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Updated: June 24, 2025
Something of this faculty, it may be said in passing, descended to Bonifazio, whose romance pictures are among the most charming products of Venetian art, and one of whose singing women in the feast of Dives has the Giorgionesque fulness of inner feeling. Fate has dealt less unkindly with Titian, Tintoret, and Veronese than with Giorgione.
When the paroxysm of excitement was over, Salvator again fell into a deathlike condition, and Dame Caterina thought his last hour was certainly come. So she ran as quickly as she could to the convent, and brought Father Bonifazio to administer the sacraments to the dying man.
This is not the sparkling brilliancy of those Veronese transformed into Venetians Bonifazio Primo and Paolo Caliari; or the gay, stimulating colour-harmony of the Brescian Romanino; or the more violent and self-assertive splendour of Gaudenzio Ferrari; or the mysterious glamour of the poet-painter Dosso Dossi.
Tintoret and Bonifazio introduced more natural effects into this monotonous landscape: in their works we meet with showers of rain, with rainbows, sunsets, bright reflections in water, and so on; but still very subordinate, and carelessly worked out, so as not to justify us in considering their landscape as forming a class by itself.
One of her early works was a design for two mosaic figures in the left door of the Cathedral in Florence, representing Bonifazio Lupi and Piero di Luca Borsi; this was exhibited in 1879, and was received with favor by the public. This artist has had much success with Pompeian subjects, such as "A Pompeian Lady at Her Toilet," and "A Pompeian Flower-Seller."
A copy of this composition is in the Academy at Venice. Oddly enough it was a pupil of Bonifazio who employed the grand Venetian manner in the humbler and more commonplace walks of life, and neglecting alike the Sacra Conversazione and the pompous scenes of festivity, developed into the first Italian painter of genre.
The subject of the Santa Conversazione should not be left without a brief reference to other Venetians, who added to the popularity of this charming style of picture. Berenson mentions seven by Palma's pupil, Bonifazio Veronese, and one by his friend, Lorenzo Lotto.
It was not even worth while to say anything. Once more the Baroness sighed as she turned from the window. She meant to have her own way in the end, but it was hard to wait so long. She turned from the window, glanced at a beautiful holy family by Bonifazio which hung on the opposite wall above an alabaster table, estimated its value instinctively and went on into the next drawing- room.
"Ah, yes," he began to paw the pictures over as if they were live stock, "that was bought for a Bonifazio," he had picked up Maud's ruby-colored prize. "Of course, of course, it's a copy, an old copy, of Titian's picture, No. 3,405, in the National Gallery at London. There is a replica in the Villa Ludovisi here at Rome.
L'Art Chrétien, vol. ii. p. 397. The same remark might be made about the Venetian Bonifazio. It is remarkable that the "Adoration of the Magi" was always a favourite subject with painters of this calibre.
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