(Drôme), Aug. 28, 1793, died in Paris, Dec. 24, 1861. Landscape
painter in water-colour, pupil of C. Brune. Was employed with Morel
and Puissant to continue Bagetti’s water-colours in Versailles.
Medals: 2d class, 1831; 1st class, 1836; L. of Honour, 1842. Works:
Study near Marly; Falls of the Doubs; Mill of Dugny; Convent of
the Virgin del Sasso; Town and Palace of St. Cloud (Comte Pozzo di
Borgo); Wolf’s Gorge; Bottoms of Rochat; Slopes of Bellevue; Banks of
the Meuse; Manufactory in Dauphiné; Banks of Lake Maggiore; Chateau
d’Eu; views in Africa; Oaks of the Doubs; Simplon Road; Maritime
Alps; Hollow Road, Valley of the Meudon; Smugglers; Young Woman of
Nivernois, Portrait of a Child (1824 to 1853).--Larousse.
FORTIN, CHARLES, born in Paris, June 12, 1815, died there, Oct.
19, 1865. Landscape and genre painter, pupil of Beaume and Camille
Roqueplan; painted chiefly subjects of peasant life in Brittany.
Medals: 1st class, 1849, 1857, 1859, and 1861; L. of Honour, 1861.
Works: Sailors making Merry, Rag-Dealer, Return to the Cottage,
Cobbler’s Shop, Corner of the Hearth, Village Barber (1835 to
1847); Cottage in Morbihan, Butcher’s Shop, At the Castle of Baz
(1849); The Country Tailor (1850); Chouans (1853), Lille Museum; The
Blessing (1855), Luxembourg Museum; During Vespers (1855), Grenoble
Museum; Hut in Morbihan, Music Lesson, Smoker (1855); Grandfather’s
Festival, Whip-Lash, Cancans, Country Interior (1859); Storm, Country
Tailor, Old Story, Interior, Pap (1861); Between two Dilemmas
(1864).--Larousse.
[Illustration: Fortune, Guido Reni, Accademia di S. Luca, Rome.]
FORTUNE, _Guido_ Reni, Accademia di S. Luca, Rome; canvas, H. 4 ft.
11 in. × 4 ft. 3 in. Fortune personified by a female figure, nude,
with light drapery floating from her shoulders; she holds in her left
hand a kind of purse from which gold pieces drop, and in her right
a sceptre and palms. Under her feet is the world, and from behind a
winged boy grasps her hair, which floats in the wind. In some copies
Fortune bears instead of a purse a crown. Carried to Paris in 1796;
returned in 1815, and in Vatican until 1826.--Filhol, vi. Pl. 397,
Musée français, i.; Landon, viii. Pl. 32.
FORTUNE CHASE (Jagd nach dem Glück), Rudolf Friedrich _Henneberg_,
National Gallery, Berlin; canvas, H. 6 ft. 3 in. × 12 ft. 6 in. A
youth, in the costume of a German nobleman of the 16th century,
chases on horseback the phantom of Fortune, who flees before him
strewing gold in the path and holding up a crown; the Devil, who
accompanies him, changes into Death, and with a scornful grin unfolds
his flag; at a bridge leading over a ravine lies the youth’s guardian
angel, over whom he has ridden, hiding her face on the ground; in
background, beyond the ravine, the battlements of a mediæval town.
FORTUNE-TELLER, Michelangelo da _Caravaggio_, Capitol Gallery, Rome.
One of his earliest works.--Meyer, Künst. Lex., i. 614.
By Michelangelo da _Caravaggio_, Louvre; canvas, H. 3 ft. 3 in. × 4
ft. 3 in. A gypsy holding the right hand of a young man elegantly
clad, who appears to listen attentively. Bellori says that Caravaggio
painted this picture to prove that one can be a good painter without
having studied the antique and Raphael, his theory being that the
exact imitation of nature should be the sole aim of art. Collection
of Louis XIV. Engraved by E. Audran.--Villot, Cat. Louvre; Filhol,
viii. Pl. 537; Cab. Crozat, ii. Pl. 93.
By Sir Joshua _Reynolds_, Duke of Marlborough, Blenheim; canvas. Lady
Charlotte Spencer, as a little gypsy girl, telling the fortune of her
brother, Lord Henry Spencer.
By Sir Joshua _Reynolds_, Earl Amherst, Knowle Park, near Sevenoaks,
Kent. Young girl seated, with her right hand held out, by a young man
with a red cap, to a gypsy, who is telling her fortune; background,
landscape. Painted in 1776; sold to Duke of Dorset for 300 guineas.
Engraved by Sherwin. Copy by J. R. Powell at Somerby, seat of Earl
of Normanton, mistaken by Waagen for an original.--Waagen, Art
Treasures, iv. 340, 370; Athenæum (1863), 539.
FORTUNE, WHEEL OF, _Burne_-Jones, Arthur Balfour, Esq., M.P., London;
large upright picture. The goddess Fortune, a tall, sad figure,
clad in grayish-blue, stands at left, turning round in a listless
way the terrible wheel, on which are bound three nude figures,
the laurel-crowned poet, the sceptred king, and the slave, alike
cowed and wretched, the victims of a cruel and all-powerful chance.
Grosvenor Gallery, 1883.
[Illustration: Bust]
[Illustration: Signature]
FORTUNY Y CARBÓ, MARIANO, born at Rëus in Catalonia, June 11,
1838, died in Rome, Nov. 21, 1874. Genre painter, pupil of Palau,
of Claudio Lorenzalez, and of the Barcelona Academy, where he won
the prix de Rome in 1856. At Rome, which became thenceforth his
principal residence, he studied Raphael and made sketches of Roman
life. In 1859 he was sent to Morocco by the government to paint the
incidents of General Prim’s campaign, and during this and a second
visit painted a large picture of the Battle of Tetuan, besides making
many sketches of Moorish life. In 1866 he went to Paris, where
through Zamacoïs he entered into business relations with Goupil; and
then to Madrid, where (1867) he married the daughter of Madrazo,
director of the Madrid Museum, and studied the works of Velasquez,
Ribera, and Goya. With the exception of a year in Paris (1869–70)
and three years in Spain, he spent the rest of his life in Rome.
His vigorous and original style, correct drawing, and fine colour
gained him a great reputation, and the auction sale of the contents
of his studio after his death brought 800,000 fr. ($160,000).
Works: A Glory (1854), original destroyed, sketch belongs to Mr.
Galceran, Barcelona; Virgin of Pity (1855), Mr. Soberano, Rëus; St.
Paul before the Areopagus (1855), Charles of Anjou on the Shore of
Naples, Beranger III. nailing the Arms of Barcelona to the Castle
of Foix (1857, won the prix de Rome), Odalisque, The Little Count,
17 faces from Nature, Studies in Morocco (1862), Battle of Tetuan,
Barcelona Museum; View of the Tiber, Nereids on a Lake (1858); St.
Mariano, Church of Rëus; Bacchantes (1859); studies in Morocco (oil
and water-colour, 1860); Arabs Dancing, Mr. Chartrand, Cuba; Head
of a Negro (1861), the Collector of Engravings (1863), The Masks,
Roman Countrywoman, Old Roman Peasant, Fruit Shop in Granada, Study
of Chickens, Academicians of St. Luke choosing a Model, Street in
Morocco, Arab Reclining (1869), Stairs of Casa de Pilatos in Seville,
The Drunkard, Arquebusier, Tribunal of the Alhambra, Returning
to the Convent, Café des Hirondelles (1866), Arab Fantasia, The
Antiquaries, Mr. W. Stewart, Paris; Arab Sentinel, Mr. d’Arthez,
Tarragona; Three Odalisques, Arab shoeing a Donkey, Mr. Sanz, Madrid;
Pond near Tangiers (1865), Man with Helmet, Mr. Goupil, Paris;
Collectors of Engravings, Woman in a Garden, Roman Peasant Woman,
Departure of the Procession, The Library, Carpet Merchant (1870),
Arab on a Rug, Mr. Murrieta, London; The Masks, The Butterfly (1867),
Arab Seated, A Concert, Mr. de Goyena, Seville; Standard Bearer,
Mr. Hazeltine, Rome; Faust and Marguerite, Persian, Idyl, Old Man,
Arab on Horseback, Mr. Ramon Errazu, Paris; An Arab, Mr. Cusino,
Peru; Departure of the Procession, Arabs feeding a Vulture, A Fan,
The Butterfly (1868), Mr. Gargollo, Madrid; Bull Ring at Seville,
Bull-Fighter’s Salute, the Butterfly, Door of the Church of San
Gines, Mr. F. De Madrazo, Madrid; The Carnival, Mr. Ayala; Spanish
_Marriage_ (1869), Mme. de Cassin, Paris; _Snake_ Charmers, Mr. Ed.
André, Paris; Bull-Fighter, Mr. Le Roy, Paris; Arquebusier, Mr.
d’Épinay, Rome; Court of the House of Chapiz in Granada (1871); Arab
Praying (1872), Mr. Oppenheim, Paris; Via Giulia in Rome (1873);
Recitation in a Garden, Mr. Hoeren, Paris; Shore of Portici, Two
Children in a Japanese Room, The Butcher, water-colour portraits of
Mme. Fortuny and of Mme. Agrasot (1874). Works in United States:
Camels at Rest, Miss C. F. Wolfe, New York; portrait of Mme. Garcia,
Pifferari, J. H. Stebbins, New York; Santa Lucia--Naples, Seney
sale, New York, (1885); Dead Donkey, A. J. Antelo, Philadelphia;
Mandolin Player, C. S. Smith, New York; Tête-à-Tête, Court of the
Myrtles, Horsemen of Morocco, Arab and Dogs, R. L. Cutting, ib.; Arab
Fantasia at Tangiers, Court Fool, W. H. Vanderbilt Collection, ib.;
_Snake_ Charmers, Mrs. A. T. Stewart, ib.; Breakfast in Garden of
Alhambra, Arabs hunting Frogs, La Manola, Seraglio Sentinel, Borie
Collection, Philadelphia; Council House in Granada, H. C. Gibson,
ib.; An Ecclesiastic, Don Quixote (1869), The Mendicant, W. T.
Walters, Baltimore.--Davillier, Fortuny, Vie et Œuvres (Paris, 1875);
Gaz. des B. Arts (1875), xii. 267, 351; L’Art (1875), i. 361, 385;
Kunst-Chronik, x. 120, 219; Zeitschr. f. b. K., ix. 341; Old and New,
xi. 357.
FOSCARI, TWO, Eugéne _Delacroix_, Duc d’Aumale, Chantilly; canvas, H.
3 ft. × 4 ft. 3 in.; signed, dated 1855. The Doge Foscari, obliged to
be present at the execution of the sentence of torture and banishment
of his son, Jacopo Foscari, falsely convicted of treason to the
Republic, is seated on his throne at left, clad in his splendid robes
of office, while the executioners do their duty at the right, before
many spectators. Jacopo, writhing with torture, holds up his wounded
hands for the kisses of his wife. Salon, 1855; Faure sale (1873),
79,500 fr.; Oppenheim sale (1877), 70,500 fr. Engraved by Charles
Courtry.--L’Œuvre de Delacroix (Paris, 1885), 340; Gaz. des B. Arts
(1881), xxiv. 324, 331.
FOSSANO. See _Borgognone_.
FOSTER, BIRKET, born at North Shields, Feb. 4, 1825. Landscape and
genre painter, pupil of E. Landells, engraver, from whom he learned
to draw on wood; after illustrating many books, began about 1859
to draw in water-colours. He was elected an associate of the Water
Colour Society in 1860, and a member in 1861. Later has painted
somewhat in oil-colours. Many works engraved and lithographed.
Water-colours: Holmwood Common, Race down Hill, Feeding the Ducks,
Arundel Mill, The Beach--Hastings, Weald of Surrey, Primrose
Gatherers, Race up Hill, Castle of Rheinfels, Sailing the Boat. Works
in oil: Thames near Eton, Bass Rock, A Brook (1877).--Art Journal
(1871), 157; Meyer, Conv. Lex., xvii. 335.
FOUBERT, ÉMILE LOUIS, born in Paris; contemporary. History painter,
pupil of the École municipale at Bayonne, then of Bonnat, Busson,
and H. Lévy. Medals: 3d class, 1880; 2d class, 1885. Works: St. John
in the Desert (1875); Chastisement of Caiphas (1876); Hesiod and the
Muse (1877); Christ at the Pillar (1878); Nymphs and Faun (1879);
Satyr teased by Nymphs (1880); The Spring (1881); Satyr and Traveller
(1882); Eclogue (1883); Start for the Chase (1884); Temptation (1885).
FOUCQUET, JEHAN, born at Tours about 1415–20, died about 1477 or
1480. French school. At Rome, about 1443, he painted the portrait
of Pope Eugenius IV., and in 1461 in Paris he painted a life-size
portrait of the deceased Charles VII. He was afterwards in the
service of Louis XI. Payments were made to him for large paintings
as well as miniatures as late as 1475. Foucquet stands at the head
of the Italo-Flemish school of miniature painting in France. Works:
Madonna, Antwerp Museum; St. Stephen (the other half of the Antwerp
altarpiece), Forty Miniatures in Prayer-Book (1641), Brentano
Collection, Frankfort; male bust portrait, Liechtenstein Gallery,
Vienna; portraits of Charles VII. and Chancellor Guillaume Juvenal,
Louvre; miniatures in Josephus’ History of the Jews, Bibliothèque
nationale, Paris; miniatures in Boccaccio, Court Library,
Munich.--Pattison, Renaissance of Art in France, i. 254; Schnaase,
viii. 300; W. & W., ii. 77; Revue de Paris, Aug. and Nov. (1857);
Gaz. des B. Arts (1867), xxiii. 97; (1868), xxiv. 187.
FOULONGNE, CHARLES ALFRED, born at Rouen, March 26, 1821. History,
genre, landscape, and portrait painter, pupil of Delaroche and of
Gleyre. Medal, 1869. Works: Sermon on the Mount (1855); Burial at
La Trappe (1857); Victims sacrificed by the Druids in Gaul (1859);
Violet Seller (1863); Harvest Evening (1866); Last Message (1867);
At a Spring (1869); Erigone (1870); Naïads (1872); Daphnis and Chloë
(1874); Mowers, The Toilet (1875); Morning in the Meadows (1876);
Souvenir du Trieux (1878).--Bellier de la Chavignerie, i. 572.
[Illustration: Bust]
FOUQUIÈRES (Foequier), JACQUES, born in Antwerp about 1600, died in
Paris in 1659. Flemish school; landscape painter, pupil of Joost
de Momper and of Velvet Brueghel, and perhaps also of Rubens, for
whom he painted backgrounds; master of the guild at Antwerp in 1614.
Invited by the Elector Palatine Frederick V., he went about 1616 or
1618 to Heidelberg to decorate the castle, and in 1621 to Paris,
where his art found much favour in the eyes of Louis XIII., who
employed him to paint views of the chief French cities. Jealous of
the favour shown to this painter, Poussin left France. Afterwards
Fouquières fell into disgrace, and died in great misery. He was the
master of Philippe de Champaigne. Works: Stag Hunt, Berlin Museum;
Wood Landscape with Horseman, Kunsthalle, Hamburg; A Hunt, Copenhagen
Gallery; Landscape (1620), Valenciennes Museum; do. in Bordeaux,
Grenoble, Nantes, Darmstadt Museums, and Historical Society, New
York.--Ch. Blanc, École flamande; Biog. nat. de Belgique, vii. 210;
Fétis, Les Artistes belges à l’étranger, i. 335; Michiels, viii. 198.
