See the bibliographies for ALEXANDER 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 his career earlier than 1486. For two years after his return to Milan he worked at the church of San Satiro in that city. From 1497 he was engaged for some time in decorating with paintings the church of the Incoronata in the neighbouring town at Lodi. Our notices of him thenceforth are few and far between. In 1508 he painted for a church in Bergamo; in 1512 his signature appears in a public document of Milan; in 1524--and this is our last authentic record--he painted a series of frescoes illustrating the life of St Sisinius in the portico of San Simpliciano at Milan. Without having produced any works of signal power or beauty, Borgognone is a painter of marked individuality. He holds an interesting place in the most interesting period of Italian art. The National Gallery, London, has two fair examples of his work --the separate fragments of a silk banner painted for the Certosa, and containing the heads of two kneeling groups severally of men and women; and a large altar-piece of the marriage of St Catherine, painted for the chapel of Rebecchino near Pavia. But to judge of his real powers and peculiar ideals--his system of faint and clear colouring, whether in fresco, tempera or oil; his somewhat slender and pallid types, not without something that reminds us of northern art in their Teutonic sentimentality as well as their Teutonic fidelity of portraiture; the conflict of his instinctive love of placidity and calm with a somewhat forced and borrowed energy in figures where energy is demanded, his conservatism in the matter of storied and minutely diversified backgrounds--to judge of these qualities of the master as they are, it is necessary to study first the great series of his frescoes and altar-pieces at the Certosa, and next those remains of later frescoes and altar-pieces at Milan and Lodi, in which we find the influence of Leonardo and of the new time mingling with, but not expelling, his first predilections.

BORGO SAN DONNINO, a town and episcopal see of Emilia, Italy, in the province of Parma, 14 m. N.W. by rail from the town of Parma. Pop. (1901) town, 6251; commune, 12,109. It occupies the site of the ancient Fidentia, on the Via Aemilia; no doubt, as its name shows, of Roman origin. Here M. Lucullus defeated the democrats under Carbo in 82 B.C. It was independent under Vespasian, but seems soon to have become a village dependent on Parma. Its present name comes from the martyrdom of S. Domninus under Maximian in A.D. 304. The cathedral, erected in honour of this saint, is one of the finest and best-preserved Lombardo-Romanesque churches of the 11th-13th centuries in north Italy. The upper part of the facade is incomplete, but the lower, with its three portals and sculptures, is very fine; the interior is simple and well-proportioned, and has not been spoilt by restorations. For the benitier, a work of the early 11th century, see Rassegna d'Arte, 1905, 180. Not far from the town is the small church of S. Antonio del Viennese, a 13th-century structure in brick (ib., 1906, 22). The Palazzo Comunale, in the Gothic-Lombard style, is a work of the 14th century. Borgo S. Donnino is an important centre for the produce and cattle of Emilia. (T. As.)

BORGU, or BARBA, an inland country of West Africa. The western part is included in the French colony of Dahomey (q.v.); the eastern division forms the Borgu province of the British protectorate of Nigeria. Borgu is bounded N.E. and E. by the Niger, S. by the Yoruba country, N.W. by Gurma. The country consists of an elevated plain traversed by rivers draining north or east to the Niger. The water-parting between the Niger basin and the coast streams of Dahomey and Lagos runs north-east and south-west near the western frontier. In about 10 deg. N., below the town of Bussa, rapids block the course of the Niger, navigable up to that point from the sea. The soil is mostly fertile, and is fairly cultivated, producing in abundance millet, yams, plantains and limes. The acacia tree is common, and from it gum-arabic of good quality is obtained. From the nut of the horse-radish tree ben oil is expressed. Cattle are numerous and of excellent breed, and game is abundant. Borgu is inhabited by a number of pagan negro tribes, several of whom were dependent on the chief of Nikki, a town in the centre of the country, the chief being spoken of as sultan of Borgu. The king of Bussa was another more or less powerful potentate. In the early years of the 19th century Borgu was invaded by the Fula (q.v.), but the Bariba (as the people are called collectively) maintained their independence. In 1894 Borgu became the object of rivalry between France and England. The Royal Niger Company, which had already concluded a treaty of protection with the king of Bussa, sent out Captain (afterwards Sir) F.D. Lugard to negotiate treaties with the king of Nikki and other chiefs, and Lugard succeeded in doing so a few days before the arrival of French expeditions from the west. Disregarding the British treaties, French officers concluded others with various chiefs, invaded Bussa and established themselves at various points on the Niger. To defend British interests, the West African Frontier Force was raised locally under Lugard's command, and a period of great tension ensued, British and French troops facing one another at several places. A conflict was, however, averted, and by the convention of June 1898 the western part of Borgu was declared French and the eastern British, the French withdrawing from all places on the lower Niger.

The British portion of Borgu has an area of about 12,000 sq. m. Up to the period of inclusion within the protectorate of Nigeria little or nothing was known of the country, though there were interesting legends of the antiquity of its history. The population was entirely independent, and resisted with success not only the Fula from the north but also the armies of Dahomey and Mossi from the south and west. Travellers who attempted to penetrate this country had never returned. Since 1898 the country has been opened, and from being the most lawless and truculent of people the Bariba have become singularly amenable and law-abiding. Provincial courts are established, but there is little crime in the province. The British garrisons have been replaced by civil police. The assessment of taxes under British administration was successfully carried out in 1904, and taxes are collected without trouble. In south Borgu the people are agricultural but not industrious or inclined for trade. In the north there are some pastoral settlements of Fula. The Bariba themselves remain agricultural. Cart-roads have been constructed between the town of Kiama and the Niger. The agricultural resources of Borgu are great, and as the population increases with the cessation of war and by immigration the country should show marked development. Shea trees are abundant. Elephants are still to be found in the fifty-mile strip of forest land which stretches between the Niger and the interior of the province. The forest contains valuable sylvan products, and there are great possibilities for the cultivation of rubber. There are also extensive areas of fine land suitable for cotton, with the waterway of the Niger close at hand. Labour might be brought from Yorubaland close by, and a Yoruba colony has been experimentally started. (See NIGERIA and BUSSA.)