presented to the Municipality of Paris, and the cascades and lakes constructed and mounds erected, with a view to make it vie with the noted parks of other cities. In 1870 the siege of the Prussians rendered the clearing away of the forest a necessity for the defence of the city. Much of its former beauty is therefore wanting at the present time. The principal points of attraction are the artificial lakes.

Lac Inférieur is ml. long and Lac Supérieur † ml. Within the first are islands (1 fr.), with cafés, restaurants, and various amusements. Between the lakes are the cascades, one of which

is called the Source.

The Pré Catelan, formerly the centre of attraction, is now chiefly used as a concert saloon. The Race-course of Long Champs, named from the Abbey de Long Champs, founded here in 1261, by Isabella, sister of St. Louis, is on the n. side, near the Seine, not far from which is the Cascade de Long Champs, 27 ft. high. At the extreme north end of the Bois is the Jardin a' Acclimatation, which see.

The best display of equipages is seen from 3-5 o'clock.

Bois de Vincennes (bwa-deh-vin-sen), Paris, 11⁄2 ml. beyond Place du Trône; by rly. from Pl. de la Bastille, horse-car from the Louvre, or omnibus from Pl. des Arts and Métiers.

Louis le Jeune here made his residence, 1137; a century later, St. Louis held here a court of justice under an oak, the site of which is marked by a pyramid in the centre of the Rendez-vousde-Chase. It was also the residence of Philip Aug., Louis le Hutin, and Charles le Bel. The château was erected by Philippe de Valois, 1333.

The Donjon, with its four towers, constructed of stone, is of four lofty stories, with walls 10 ft. in thickness. It was a royal residence till the time of Louis XI., since which it has been used as a prison. Among those who have been confined here are Henry IV., Condé, Prince Ed. of Eng., and Duc d'Enghein. Upon the ground floor is the Salle de la Question, or room of torture, a place of total darkness. A hole in the wall indicates the bed of the victim.

The Chapel, 1248, is noted especially for its fine vaulting and its windows. In a window on the 1., among the celestial figures, is Diana of Poictiers, distinguished by the blue ribbon in her hair. In the Sacristy is a mon. to the Duc d'Enghein, who was unjustly executed by Napoleon I. The statue of the Duc is sup.

ported by Religion, while France below is weeping, and Ven geance is supplicating Divine justice. ("A magnificent monument."-Galignani. "A poor work."-Baedeker).

Bol, Ferdinand, 1611–1680, b. Dordrecht, Hol.; d. Amster dam; painter and engraver. He was one of the best pupils of Rembrandt, whose style he imitated well. He painted historical pictures and portraits. "He must not be confounded with Hans Bol, miniature and landscape painter."

Bologna (bo-lone'-ya), Italy, the Felsina of the Etruscans and the Bononia of the Romans. Its university, established 1119, is among the oldest known, and in the 13th cent. numbered 10,000 students. Anatomy and dissection were here first taught, and here Galvani made his first studies in galvanism.

In painting, Bologna holds a rank scarcely second to Florence in the eminence of its masters, among whom were Fr. Francia, the Carracci, Guido, Albano, Domenichino, and Guercino. The general architecture of its principal streets, massive and palatial, with arcades covering the sidewalks, gives a peculiar and some what sombre aspect to the city. It affords, however, an agreeable protection from the heat of summer and storms of winter.

The Principal Objects of Interest are the Academy of Art, the Museo Civico, the Piazza Vittorio Emanuele, the Leaning Towers, the Campo Santo, and the Churches of S. Petronio, S. Pietro, S. Domenico, S. Stefano, and S. Giacomo.

THE PIAZZA VITTORIO EMANUELE, the ancient forum, in the centre of the city, is of great historic interest. On the w. is the Pal. Pubblico, or Governor's Palace, 1290, the grand staircase of which was designed by Bramante; on the e. is the Pal. del Podestì, 1201, in which the young King Enzio was, during his life, kept a prisoner; and where, also, the conclave for the election of Pope John XXIII. was held, 1410. On the s. is the Ch. of S. Petronio, 1390, designed to be nearly 600 ft. in length. In 1659, the completion of the vast plan was abandoned, the work having only reached the transept. Windows from Cartoons by Raphael.

The Piazza is adorned with a fountain surmounted by the celebrated bronze *statue of Neptune by G. da Bologna, 8 ft. in height, and said to weigh 10 tons (?), and is regarded as one of the most meritorious achievements of modern art.

"Not an antique god, calm and worthy of adoration, but a mythological god, Under the feet of serving as an ornament, naked, and displaying his muscles. the god are four females displaying the magnificent nudity of their bending forms,

the open sensuality of their bold heads, and closely clasping their swollen breasts to force out the jutting water."-Taine.

THE LEANING TOWERS. Three squares to the e. of the Pi Vit. Em. is the Torre Asinelli (1109), 275 ft. in height, overhang ing 3 ft. 5 in.; and the Torre Garisenda (1110), 138 ft. in height. overhanging 8 ft. 6 in.

