there in 1729. Bolognese school; history painter, pupil of Gio. Maria
Galli, and of Cignani, whose assistant he became. Called to Genoa,
in 1702, to decorate the Hall of Public Counsel with pictures on the
history of the Republic (destroyed by fire in 1777); invited to Rome
by Pope Clement XI., in 1711, to Genoa in 1714, and to Crema in 1716,
to execute fresco paintings. He was the head of a school in Northern
Italy similar to that of Cortona in Lower Italy; adhered at first
to manner of Cignani, but later developed a remarkable style of his
own. Works: Magdalen, Birth of Adonis, Dresden Gallery; Charity,
Magdalen, St. Borromeo during the Plague in Milan, Museum, Vienna;
Venus and Cupid, Czernin Gallery, ib.; Jacob and Rachel, and others,
Liechtenstein Gallery, ib.; Joseph and Potiphar’s Wife, Brunswick
Museum; Diana at the Chase, Copenhagen Gallery; S. Tommaso da
Villanova dispensing Alms, Agostiniani of Rimini; Pietà, Agostiniani
of Imola; BB. Fondatori, Serviti of Bologna. Frescos: Recess in
Palazzo Ranuzzi, Cupola and Ceiling in Church of Corpus Domini,
Tribune of S. Bartolommeo, Bologna; Corbels of Cupola, Piacenza
Cathedral.--Brockhaus, vii. 61; Lanzi (Roscoe), iii. 157; Larousse,
viii. 752; Burckhardt, 773, 785; Seguier, 70.
FRANCESCO DA COTIGNOLA. See _Zaganelli_, Francesco.
FRANCESCO DA SANTA CROCE (Francesco Rizo), born about 1480, at
Santa Croce, near Bergamo, flourished there and in Venice in
1504–1541. Venetian school; history painter, pupil of Giovanni
Bellini; developed probably under the influence of Carpaccio and
Bellini’s followers. Works: Adoration of Magi, Berlin Museum;
replica, Hermitage, St. Petersburg; Madonna with Saints, Count Paul
Stroganoff, ib.; Annunciation (1504), Madonna and Saints, Bergamo
Gallery; Adoration of the Magi, Museo Civico, Verona; Madonna with
Saints (1507), S. Pietro Martire, Murano; Christ appearing to
Magdalen (1513), Venice Academy.--Lübke, Gesch. ital. Mal., ii. 623.
FRANCHOYS (François), LUCAS, the elder, born at Mechlin, Jan. 23,
1574, died there, Sept. 16, 1643. Flemish school; history and
portrait painter, master of the guild in 1599, and elected dean six
times; went to Paris and Madrid, in both of which places he was made
painter to the king, and returned to Mechlin in 1605. Works: Descent
of the Holy Ghost, St. John’s, Mechlin; Male Portrait (1619), