EXANDER VI. and BORGIA, CESARE; and
especially F. Gregorovius's _Lucrezia Borgia_ (Stuttgart, 1874), the
standard work on the subject; also W. Gilbert's _Lucrezia Borgia,
Duchess of Ferrara_ (London, 1869), which, while containing much
information, is quite without historic value; and G. Campori's "Una
Vittima della Storia, Lucrezia Borgia," in the _Nuova Antologia_
(August 31, 1866), which aims at the rehabilitation of Lucrezia.
(L. V.*)

BORGLUM, SOLON HANNIBAL (1868- ), American sculptor, was born in
Ogden, Utah, on the 22nd of December 1868, the son of a Danish
wood-carver. He studied under Louis F. Rebisso in the Cincinnati art
school in 1895-1897, and under Fremiet in Paris. He took as his chief
subjects incidents of western life, cowboys and Indians, with which he
was familiar from his years on the ranch; notably "Lassoing Wild
Horses," "Stampeding Wild Horses," "Last Round-up," "On the Border of
White Man's Land," and "Burial on the Plains." His elder brother, Gutzon
Borglum (b. 1867), also showed himself an artist of some originality.

BORGOGNONE, AMBROGIO (fl. 1473-1524), Italian painter of the Milanese
school, whose real name was Ambrogio Stefani da Fossano, was
approximately contemporary with Leonardo da Vinci, but represented, at
least during a great part of his career, the tendencies of Lombard art
anterior to the arrival of that master--the tendencies which he had
adopted and perfected from the hands of his predecessors Foppa and
Zenale. We are not precisely informed of the dates either of the death
or the birth of Borgognone, who was born at Fossano in Piedmont, and
whose appellation was due to his artistic affiliation to the Burgundian
school. His fame is principally associated with that of one great
building, the Certosa, or church and convent of the Carthusians at
Pavia, for which he worked much and in many different ways. It is
certain, indeed, that there is no truth in the tradition which
represents him as having designed, in 1473, the celebrated facade of the
Certosa itself. His residence there appears to have been of eight years'
duration, from 1486, when he furnished the designs of the figures of the
virgin, saints and apostles for the choir-stalls, executed in _tarsia_
or inlaid wood work by Bartolommeo Pola, till 1494, when he returned to
Milan. Only one known picture, an altar-piece at the church San
Eustorgio, can with probability be assigned to a period of h