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 Adorations and Holy Families. In the "Adoration of the Magi," in the Academy, the Madonna is a handsome, prosperous lady of Bonifazio's acquaintance. The Child, so far from raising His hand in benediction, holds it out for the proffered cup. He does not, as usual, distinguish the eldest king, but singles out the cup held by the second, who, in a puffed velvet dress, is an evident portrait, probably that of the donor of the picture, who is in this way paid a courtier-like compliment. The third king is such a Moor as Bonifazio must often have seen embarking from his Eastern galley on the Riva dei Schiavoni. A servant in a peaked hood peers round the column to catch sight of what is going on. The groups of animals in the background are well rendered. In the "Rich Man's Feast," where Lazarus lies upon the step, we have another scene of wealthy and sumptuous Venetian society, an orgy of colour. And, again, in the "Finding of Moses" (Brera) he paints nobles playing the lute, making love and feasting, and lovely fair-haired women listening complacently. We are reminded of the way in which they lived: their one preoccupation the toilet, the delight of appearing in public in the latest and most magnificent fashions. And in these paintings Bonifazio depicts the elaborate striped and brocaded gowns in which the beautiful Venetians arrayed themselves, made in the very fashions of the year, and their thick, fair hair is twisted and coiled in the precise mode of the moment. The deep-red velvet he introduces into nearly all his pictures is of a hue peculiar to himself. As Catena often brings in a little white lap-dog, so Bonifazio constantly has as an accessory a liver-and-white spaniel.