A BIOGRAPHICAL DICTIONARY OF
in 1504 ; now in the Uffici at Florence. The best
known perhaps of all his pictures, having been constantly reproduced.
The MaJonua and Saints ; in the National GalUrij. Early work. Unfinished, and of doubtful authenticity. The Entombment; in the Sational Gallery. Unfinished, and of doubtful authenticity.
Cartoon of Pisa ; an incident in the battle of Cascina. 1504. This noble work, which was never completely finished, was destroyed by some means at an early date, and the fragments scattered in various collec- tions ; but the story Vasari tells of its having been torn to pieces by Uaccio Bandinelli is unworthy of credit. Portions of it were early engraved by Marc- Antonio and Agostiuo da Venezia, and in later years the central part of the composition has been engraved by Schiavonetti, from an excellent copy in grisaille, which still exists in the possession of the Earl of Leicester at Holkham. It is from this that the numerous reproductions of this subject are taken. Fresco paintings in the Vault of the Sixtine Chapel, representing the various acts of creation; the Temptation and Fall of our first parents ; the Deluge, and the Sacrifice and Drunkenness of Noah; also the Genealogy of the Virgin in the spandrels above the windows, and four historical subjects from the history of the Jews, in tlie comer soffits of the ceiling. The twenty figiu-es, called athletes, and other figures in the framework. The seven figures of the Prophets, and the five Sibyls who sit enthroned in niches round the vault, are generally regarded as the highest conceptions of Michelangelo's art.
The Leda, painted about 1530 for the Duke of Ferrara, but not sent to him. The history of this picture is very confused. Va.sari states that Michelangelo presented it to his pupil Antonio lilini because " he had two sisters to marry." It seems to have been sold by agents to Francis I., and to have remained at Fontainebleau until the reign of Louis XII., when it is said to have been destroyed by order of the Confessor of Desnoyers. Its destruction, however, is by no means certain, and it is probable that it passed in a mutilated condition into Eugland. A painting of this subject is now in the National Gallery, and is considered by JL Keiset, the learned director of French museums, to be the one actually painted by Michelangelo, but greatly restored. A Cartoon of the I^eda, a copy, but a very fine work, is in the possession of the Koyal Academy.
The Last Judgment: fresco in the Sixtine Chapel of the Vatican. Two frescoes in the Pauline Chapel iu the Vatican — The Conversion of St. Paul and the Crucifixion of St. Peter. 1549—1550.
Other works iu painting were doubtless executed by Miclielangelo, but no others are known to be certainly by him, the pictures that pass with his name in galleries being generally executed by pupils and followers from his designs, which he was very liberal in bestowing upon good painters. Numerous drawings by Michelangelo are to be found in various collections, especially in England. There are fifteen in the British Museum, thirty at Windsor, and seventy at Oxford.
The following books should be consulted:
T'asari. Vita del gran Michelangelo Buonarroti. 1568. Milanesi edition of the Lives, in 1880. Condivi. Vita di Michelangelo. 1553. Both these were contemporary biographies by pupils. Viynali. Vita di SI. A. BLionarroti. 3 753. Hauchecome. Vie de Michelange, etc. 1783. Duppa. Life of Michael Angelo. 1806. Linnell. Frescoes in the Sistine Ch.ipel. 1834. J. E. Taylor. Michelangelo considered as a philosophic poet. 1840. Hermann Gri'iim. Leben Michel Angelos. 1860. Translated into English in 1S65. Aurelio Gotti. Vita di Michelangelo Buomrroti, narrata con I'aiuto di nuo'i document!. 1875. Gaetano Milanesi. Le Lettere d! Michelangelo Buonarroti. 1875. Ch. Heath Wilson. Life and Letters of Michelangelo Buonarroti. These last three works, by the publication of the documents and letters in the Casa Buonarroti, have added materially to our knowledge of Michelangelo's hi.story. C. C. Black. Michael Angelo Buonarotti, Sculptor, Painter, Architect. 1875. J. A. S'tmouds. The Life of Miclielangelo Buonarroti. 1803. Eolroyd, C. Michel Angelo. 1903. Sutherland-Gower, Lord Ronald. Michel Angelo. 1903. 5I.M.H. &C H. (.revision).
BUONASONE. See Bonasone.
BUONA VENTURA. See Segna.
BUONCONSIGLIO, Giovanni, called II Mabes-CALCO, a native of Vicenza, ]iainted in tempera, in the first part of his career, in the style of Montagna; but afterwards he turned his attention towards oil-colours, and became a disciple of Antonello da Messina, whom, it is said, he assisted in several of his works. He subsequently became almost Titianesque in warmth of colour. Buonconsiglio laboured chiefly at Vicenza, Venice, and the neighbourhood. He was living as late as 1530 at Venice, for the churches of which city he painted numerous altar-pieces, many of which have unfortunately perished. The following are his principal works now extant:
London. Molford Gall. Lady with man in armour. ,, Butler Coll. The Mistress of Giorgione (so called). „ JVard Coll. Ecce Homo. Montagnana. Cathedr. Virgin and Child (stynedaniJ Arfeii 1511). „ „ St. Catharine {siyned and dated 1513). ,, Comune. Madonna with six Saints (signed), Pai'is. Loiivre. Ecce Homo. Venice. Academy. Fragments of a work painted in oil for SS. Cosmo e Damiano alia Giudecca, representing SS. Benedict, Tecla, and Cosmo {signed and dated 1497). „ Gesuati. Christ between SS. Jerome and Secondo (signed *JoiNES BO- NICHOSILIJ DITO MABESCHAL-CHO. P.').
„ 5. Giac. deir Orio. St. Sebastian (signed). Vicenza. Gallery. Virgin and Saints mourning over the dead body of Christ. Signed. Tempera (painted for San Bartolomvieo, Vicenza). „ S. Rocco. Virgin and Child, with Saints (.liffaed and dated 1502).
BUONFIGLIO. See Bowfigli.
BUONFRATELLI, Apollonio, a miniature painter of Florence in the 15th century.
BDONI, B. and S. de'. See De' BnoNl.
BUONI, Floeiano, (or Bonis,) an engraver, was a native of Bologna, and flourished about the year 1G70. Among other prints he produced a plate representing a ' Dead Christ, with the Virgin Mary and St. John,' after Guercino. It is executed with the graver in a dark, heavy style. His name is also affixed to a portrait of Guido Reni.
BUONINSEGNA, Dnccio di, was born at Siena about 1260. He was the first of his school to throw aside the Byzantine style and to strive to imitate nature. In 1285 he entered into a contract to paint, for 150 florins, an altar-piece for the chapel of the Virgin in Santa Maria Novella at Florence, but no record of the picture exists; and in the autumn of that year he was in Siena. His master-piece, which still exists, is the high altar-
