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 The Campo Vacciuo; after Claude Lorrain. The Schoolmaster; after Ostade. Orpheus and Eurydice ; after Poussin.

BOVINI, Francesco. In the description of the pictures at Ferrara, by C. Barotti, there are mentioned two altar-pieces by tliis master, in the church of the Oratorio della Penitenza in that city, one representing ' The Immaculate Conception,' the other ' The Adoration of the Magi.'

BOWER, Edward, is known as the painter of a portrait of Charles I., ' The King seated at his Trial,' in the possession of Mr. W. H. Pole Carew, and of Lord Fairfax and other celebrated men. Some of his works were engraved by Hollar.

BOWLER, Thomas William, a landscape painter, lived for some years at the Cape of Good Hope, and published a series of views of Cape Town and its neighbourhood. He afterwards visited Mauritius, and brought home many drawings taken in that island. He died in 1869.

BOWLES, Thomas, an English engraver, was born in London about the year 1712. He published a set of thirty views of the public edifices in and near London, of which some of the plates were engraved by himself, the others by Fourdriniere, Vivares, and others ; among them are :

A View of London from the Thames. 1751. Somerset House. 1753. Greenwich Hospital. 1745. The Rotunda at Rauelagh. 1751. The Eoyal Exchange. St. Mary-le-Bow.

BOWNESS, William, was born at Kendal in 1809. He was an exhibitor in the Suffolk Street Gallery and at the Royal Academy from 18-11 to 1855, sending portraits and occasionally figure subjects. He died in 1867.

BOWRING, Benjamin, an English portrait painter in oil and miniature, exhibited at the Royal Academy from 1773 till 1781.

BOWYER, RoDERT, born in 1758, was a celebrated miniature painter in the reign of George III., and was much patronized by the Court. He published a ' Historj' of England,' with portraits, which bears his name. He died at Byfleet in 1834.

BOXALL, Sir William, was born on the 29th of June, 1800, at Oxford, and received such edu- cation as his father, a supervisor of excise, was able to afford at the Grammar School at Abingdon. As he early showed a love and ability for drawing, he was sent to London, and in 1819 obtained ad- mission into the Art Schools of the Royal Academy. About eight years later he went to Italy to study the works of the old masters, which laid a sure foundation for that judgment and discrimination on art matters which were afterwards of such eminent service to him. He returned to London in 1829, and in that year exhibited ' Milton's Recon- ciliation with his Wife,' and a portrait of Thomas Stothard ; and thenceforth till 1866 lie was a con- stant contributor to the annual exhibitions of the Royal Academy, sending in all no less than eighty- three works. Though for some years lie continued to paint allegoric subjects, as for instance his 'Lear and Cordelia' and 'Hope,' yet he finally devoted himself to portraiture. Among the persons who sat to him were — Allan Cunningham, Copley Fielding, Landor, David Cox, Coleridge, Words- worth, Frederick Huth, and the Prince Consort, Mrs. Hanbury Leigh, Miss Harriet Hosmer the American sculptor, Mrs. Cardwell, and Mr. and Mrs. Peto.

Soon after the death of Sir Charles Eastlake, in December 1865, Boxall was appointed director of the National Gallery. He was compelled, how- ever, in 1874, to resign the directorship, the duties of which he had performed with judgment, discre- tion, and zeal, and in recognition received the honour of knighthood on the 24th of March, 1871. In 1852 he had been elected an Associate of the Royal Academy, and twelve j'ears later he received the full membership, which he resigned in 1877. He was also an honorarj' member of the Academy of San Fernando at Madrid. He died in London on the 6th of December, 1879.

In the Diploma Gallery at Burlington House there hangs his portrait of John Gibson, the sculp- tor, painted in 1863, and exhibited in the follow- ing year; in the National Gallery he is represented by a single work, and that neither typical nor a masterpiece. It is entitled ' Geraldine,' and repre- sents a lady at her toilet ; it was exhibited at the Royal Academy in 1850.

BOYCE, G. P., born in 1826, was educated as an architect, and articled to Mr. Little. He travelled largely on the Continent, and made careful studies of various styles of architecture ; but, on meeting David Cox at Bettws-y-Coed in 1849, he took up landscape art, though he did not exliibit till 1853. In 1864 he was elected an Associate of the old Water Colour Society, but waited fourteen years for full membership. He was one of the founders of the Hogarth Club ; and was a great friend and admirer of the late Dante G. Rossetti, and brother-in-law of H. T. Wells, R.A. He retired in 1893, dying four years later.

BOYCE, Johanna Maby. See Wells.

BOYCE. Samoel. The name of this engraver is affixed to a portrait of Edward Russell, Earl of Orford. He died in 1775.

BOYDELL, John, who was born at Dorrington, in Shropshire, in 1719, was the son of a land-surveyor, who brought him up to his own profession, which he followed until he reached the age of twenty. Having at that period accidentally met with Badeslade's views of different country seats in England, particularly one of Hawarden Castle, with which he was well acquainted, he determined to learn the art of engraving. With this resolution he came to London, and bound him- self a pupil to Toms, the engraver of the plate he had so much admired. Under that artist he applied himself with great assiduity for six years. On leaving his instructor, his first publication was a set of six views near London, which, on account of there being a bridge in each of them, was called ' The Bridge Book.' He afterwards engraved many plates of views in England and Wales, which he published in one volume, at the price of five guineas. This publication may be regarded as the basis on which he raised the structure of his future eminence, and, as he used himself to express it, was the first book that ever made a lord mayor of London. By the profits of this work he was enabled to commence that encouragement to young artists which he afterwards carried to so laudable an extent. The art of engraving was at that time at a very low ebb in England, and the collectora of prints were in the habit of receiving them from abroad. It may be very justly attributed to the persevering industry of Boydell that it was carried to such perfection as to occasion the works of British engravers to be sought after through every