FOURMOIS, THÉODORE, born at Presles, Hainaut, Oct. 14, 1814, died
in Brussels, Oct. 16, 1871. Landscape painter and illustrator,
self-taught; took his subjects chiefly from environs of Brussels
and the Ardennes. Order of Leopold, 1851; Officer, 1863. Works: Hut
in the Campine; Old Mill; View in Baden (1848); Pool, Road across
Heath (1860), Brussels Museum; Views in Park of Count d’Outremont
(1862).--Brockhaus, vii. 47; Larousse, viii. 680.
FOURNIER, EDOUARD, born in Paris; contemporary. Genre painter, pupil
of Cabanel; now at the French Academy in Rome. Medal, 3d class, 1885.
Works: Djanileh, Son of the Gaul (1885).
FOWLER, FRANK, born in New York; contemporary. Portrait and figure
painter, pupil of E. White in Florence and of Carolus Duran in
Paris; in 1878 he assisted the latter in painting the fresco of the
Apotheosis of Marie de Médicis in the Luxembourg Museum. Studio in
New York. Exhibited Young Bacchus in 1878; portraits in 1878, 1883,
1884; Fatima (1885).
FRAGONARD, ALEXANDRE EVARISTE, born at Grasse, Provence, Oct.,
1780, died in Paris, Nov. 10, 1850. French school; history painter,
son of Jean Honoré, pupil of David, and for a long time one of
the most distinguished adherents of the classical school. Also a
sculptor. Medals: 4; L. of Honour, 1819. Works: Citizens of Calais
before Edward; Entry of Maid of Orléans (1822), Orléans Museum;
Maria Theresa showing her Son to the Hungarians (1822), formerly
in Luxembourg Museum; Queen Blanche liberating the Prisoners of
Châtenay (1824), Blois Museum; Francis I. knighted by Bayard (1819),
Francis I. and his Sister looking at Pictures brought by Primaticcio,
Fine Arts crowned by Genius (1827), ceilings in Louvre; Battle at
Marignano. Wall paintings in the Luxembourg, and at Versailles and
Orléans.--Larousse, viii. 700; Gaz. des B. Arts (1881).
[Illustration: Bust]
[Illustration: Signature]
FRAGONARD, JEAN HONORÉ, born at Grasse, Provence, April 5, 1732, died
in Paris, Aug. 22, 1806. Genre and decorative painter and engraver,
pupil of Chardin and Boucher. In 1752 obtained the grand prix de Rome
for his Jeroboam, now in the École des Beaux Arts. In Italy studied
especially Tiepolo; after his return, received into the Academy in
1765. He treated the same class of subjects as his master, Boucher,
with surprising fidelity and unbridled license. His step-sister,
Marguerite Gérard (born 1751), assisted him in many works. Works: The
High-Priest Coresus sacrificing himself to save Callirrhoë (1765),
Landscape, Music Lesson, Nymphs at their Bath, The Shepherd’s Hour,
Storm, Bacchante Asleep, Young Woman and Cupid, Guitar Player (1769),
Study, Inspiration, Fancy Figure of Young Man, Woman and Child,
Louvre, Paris; Portrait of a Boy, Nantes Museum; Plutarch’s Dream,
Rouen Museum; Portrait of Bayard, Versailles Museum; Adoration of
Shepherds, Lille Museum; The Dinner on the Grass, Amiens Museum;
Young Girl at Fountain, Grenoble Museum; Young Boy, Nancy Museum;
The Woes of Love, Orléans Museum; City of Marseilles protected
by Mercury, Marseilles Museum; The Swing, Fountain of Pleasure,
Garden of Fontainebleau, Hertford House, London; Farmer’s Children,
Hermitage, St. Petersburg; Sacrifice of Callirrhoë, Academia S.
Fernando, Madrid; The Kiss, Lazienski Gallery, Warsaw; family
portraits, Duc d’Aumale; Oath of Love, Narischkine sale (1883),
42,000 fr.; Return to Lodgings, do., 17,000 fr.--Gaz. des B. Arts
(1865), xviii. 32, 132; (1885), xxxii. 481; Portfolio (1873), iv.
