure painting such as "Adorazione dei Magi", flowering plants are as decorative as ever. Such tendency arrived at a climax in "Nascita di Venere", but we cannot find such perspicuous flowers as in "primavera". Since then his flowers lost a longing for the natural beauty, and became the direct presentation of a spiritual longing.