MORETTO, Il (“The Blackamoor,” a term which has not been particularly accounted for), is the name currently bestowed upon Alessandro Bonvicino (1498-c. 1560), a celebrated painter of Brescia, Venetian school. He was born at Rovato in the Brescian territory in 1498, and studied first under Fioravante Ferramola of Brescia, afterwards, still youthful, with Titian in Venice. His own earlier method, specially distinguished by excellent portraiLpaint-ing, was naturally modelled on that of Titian. Afterwards he conceived a great enthusiasm for Raphael (though he does not appear to have ever gone to Rome), and his style became partially Raphaelesque. It was, however, novel in its combination of diverse elements, and highly attractive,— with fine pencilling, a rich yet not lavish use of perspective and decorative effects, and an elegant opposition of light and shade. The human figure is somewhat slender in Bonvicino’s paintings, the expression earnestly religious, the flesh-tints varied, more so than was common in the Venetian school. The backgrounds are generally luminous, and the draperies well modified in red and yellow tints with little intermixture of blue. The depth of Bonvicino’s talent, however, was hardly in proportion to its vigour and vivacity; and he excelled more in sedate altar-pieces than in subjects of action, and more in oil-painting than in fresco, although some fine series of his frescos remain, especially that in the villa Martinengo at Novarino, near Brescia. Among his celebrated works in the city are—in the church of S. Clemente, the Five Virgin Martyrs, and the Assumption of the Madonna (this latter may count as his masterpiece); in S. Nazaro e Celso, the Coronation of the Madonna; in S. Maria delle Grazie, St Joseph; in S. Maria de’ ...