THE CAMPO SANTO. One and a half ml. from the Porta Sara gozza, s. w., is the Campo Santo, a burial-place of much interest. A covered gallery of 635 arches leads from the Porta to the Campo and to the Church of the Madonna de S. Luca, situated upon the summit of Monte della Guardia, 24 mls. dist. The church contains little of interest, but the height commands a magnificent view of the city, its environs, the Apennines, and the Adriatic.

Routes: To TURIN, 7 hrs., $7.60; $5; see Route 42. To MILAN, 5 hrs., $4.60; $3; see Route 42 to Piacenza, and 47 Piacenza to Milan. To VENICE, 4 hrs., $3.70; $2.60; see Route 48. TO FLORENCE (Rome), 4 hrs., $3; $2.10; see Route 49. Union station on the n. margin of the city.

Bologna, Jean (Ciovanni) de (zhañ -deh-bo-lone'-yah) IL FIAMMINGO, 15302-1608; b. at Douai, Flanders. He went to Rome, and, devoting himself to the study of the great masters, particularly Michael Angelo, early took a high rank as an artist, and soon achieved a place among the first masters of sculpture.

His four great works, each of which is a masterpiece, are the Great Fountain at Bologna; the Statue of Cosmo I., on the Piazza del Granduca, Florence; the Rape of the Sabine Women, in marble, under the Loggie, Florence; and Mercury in the Nat. Museum, Florence, formerly in the Uffizi. See Mercury.

"I think there has been no better sculptor since the days of Phidias."-Hawthorne.

Pu

Bonifazio Veneziano (bo-ne-faht' -zee-o), 1491-1553. pil of Palma Vecchio. Subjects usually religious. Excelled in Saints and Holy Families.

PRINCIPAL WORKS: Florence, Last Supper; Milan, Finding of Moses-long ascribed to Giorgione-and Christ at Emmaus; Paris, Raising of Lazarus; Venice, The Rich Man's Feast, The Magi, The Virgin and Four Saints.

Bordone, Paris (bor-do'-nay), 1500-1571; b. at Treviso, Italy; studied in the school of Titian; became an imitator of Titian and Giorgione. He is distinguished for portraits and fine heads, which have often been mistaken for Titian's. His fleshtints are rosy, his draperies purple and crimson, with numerous

small, broken folds. He was invited to Irance by Francis I His works are not numerous.

PRINCIPAL WORKS: Belv., three; Bera, 208; Dresd., 256; Edinb., 106, Hamp. Ct., 118, 182, 2352; Hermit., 110, 111; Louvre, S2; Nat. Gall., 637, 674; Uffi., 607, and several portraits; Venice, 428, 429.

Borghese Palace (bor-gay'-say), via Fontanella, Rome, ar immense structure commenced in 1590. The court is surrounded by a portico of 96 columns.

The Gallery. See Part II., Borghese Gallery, p. 423.

Borghese Villa. See Part II., Borghese Villa, p. 424. Borgognone, Ambrogio (bor-gon-yo'-nay), AM. FOSSANO, 1455-1525. Milan. Painter, most successful on heads. His Ma donnas are of a peculiarly beautiful type, gentle and devout. His pale, delicate flesh-tints are masterly.

Bor-ro-me-an Isles, Lake Maggiore. See Route 25.

Both (boat). I. ANDREAS. 1610 ?-1645?, b. at Utrecht, Hol. Studied under Bloemart, and travelled in Italy. Andreas rarely painted complete pictures, more usually devoting himself to the figures and animals in his brother's landscapes.

II. JAN (yahn), 1610 ?-1656? Studied, travelled, and painted with his brother. In Italy the brothers imitated the taste and style of Claude, and devoted themselves to Italian scenery. Jan's landscapes are characteristic, with lofty trees, sparse foliage in the foreground; high, rocky precipices, with distant mountains, a wide-stretching plain intervening, with a warm, soothing sunset, and frequently a brigand-looking traveller, a muleteer, and a couple of weary, miserable mules.

PRINCIPAL WORKS: Amst. Hoop., Nos. 21-2; Ant., 26; Berlin, 863; Bruss., 124; Dresd., 1272; Dul., 30, 36, 41, 199, 205; Hague, 17, 18; Louvre, 43-4; Munich, 173, 330, 479, 970; Nat. Gall., 71, 209, 959; Pesth, X. 349; Rijks, 49, 51-2; Rotterdam, 25.

Botticelli (chel'-ly), Sandro, FILIPEPI, 1447–1510, b. at Florence; was the pupil of Fra Lippi, and became one of the first painters of his time in the expression of vigorous and impetuous movement, in which respect he is allied to Angelo and Signorelli. In contrast with Angelico his angels are well-formed and vigorous muscular youths. Among his most important works are his frescoes in the Sistine Chapel. His masterpiece is the Calumny of Apelles, in the Uffizi.