Page:Bryan's dictionary of painters and engravers, volume 1.djvu/250

 at a very high figure, and eventually found its way to America at a price exceeding twelve thou- sand pounds, and is etill in New York. A small replica of it by her own hands is in the National Gallery. From the time of painting this picture Rosa adopted male attire and ever aftoi-wards appeared in it, save on one occasion when she went to greet her Empress and to receive the Cross of the Legion of Honour. Other notable works which she executed were ' Haymaking in the Auvergne,' ' A Stampede,' ' Scottish Raid,' ' Ploughing ill the Nivernais,' ' Horses and Cattle,' ' Horses at Water,' ' Horses for Sale.' The bulk of her pictures contained representations of horses, and were marked by much vigour, movement and dramatic effect. Her drawing was remarkably accurate and her colouring very truthful. She was a successful artist, nnd was enabled to pur- chase a country home at Fontainebleau, where she carried out most of her later work. She was a woman of striking appearance, having a very large head covered with shaggy white hair which she brushed up high and which gave her a sort of lion-like appearance, but she was a jierson of strong affection and a very vivacious companion. Many of her best works can be seen in the Luxembourg and also in a special gallery of her works which was founded after her decease in Paris, q, c, vp.

BONI, GiACOMO, was born at Bologna in 1688, and was a scholar of Marc Antonio Franceschini, whom he greatly aided in his works, particularly at Rome. He is also said to have studied under Carlo Cignani, whose style is discernible in many of his works, such as the ceiling of Santa Maria della Costa at San Remo, and in that of San Pietro Celestini at Bologna. He excelled particularly in fresco, and painted a saloon in the Palazzo Pallavi- cino, which was much admired, and a fine picture of 'The infant Jupiter.' He died in 1766.

BONI, MicHELE Giovanni, known as Giambono, (sometimes Zambono,) was a pupil and contem- porary of Jacobello, and was both a painter and a mosaicist. He was born at Venice about the beginning of the fifteenth century. At the Academy of that city is a ' Redeemer between St. Bernardino and other Saints,' painted soon after the canon- ization of that saint, which occurred about 1470. Count Riva of Padua possesses a ' Virgin and Child ' by this artist. He also executed in the Cappella de' Mascoli in St. Mark's, Venice, mosaics repre- senting scenes from Life of the Virgin.

BONIFACCIO, Francesco, was born at Viterbo in 1637, and was a scholar of Pietro da Cortona at the time that Ciro Ferri and Romanelli studied under that master. He was a respectable painter of historical subjects, which he treated in the man- ner of his instructor, and painted several pictures for the public edifices of his native citj'. In the Palazzo Braschi is a picture by this master of ' The Adulteress before Christ.'

BONIFACCIO, Natalis, (or Bonifazio,) an Italian engraver who flourished about the year 1590. His plates are principally etchings, which are executed in a free, spirited style. His most considerable works were the plates he engraved for a book published at Rome in 1690, composed by D. Fontana, architect to Pope Sixtus V., concerning the removal of the Vatican obelisks. He has in- ' scribed his name on these plates, Natalis Bonifacius Sibenicetuis fee.

BONIFAZIO (or Bonifacio) is a name borne ^ by three artists, who all came originally from Verona. There still exists much confusion as to the authorship of the various works attributed to them. The following notices show those pictures which are gener illy given to each painter.

Bonifazio I., commonly called Bonifazio Veronese, whs a follower, if not a pupil, of Palma Vecchio. He was also much influenced by Giorgione and Titian, and several of liis best works, which are remarkable for a Titian-like beauty of colouring, have passed under the names of those masters. Bonifazio I., the most important member of the family, died in 1540. His works are seen in most Italian Galleries, and in those of Vienna, Dresden, St. Petersburg, and Paris. The following are his principal productions : —

Florence. Pitti Pal. Eepose in Egypt (aUo ascribed to Paris Bordone).

„ „ rinding of Moses {formerly attri- buted to Giori/ionc). Loudon. A'at. Gall. Santa Converzatione. Jlilan. Brera. Finding of Moses (formerly given to Giorgione). Modena. Gall. The four Virtues. Kome. Colonna Pal. Holy Family (formerly called a Titian). Venice. Acad. Massacre of tlie Innocents. „ ,, Dives and Lazarus. „ „ Judgment of Solomon. „ iS. Stefano. Madonna and Child (?). „ Pal. Giovantlli. Holy Conversation. Bonifazio II., commonly called Bonifazio Veneziano, died in Venice in 1553, aged sixty-two. He probably studied under Bonifazio I. The following pictures are attributed to him : — Berlin. Gall. Woraan taken in Adultery. MBLQ. Rome. Borghese Pal. Christ in the House of Zebedee. „ „ Ketum of the Prodigal Son. Bonifazio III., wlio painted at Venice from about 1555 to 1579, is supposed to be the author of the following paintings : — Venice. Gall. The Queen of Sheba before Solo- mon. 1555. „ „ Adoration of the Kings. 1558. „ „ Several Figures of Saints.

BONIFAZIO da VALDARNO. See Bembo.

BONINGTON, Richard Parkes, was bom at the village of Arnold near to Nottingham, on October 25, 1801. His father, who was for a time Governor of Nottingham Gaol, but lost his appoint- ment through irregularities, became afterwards a portrait painter and went to Paris. Young Bonington, then fifteen, was permitted to study in the Louvre, and enter as a student at the Ecole des Beaux Arts : he was also an occasional pupil of Baron de Gros, and thus belongs by training more to the French than to the British School. Gros' studio was in his time the favourite meeting-place of all the younger men of revolutionary tendencies, but although Bonington absorbed many of their ideas, he was able to keep away from their ex- travagances by reason of his repeated journeys to London, where he never lost an opportunity of studying the work of Constable. He painted his first landscapes in Normandy and Picardy, but in 1822 paid a long visit to Italy, sojourning especially in Venice, and filling his portfolios with sea pieces and historical scenes. He then returned to England, where he was but little known, and his early exhibited works shown at the British Institution excited much amazement, as they were so French in their technique and yet so redolent of English feeling. He had brought back with him from Venice the seeds of consumption, caught,