ree in giving the
name to one master only. Boschini, however, in 1777 discovered the
register of the death of a second, and a third bearing the name was
working twenty years later. Upon this Dr. Morelli came to the conclusion
that we must recognise three, if not four, masters bearing the name of
Bonifazio, but documents recently discovered by Professor Ludwig have
in great measure destroyed Morelli's conjectures. There may have been
obscure painters bearing the name, but they were mere imitators, and it
is doubtful if any were related to the family of de Pitatis.

Bonifazio Veronese is really the only one who counts. As Ridolfi says,
he was born in Verona in the most beautiful moment of painting. He came
to Venice at the age of eighteen, and became a pupil of Palma Vecchio,
with whom his work has sometimes been confused. After Palma's death
Bonifazio continued in friendly relations with his old master's family,
and his niece married Palma's nephew. Bonifazio himself married the
daughter of a basket-maker, and appears to have had no children, for
he and his wife by their wills bestowed their whole fortune on their
nephews. Antonio Palma, who married Bonifazio's niece, was a painter
whose pictures have sometimes been attributed to the legendary third
Bonifazio. Bonifazio's life was passed peacefully in Venice. He received
many important commissions from the Republic, and decorated the Palace
of the Treasurers. His character and standing were high, and he was
appointed, in company with Titian and Lotto, to administer a legacy
which Vincenzo Catena had left to provide a yearly dower for five
maidens. After a long life spent in steady work, Bonifazio withdrew
to a little farm amidst orchards--fifteen acres of land in all--at San
Zenone, near Asolo; but he still kept his house in San Marcuola, where
he died. He was buried in S. Alvise in Venice.

A son of the plains and of Venetian stock, his work is always graceful
and attractive, though inclined to be hot in colour. It has a very
pronounced aristocratic character, and bears no trace of the rough,
provincial strain of such men as Cariani or Pordenone. It is very fine
and glowing in colour, but lacks vigour and energy in design. Nowhere do
we get more worldly magnificence or such frank worship of wealth as on
Bonifazio's joyous canvases. He represents Christian saints and Eastern
kings alike, as gentlemen of princely rank. There is a note of purely
secular art about his Ador