PAINTERS AND ENGRAVERS.
BIBLIOGRAPHY.
Ghiberti. ' Commentario.' Vasari. Ed. Sansoni. Crowe and Cavalcaselle. ' New History of Tainting in Italy.' Ruskin. 'Giotto and his Works in Padua,' 'Mornings in Florence.' Chini. ' Storia del Mugello,' 1S76. Thode. 'Giotto,' 1899. Zimmerman. 'Giotto,' 1899. Bereuson. ' Florentine Painters of the Renaissance.' Perkins, F. M. ' Giotto,' London, 1902. F. M. P.
BONE, Henry, the celebrated painter in enamel, was born at Truro, in Cornwall, in 1755. His first employment was with a manufacturer of china at Plymouth ; he afterwards employed his talents at Bristol in painting landscapes and groups of flowers to ornament porcelain, by which means he acquired a thorough knowledge of that art, in which he be- came so eminent. He removed to London in 1779, and became distinguished by painting in enamel ' The Sleeping Girl,' after Sir Joshua Reynolds. But the works that will give him lasting fame are the ' Portraits of Illustrious Englishmen,' eighty- five in number, which he enamelled after the original pictures in the royal and other collections. These must have cost him much labour, expense, and anxiety ; but, unfortunately, little pecuniary reward. They are now at Kingston Lacy, Wim- borne, in the possession of Mr. Ralph Bankes. In 1811 he produced a copy in enamel (eighteen inches by sixteen) of Titian's ' Bacchus and Ariadne,' for which he received 2200 guineas. He was elected an Associate of the Royal Academy in 1801, and in the same year was appointed painter in enamel to George III. In 1811 he was made a full member of the Academy, and died in 1834, when his miniatures were dispersed by auction.
BONE, Henrt Pierce, the son of Henry Bone, was born in 1779, and was instructed in enamel- painting by his father. He painted and exhibited portraits and other subjects in oil from 1799 to 1833, when he turned his attention definitely to enamel painting, which he practised till 1855, when he died in London. He was enamel-painter to Queen Adelaide, and to Queen Victoria and the Prince Consort.
BONE, Rodert Trewick, was born in London in 1790. He was the son of Henry Bone, the cele- brated enamel painter, who instructed him in art. He exhibited classical and sacred pictures at the Royal Academy and the British Institution from 1813 to 1838, and succeeded in gaining, in 1817, the £100 premium for his picture of ' A Lady with her Attendants at the Bath.' He died in 1840.
BONESI, Giovanni Girolamo, according to Zii- notti, was bom at Bologna in 1653, and was a scholar of Giovanni Viani. He painted several pictures for the churches and public edifices at Bologna, in which he appears to have imitated the style of Carlo Cignani. Among his most esteemed productions are the following : ' St. Francis of Sales kneeUng before the Virgin,' in the church of Sun Marino ; ' St. Thomas of Villanuova giving Alms to the Poor,' in San Biagio ; and ' The Virgin and Infant Christ, with Mary Magdalene and St. Hugo,' at the Certosa. He died in 1725.
BONFANTI, Antonio, called II Torricella, was a native of Ferrara, in which city there are several of his works in the churches and convents. His most esteemed pictures are the ' Purification.' and 'Christ disputing with the Doctors,' in the church of San Francesco, and the 'Holy Family' in that of La Santissima Trinita.
BONFIGLI, Benedetto, (or Buonfiglio,) was born at Perugia about 1420. His earliest work was an ' Annunciation,' originally in the Orfanelli at Perugia. His masterpiece is a series of frescoes in the Palazzo del Consiglio in the same city, which re- present the Lives of St. Louis of Toulouse and St. Herculanus ; they were commenced in 1454 and not finished in 1496, in which year Bonfigli's will is dated. This work occupied much of his time, and gained him considerable reputation in his native city. An ' Adoration of the JIagi,' said to have been painted in 1460, in San Domenico, is con- sidered one of his best productions. Among other pictures of his may be mentioned a Banner {Gon- falone) painted in 1465 for the brotherhood of San Bernardino, and representing the deeds of their patron saint; another Gonf alone painted for the hrotlierhood of San Fiorenzo in 1476, in honour of the Virgin, who had been prayed to intercede for the cessation of the plague ; a ' Virgin of Mercy,' painted in 1478 for the church of the Commenda di Santa Croce ; and several others in and around Perugia. Bonfigli is especially noticeable for the correctness of his perspective, the beauty of his colouring, and his love of detail. He was much influenced by Domenico Veneziano and Pietro della Francesca. According to Lanzi, Perugino was his pupil, but there is nothing to corroborate the statement. We have no record of Bonfigli after 1490.
BONHEUR, FRAN901S AuGnsTE, painter, was born .at Bordeaux in 1824, and was his father's pupil. He was the brotlier of Mile. Rosa Bonlieur. His first picture exhibited at the Salon was 'Children and Cockchafer,' in 1845. He afterwards painted portraits, but was best known by his land- scapes with cattle. He died of heart disease in a railway carriage in Paris, February 21, 1884.
BONHEUR, Rosaline, was born at Bordeaux in 1822, and died in Paris in July 1899. Her father was Drawing-master and Director at the Free School of Design for Girls in Paris, but Rosaline was not intended for the same profession. and was to have been a dressmaker. Despite ak her wonderful success in her fathei-'s school and other places of education, where she carried ofi" all the drawing prizes and failed hopelessly in every other branch of learning, she was bound to the business which her parents had selected for her, and which they were determined she sliould adopt. Her misery, however, was so pro- found that her father relented, took her away from business, undertook her training himself, and allowed her to sketch and paint to her heart's delight. ' Goats and Sheep' was exhibited at the Salon when she was eighteen, and ' Cows in Pasture 'in the following year, while in 1845 she had no less than fourteen pictures at the Salon, and was awarded one of its medals. This did not, however, satisfy her, and she aimed at the highest prize, gaining it in the form of a special first-class medal three years afterwards, when she was but twenty-five. Soon after that her father died, and so great was her genius that almost without effort she stepped into his vacant position, one which had never before been held by a woman. 'Th& Horse Fair,' her greatest picture, was exhibited
in 1853. It created a great sensation, was sold
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