2; Ch. Blanc, École français; Dohme, 3; Goncourt, L’art du xviii.
Siècle, ii. 311; Houssaye, Hist. de l’Art français, 325; Jal., 605;
Wurzbach, Fr. Maler des xviii. Jahrh., 36.
[Illustration: Bust]
FRANÇAIS, FRANÇOIS LOUIS, born at Plombières (Vosges), Nov. 17, 1814.
Landscape painter, pupil of Gigoux and Corot. Paints French and
Italian scenes. Medals: 3d class, 1841; 1st class, 1848, 1855, 1867;
medal of honour, 1878; L. of Honour, 1853; Officer, 1867. Works: Song
under the Willows (1837); Old Garden (1841), View near Paris (1844),
Plombières Museum; Under the Willows (1852), Tours Museum; End of
Winter (1853), Orpheus (1863), Daphnis and Chloë (1872), Setting
Sun, Luxembourg Museum; Ravine of Nepi, View near Rome (1853); Path
through the Wheat (1855); Brook of Neuf-Pré (1857); River Gapeau,
Beech Trees on Coast of Gráce (1859), Bordeaux Museum; View at Lower
Meudon, Prince Napoleon; Evening (1861), Epinal Museum; By the Water
(1861), Nantes Museum; Sacred Woods, Italian Villa (1864); New
Ruins of Pompeii (1865); Environs of Rome, Environs of Paris (1866);
Country-House (1867); Harvest, Valley of Munster (1868); Mt. Blanc
from St. Cergues (1869); View at Vaux de Cernay (1872); Souvenir of
Nice (1873); Spring, Terrace at Nice (1874); Ravine of Puits-Noir
(1875); Mirror of Scey (1876); Mont Cervin, Lake Nemi (1878); Valley
of Rossillon, Morning (1879); Highway at Combs-la-Ville, Evening
(1880); Castle of Gandolfo on Lake of Albano, Washing-Place near
Pierrefonds (1881); Villafelipa, Villefranche (1882); Beach at Capri,
Part of a Villa at Nice (1883); Morning at Clisson, Last Days of
Autumn (1884); Lake of Nemi, Shady River (1885).
FRANCES Y PASCUAL, Don PLÁCIDO, born at Valencia; contemporary. Genre
painter, pupil of Valencia art school. Medals: 1st class, Saragossa;
3d class, Madrid. Works: The King’s Order, What is she thinking of?
(1879); Proclamation of Boabdil (1884).--La Ilustracion (1879), ii.
59; (1884), i. 362.
FRANCESCA DA RIMINI, Alexandre _Cabanel_. See _Paolo_ and Francesca.
By Dominique _Ingres_, Angers Museum; canvas. Illustration of the
mediæval story of Francesca da Rimini, as related by Dante and
Boccaccio. Francesca, the wife of Giovanni Malatesta, called from his
lameness from birth Gianciotto (commonly made into Lancelotto), fell
in love with her handsome brother-in-law, Paolo Malatesta, a liaison
which ended in the death of the two at the hands of the enraged
Gianciotto. In the picture the couple are represented as just having
finished reading the story of Lancelot and Guinevere. The book has
fallen from Francesca’s hands; Paolo, bending forward, gives her
the fatal kiss, and Lanciotto, lifting the drapery, advances with
drawn sword to take his revenge. Painted in Rome in 1819; bought by
M. Turpin de Crissée, who bequeathed it to Angers Museum. Original
sketch, Mme. Montett-Gilibert. Lithographed by A. Lecomte, 1834.
Replica painted by Ingres for Prince Salerno, Naples.--Larousse,
xiii. 1218.
By Ary _Scheffer_, Sir Richard Wallace, Manchester House; canvas
(Dante, Inferno). Salon of 1835, under title: Dante and Virgil
encountering in Hell the Spirits of Francesca da Rimini and Paolo.
