BONIVARD, FRANgOIS (1496 ?-1570) , Genevan poli tician, the hero of Byron's poem, The Prisoner of Chillon, was born in Seyssel of an old Savoyard family. Bonivard has been described as "a man of the Renaissance who had strayed into the age of the Reformation." His real character and history are, however, widely different from the legendary account which was popularized by Byron. Son of Louis Bonivard, Lord of Lune, he succeeded his uncle as prior of the Cluniac priory of St. Victor, close to Geneva. He naturally, therefore, opposed the increasing power of the duke of Savoy, aided by his relative, the bishop of the city. He was imprisoned by the duke at Gex from 1519 to 1521, lost his priory, and became more and more anti-Savoyard. In 1528, supported by the city of Geneva, he took up arms against those who had seized his ecclesiastical revenues, but in 153o he was again seized by the duke and imprisoned for four years underground, in the castle of Chillon, till he was released (March 29, 1536) by the Bernese, who then wrested Vaud from the duke. Becoming a Protestant, Bonivard obtained a pension from Geneva and was four times married. He was entrusted in 1542 with the task of compiling a history of Geneva from the earliest times. In 1551 his ms. of the Chroniques de Geneve (ending in 153o) was submitted to Calvin for correction; but it was not published till 1831, when it was edited by Dunant. The best edition is that of 1867. He also wrote De l'Ancienne et Nouvelle Police de Geneve (1555).
("tray-landscape"), generally acknowledged to be an evolution of hako-niwa (q.v.), is a popular branch of the Japanese art of making miniature landscapes with earth or its substitutes, representing trees, grass, houses, figures, etc., on bronze, concrete or porcelain trays and used as decorations for windows or rooms. The art is occasionally called bon-tei (tray garden), and the name bon-kei is then given to another branch popularly known as bon-seki (q.v.), but this is not generally accepted. Bon-kei, in its present phase, has not been in existence very long, having taken a new life at the dawn of the 2oth cen tury, when keto-tsuchi, a sort of peat, was introduced by Idzumi Chisen as a substitute for earth for modelling not only hills, but rocks and stones also. Nowadays actual stones are hardly ever used. As the art gained popularity, all sorts of devices were tried, including old newspapers soaked in water, as substitutes for the earth. Usually, on a round, oval or rectangular tray of from to 3ft. in extreme dimension, hills, rocks and ground are modelled with keto-tsuchi, newspaper preparation, or earth by means of a spatula, and then are painted to give an appearance of snow, a water-fall or distant scenery, the nearer parts being covered with fine moss and planted with vegetation of appropriate size and form. Different coloured earth is strewn to indicate a path, and sand is used to represent water. The views may be embellished with miniature houses, towers, bridges, figures, birds, etc., of baked clay. Bon-kei very strongly resembles hako-niwa, though the latter is meant to be kept for years, while the former is primarily to meet a temporary need (though with care it may be preserved for months in its original freshness and proportion), and is very quickly made; it is entirely different from bon-seki, in which neither earth nor vegetation is used.