PAINTERS AND ENGRAVERS.
and dated 1507. No further information can be
given of this artist. He is thought to have been
a native of Pavia.
BOXONI, Cablo, was bom at Ferrara in 1569, and was instructed in the art by Giuseppe llazzuoli (called II Bastaruolo), under whom he studied until he was twenty years of age. Contemporary' with Ippolito Scarzellino, and unable to equal him in the tenderness of his tints and the beauty of his expression, he endeavoured to rival him in the boldness of his design and the vigour of his colour- ing. Bent on improvement, he visited Bologna, where the Carraoci were then in the zenith of their fame. Their works inspired him with a new idea of his art. After passing some time at Bologna, he went to Rome, where he improved his style of design by studying after the antique. His predi- lection for the style of the Carracci drew him again to Bologna, where he copied some of their principal works. He afterwards went to Venice, where the splendid productions of Paolo Veronese appear to have excited the liveliest admiration. The works of Correggio at Parma seem to have been not less the objects of his contemplation. In his smaller works he approaches so near to the style of the Carracci that he was called ' the Carracci of Ferrara.' In his extensive decorative works he exhibits the magnificence and richness of Paolo Veronese. Such are his ' Feast of Ahas- uerus,' painted in the refectory of the Regular Canons at Raveima, the ' Feast of Herod ' in San Benedetto, and the 'Jliracle at Cana' in the refectory of the Certosini at Ferrara. The UfEzi, Florence, possesses a 'Liberation of St. Peter from Prison' by him, and in the Modena G;illery there are four of his works. He died at Ferrara in 1632.
BONONI, LioNELLO, was the nephew and scholar of Carlo Bononi, and flourished about the year 1749. The excellent instruction of his uncle might have enabled him to arrive at celebrity in the art, but his negligence and depravity prevented his success. His most creditable performances are two pictures he painted for the chapel of the hospital of Santa Maria Novella, representing 'The Visitation of tl:e Virgin to St. Elizabeth,' and ' The Holy Family.'
BONONIA, Jac. de Avaciis de. See Degli AVA-NZI.
BONONIA, SiMONE DA. See Bologna.
BONONIKXSIS, Fr., was an Italian engraver, by whom we have some very spirited etchings, executed in a bold, masterly style. They are chiefly from the works of Paolo Veronese, and are usually sign,.d with his name.
BONSER, J., was a native of Holland, who worked there and at Lyons between tae years 1629 and 1642. He was principally employed by the publishers, for whom he engraved, among other book-plates, some frontispieces in a very indif- ferent style, with figures and ornaments.
BONSIGNORI, Francesco, (miscalled by Vasari, and others after him, Monsigsori,) was born in 1455 at Verona, where he lived under the influence of Liberale till he was thirt3--two jxars of age. He then Wsited Mantua in 1487, and became influenced by the works of Mantegna. He painted historical Bubjects with much success, and was largely patron- ized by the Marchese Francesco Gonzaga. fie died at Caldiero, near Verona, in 1519. Less learned and correct in his design than Mantegna, he is more modem in his style ; and his colouring, particu- larly in the carnations, has more of the morhidezza. He excelled in painting animals, which he was fond of introducing into his works ; and from the fact that his paintings of these occasionally de- ceived other animals, he was called 'the modern Zenxis.' In the Brera at Milan is one of his best pictures, representing ' St, Louis ; ' and in the re- fectory of the church of the Franciscans at Man- tua are some perspective views, which show him to have been a perfect master of that branch of art. His last production was 'The Vision of Christ to the nun Ozanna,' dated 1519, and now in the Academy at Mantua. Of others may be mentioned : Florence, Bargello, Christ bearing,' the Cross. LondOD, IS'aiinnal Galltry, Portrait ol a Venetian SenatOT {signed Fea>'cisct;s Bossignurics VekoSESsis P 1487). See cartoon in the Jlbertina Lilrary at Vienna. Mantua, Academy, Clirist ascending Calvary ; Fal. Gonzaga, several paintings, 1495-6 ; & Francesco, Last Supper, 1&06 ; 5. M. d. Grazie, St. Sebastian. Verona, Ga/^ery, Madonna enthroned with four Saints ; S. Bernardino, Madonna, Child, and Saints, 14S8 ; 5. Kazaro, Madonna, with Saints, 1514. Vienna, Alhertina Col., Eight portraits in black chalk, 1487.
BONSIGNORI, Fra Gibolamo, (miscalled MON- siGNORi,) the brother of Francesco Bonsignori, was born at Verona about the year 1440. At an eariy period in his life he became a monk of the order of the Dominicans, and in the church of his monas- tery he executed some altar-pieces. He at first studied the works of Mantegna, but in his later productions he followed the style of Fiesole. He also studied Leonardo da Vinci, and produced ex- cellent copies of some of his works ; in particular, of the 'Last Supper.' It was originally in the great library of San Benedetto at Mantua, but now in the possession of Count Arco at Paris. He also painted a 'St. John,' which is now in the Zecca at Milan. Among his early painting8_ there is, besides the altar-piece, a ' Last Supper' in the Dominican monastery, and a ' Madonna ' in fresco in Santa Anastasia at Verona. He died of the plague at Mantua about 1519. Another brother of Francesco, Fra Chebubino Bonsignori, excelled in miniature painting.
BONSTETTEN, Abb. Sigm. August von, a Swiss landscape painter, bom in 1796, of a good family. He was brought up for the military service, and served in a Swiss regiment in the pay of the Dutch Government. After the separation of Belgium from Holland, he gave up soldiering and devoted himself entirely to art. Possessed of con- siderable property, his works but seldom appeared at the public exhibitions. He died atSinneringen, near Berne, in 1879.
BONTEKRAAY. See Mytens, Dan.
BONVICINO, Alessandro, one of the best painters of northern Italy of the sixteenth century, commonly known as Moretto, was born at Rovato, near Brescia, about 1498. He at first studied under Ferramola, whom he assisted in the painting of an organ screen in the cathedral of Brescia in 1518. It is said that he was a pupil of Titian,
whose style he approached nearer than any of his countrymen ; but whether he worked under him at Padua, Venice, or Vicenza is not known. His portraits have been compared to those of that great master. Romanino's work also had great influence on his style. Moretto imparted instruction to the famous portrait-painter Moroni. In later life, he attempted to introduce into his works something of the greatness of Riphael, and
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