Francesca, her eyes closed, her hair dishevelled, hangs tenderly on
the neck of Paolo as they float through the air, while the two poets
contemplate the touching scene in silence. Painted for Duc d’Orléans;
bought in 1853 by Prince Demidoff for 43,000 fr.; Demidoff sale
(1870) to Lord Hertford for 100,000 fr. Engraved by Calamatta; etched
by Veyrasset. Replica, painted 1855, exhibited 1859, owned by Mme.
Marjolin, the artist’s daughter.--Larousse, xiii. 1218.
By George Frederick _Watts_, London; canvas, H. 5 ft. × 4 ft. 1 in.
Francesca and Paolo, phantoms pale and death-like, clasped in a
loving embrace, are swept onward before the wind against a background
of clouds and fiery rain. Painted in 1879. Exhibited in New York in
1884.
[Illustration: Bust]
FRANCESCA, PIERO DELLA, born at Borgo San Sepolcro in 1416 (?), died
there, Oct. 12, 1492. Umbrian school. Real name Pietro di Benedetto
degli Franceschi; first master unknown. In 1439 he assisted Domenico
Veneziano in painting the frescos in S. M. Nuova, Florence, where he
was brought into contact with many eminent painters, and laid the
foundation of his great scientific knowledge of linear and aerial
perspective. In the projection of shadows, the perfecting of mediums
for oil painting, the delineation of architecture in backgrounds, and
the correct balance of light and shade, he had few rivals. So perfect
was his rendering of nature, that had he been guided by a principle
of selection in form, he would have ranked with the greatest Italian
painters. Between 1447 and 1452 Piero worked at Loreto, and at Rimini
for Sigismond Pandolfo Malatesta, for whom he painted, in the Chapel
of the Relics, S. Francesco kneeling before his patron saint, with
two couchant greyhounds at his heels. The fresco, dated 1451, is an
admirable piece of quattrocento work. We next find Piero at Arezzo
painting the Legend of the Cross around the choir of S. Francesco,
between 1453 and 1454, and then at Borgo San Sepolcro, employed upon
an altarpiece on panel for the Confraternity of the Misericordia,
which still exists in the Church of the Hospital, formerly occupied
by the Brothers. Other works by this painter in his native town
are a fresco of the Resurrection, in the Monte Pio, and another of
St. Louis (1460), in the Municipal Palace. His Baptism of Christ,
National Gallery, London, is pure in outline, and, like all his
works, most carefully elaborated in every detail. In same gallery are
a Nativity, portrait of Isotta da Rimini, and portrait of a Lady.
In 1469 Piero went to Urbino, where he painted a Flagellation, now
in the Cathedral, and an Apotheosis, with portraits of the Duke and
his wife, Battista Sforza. The well-known profile portraits of this
same ducal pair, in the Uffizi Gallery, are masterpieces of their
kind, painted about 1472. Piero was the author of a highly esteemed
Treatise on Perspective, the MS. of which belongs to the Saibanti
Library, Verona.--Vasari, ed. Mil., ii. 487; C. & C., Italy, ii.
526; Burckhardt, 557; Cibo, Scuola Umbra, 26, 56; Ch. Blanc, École
ombrienne; Lübke, Gesch. ital. Mal., i. 392.
FRANCESCHI, PAOLO (Paul Franchoys, Francesco Paolo de’ Freschi,
Paolo Fiammingo), born at Antwerp in 1540, died in Venice in 1596.
Flemish-Venetian school; landscape, animal, history, and portrait
painter, pupil and assistant of Tintoretto in Venice, whither he went
when very young, and where he acquired reputation as one of the best
landscape painters of the time. By order of the Venetian Senate he
painted the large picture in the Ducal Palace, and for the Emperor
Rudolph II. two Allegories. Works: Pope Alexander III. blessing the
Doge Ziani, Ducal Palace, Venice; Descent from the Cross, St. John
preaching, Adam and Eve, Cain and Abel, S. Maria dei Frari, ib.;
Landscape with Prodigal Son, Academy, ib.; Pietà, Old Pinakothek,
Munich.--Fétis, Les Artistes belges à l’étranger, i. 377.
[Illustration: Bust]