Whatever the case, and perhaps because the abundance of impressions that he had been receiving for some time, and even though this abundance had come to him more with his love of music, had enriched even his delight in painting, he now found a deeper pleasure—and this was to exert a permanent influence on Swann—in Odette’s resemblance to Zipporah as painted by Sandro di Mariano, whom people call more often by his popular nickname of Botticelli, since that name evokes, not the painter’s true work, but the idea of it that is vulgarized, banal, and false. He no longer appraised Odette’s face according to the finer or poorer quality of her cheeks and the purely flesh-colored softness he supposed he must find when he touched them with his lips if he ever dared to kiss her, but as a skein of subtle and beautiful lines that his eyes reeled off, following their winding curve, joining the cadence of her nape to the effusion of her hair and the flexion of her eyelids, as in a portrait of her in which her type became intelligible and clear.