BO-TREE, or Bodhi-tree, the name given by the Buddhists of India and Ceylon to the Pipul or sacred wild fig (Ficus religiosa). It is regarded as sacred, and one at least is planted near each temple. These are traditionally supposed to be derived from the original one, the Bodhi-tree of Buddhist annals, beneath which the Buddha is traditionally supposed to have attained perfect knowledge. The Bo-tree at the ruined city of Anuradhapura, 80 m. north of Kandy, grown from a branch of the parent-tree sent to Ceylon from India by King Asoka in the 3rd century B.C., is said to have been planted in 288 B.C., and is to this day worshipped by throngs of pilgrims who come long distances to pray before it. Usually a bo-tree is planted on the graves of the Kandy priests.
BOTRYTIS, a minute fungus which appears as a brownish-grey mould on decaying vegetation or on damaged fruits. Under a hand-lens it is seen to consist of tiny, upright, brown stalks which are branched at the tips, each branchlet being crowned with a naked head of pale-coloured spores. It is a very common fungus, growing everywhere in the open or in greenhouses, and can be found at almost any season. It has also a bad record as a plant disease. If it once gains entrance into one of the higher plants, it spreads rapidly, killing the tissues and reducing them to a rotten condition. Seedling pines, lilies and many other cultivated plants are subject to attack by Botrytis, Some of the species exist in two other growth-forms, so different in appearance from the Botrytis that they have been regarded as distinct plants:—a sclerotium, which is a hard compact mass of fungal filaments, or mycelium, that can retain its vitality for a considerable time in a resting condition; and a stalked Peziza, or cup-fungus, which grows out of the sclerotium. The latter is the perfect form of fruit. The Botrytis mould is known as the conidial form.
BOTTA, CARLO GIUSEPPE GUGLIELMO (1766-1837), Italian historian, was born at San Giorgio Canavese in Piedmont. He studied medicine at the university of Turin, and obtained his doctor’s degree when about twenty years of age. Having rendered himself obnoxious to the government during the political commotions that followed the French Revolution, he was imprisoned for over a year; and on his release in 1795 he withdrew to France, only to return to his native country as a surgeon in the French army, whose progress he followed as far as Venice. Here he joined the expedition to Corfu, from which he did not return to Italy till 1798. At first he favoured French policy in Italy, contributed to the annexation of Piedmont by France in 1799, and was an admirer of Napoleon; but he afterwards changed his views, realizing the necessity for the union of all Italians and for their freedom from foreign control. After the separation of Piedmont from France in 1814 he retired into private life, but, fearing persecution at home, became a French citizen. In 1817 he was appointed rector of the university of Rouen, but in 1822 was removed owing to clerical influence. Amid all the vicissitudes of his early manhood Botta had never allowed his pen to be long idle, and in the political quiet that followed 1816 he naturally devoted himself more exclusively to literature. In 1824 he published a history of Italy from 1789 to 1814 (4 vols.), on which his fame principally rests; he himself had been an eyewitness of many of the events described. His continuation of Guicciardini, which he was afterwards encouraged to undertake, is a careful and laborious work, but is not based on original authorities and is of small value. Though living in Paris he was in both these works the ardent exponent of that recoil against everything French which took place throughout Europe. A careful exclusion of all Gallicisms, as a reaction against the French influences of the day, is one of the marked features of his style, which is not infrequently impassioned and eloquent, though at the same time cumbrous, involved and ornate. Botta died at Paris in August 1837, in comparative poverty, but in the enjoyment of an extensive and well-earned reputation.
His son, Paul Émile Botta (1802-1870), was a distinguished traveller and Assyrian archaeologist, whose excavations at Khorsabad (1843) were among the first efforts in the line of investigation afterwards pursued by Layard.
The works of Carlo Botta are Storia naturale e medica dell’ Isola di Corfu (1798); an Italian translation of Born’s Joannis Physiophili specimen monachologiae (1801); Souvenirs d’un voyage en Dalmatie (1802); Storia della guerra dell’ Independenza d’America (1809); Camillo, a poem (1815); Storia d’Italia dal 1789 al 1814 (1824, new ed., Prato, 1862); Storia d’ltalia in continuazione al Guicciardini (1832, new ed., Milan, 1878). See C. Dionisiotti, Vita di Carlo Botta (Turin, 1867); C. Pavesio, Carlo Botta e le sue opere storiche (Florence, 1874); Scipione Botta, Vita privata di Carlo Botta (Florence, 1877); A. d’Ancona c O. Bacci, Manuela della Letteratura Italiana (Florence, 1894), vol. v. pp. 245 seq.
BOTTESINI, GIOVANNI (1823-1889), Italian contrabassist and musical composer, was born at Crema in Lombardy on the 24th of December 1823. He studied music at the Milan Conservatoire, devoting himself especially to the double-bass, an instrument with which his name is principally associated. On leaving Milan he spent some time in America and also occupied the position of principal double-bass in the theatre at Havana. Here his first opera, Cristoforo Colombo, was produced in 1847. In 1849 he made his first appearance in England, playing double-bass solos at one of the Musical Union concerts. After this he made frequent visits to England, and his extraordinary command of his unwieldy instrument gained him great popularity in London and the provinces. Apart from his triumphs as an executant, Bottesini was a conductor of European reputation, and earned some success as a composer, though his work had not sufficient individuality to survive the changes of taste and fashion. He was conductor at the Théâtre des Italiens in Paris from 1855 to 1857, where his second opera, L’Assedio di Firenze, was produced in 1856. In 1861 and 1862 he conducted at Palermo, supervising the production of his opera Marion Delorme in 1862, and in 1863 at Barcelona. During these years he diversified the toils of conducting by repeated concert tours through the principal countries of Europe. In 1871 he conducted a season of Italian opera at the Lyceum theatre in London, during which his opera Ali Baba was produced, and at the close of the year he was chosen by Verdi to conduct the first performance of Aïda, which took place at Cairo on 27th December 1871. Bottesini wrote three operas besides those already mentioned: Il Diavolo della Notte (Milan, 1859); Vinciguerra (Paris, 1870); and Ero e Leandro (Turin, 1880), the last named to a libretto by Arrigo Boito, which was subsequently set by Mancinelli. He also wrote The Garden of Olivet, a devotional oratorio (libretto by Joseph Bennett), which was produced at the Norwich festival in 1887, a concerto for the double-bass, and numerous songs, and minor instrumental pieces. Bottesini died at Parma on the 7th of July 1889.