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 distinguished school of Titian, under whom he studied for some time. After this he became a pupil of Giorgione, whom he imitated with much success. Subsequently. Iiowever, he devoted liim- self entirely to the study of Titian, and became a faithful imitator of that great master, so that his works have often been confused with the originals. He also excelled in portrait painting, and his pictures of that description are not inferior to those of any artist of his country, Titian only excepted. His first productions were executed in TreWso, Vicenza, and Venice, and were the objects of universal admiration. His most important work was the dome of the church of San Vicenzo at Treviso, in which he has represented, in six com- partments, ' The Annunciation,' ' The Nativity,' 'The Adoration of the Magi,' 'The Crucifixion,' 'The Ascension,' and 'The Assumption of the Virgin.' In 1538 he was invited to France by Francis I., and he there painted the portraits of that monarch and the principal personages of his Court. He was knighted by Francis II. From Paris he returned to Venice by way of Augsburg and Milan, at the former of which he painted in the Fugger Palace, and at the latter in the chapel of St. Jerome. He died at Venice in 1571. The following are some of his best works :

The Chess-players (O PAnis B). A man id black. Madonna and Saints {two : yos. 177 and 191). Holy Family, with St. Jerome and St. Elizabeth. Daphnis and Chloe. Portrait of a Genoese Lady {siijiied Paris BO). Madonna and two Saints. Baj-tism of Christ. Portrait of a man. Man counting jewels. Christ taking leave of His mother. Portrait of a man (.<i<infil Paris B. F., and dated MDXXXX). . Holy Family. Mars and Venns. The Fishermen presenting the ring of St. Mark to the Doge (Am masterpiece). A yomig Lady at her toilet. Venus and Adonis in an arbour. Andjlve others.

BOREKENS. See Boerekens.

BORESUM. See Borsscm.

BORGANI, Fbancesco, was a native of Mantua who flourished about the middle of the 17th cen- tury. He was a scholar of Domenico Feti. He did not, however, follow the style of his instructor, but imitated, with some success, the graceful man- ner of Parmigiano. There are several of his works in the churches of San Pietro, San Siraone, and Santa Croce, at Mantua, which prove him to have been an artist of no mean ability, and, according to Lanzi, are deserving of more admiration than is generally bestowed on them.

BORGHEGGIANO. See Albeeti, Cherubino.

BORGHESE. Ritter. See GniDOTTO.

B0R6HESE, Giovanni Venttjba, was a native of Citt4 di Castello, and a scholar of Pietro da Cor- tona. He assisted that master in some of his most considerable works at Rome, and after the death of his instructor was engaged to finish some of his paintings left imperfect. In the church of San Niccol6 da Tolentino there are two pictures by this painter, representing 'The Annunciation,' Berlin. Museum. Dresden. Gallery. London. Nat. Gall. Lovere. Tadivi Coll. Milan. Brera. Munich. Gallery. Padua. Paris. Gallery. Louvre. Rome. Colonna Pal. „ Doria Fal. Venice. Academy. Vienna. Gallery. /£,m

and ' The Virgin Mary crowned by Angels.' His best works are considered to be four paintings in the church of Citta di Castello, representing scenes m the life of St. Catharine. He died in 1708.

BORGHESE, Pietbo. See Dei Fbanceschi. BORGHESI, IPPOLITO, a native of Naples, and a scholar of Francesco Curia, flourished about the year 1550. He painted historical subjects with some skill, and also successfully imitated Raphael and Andrea del Sarto. His most considerable work is an altar-piece, representing the 'Assump- tion of the Virgin,' in the chapel of Monte di Vietk at Naples.

BORGIANI, Oeazio, a painter and engraver, was bom at Rome in 1577 (?). He was instructed in the art of painting by his brother, Giulio Borgi- ani, called Scalzo ; but was more assisted in his progress by assiduously studying and copying the works of the great masters in his native city. The patronage bestowed on the arts by Philip II. of Spain induced him to visit that country, where he passed some years, and met with considerable suc- cess, his works being held in great estimation. On his return to Rome he was patronized by the Spanish ambassador, for whom he painted several pictures, and lie was also employed in painting for the churches. The date of his death is unknown. He painted as late as 1630. In the Uffizi is his portrait by himself. As an engraver he has left some plates etched in a bold, free manner, and more finished than is usual in the works of a painter. Ho usually marked his plates with a cipher composed of an H and a B thus:

We have by him : The Resurrection, a composition of many figures ; marked with the last of the above ciphers. The dead Christ, in a foreshortened position, with the two Marys and St;. John ; dated 1615. St. Christopher giving his hand to the Infant Jesus. St. Christopher carrying the Infant on his Shoulder. Fifty-two Bible histories, called Raphael's Bible; dated 1615.

BORGO SAN SEPOLCRO, Baffaellino dal. See Dal Colle.

BORGOGNONE. See Courtois.

BORGOGNONE, Ambrogio. See Stefani da FossANo, Ambrogio.

BORGOGNONE dalle Teste, It-. See Giacchi- netti Gonzalez.

BORGOMAINERIO, Ldigi, who was born at Como in 1836, was one of the cleverest caricatur- ists in the ' Spirito Folletto,' and the founder of the ' Mefistofele.' Subsequently he went to Brazil to engage in similar work for a comic paper, but died at Rio J;ineiro in 1876, soon after his arrival.

BORGONA, Joan de, a painter of Toledo, was a distinguished artist of his time, both in fresco and oil, and produced several works in his own city, which were held in great estimation. He worked in conjunction with Alvar Perez de Villoldo, Alonso Sanchez, Francois d'Anvers, and other eminent painters. At Alcala de Henares he painted in 1493 the theatre of the university, and was em- ployed from 1508 to 1511 in the cathedral at To- ledo, where he painted first the altar of the Arabian Chapel, and afterwards a picture of 'The Conquest of Oran.' At Avila he finished the pictures com- menced by Pedro Berruguete and Santos Cruz. He also painted portraits of several cardinals. His colouring and mode of casting his draperies were considered equal to the best masters of the Italian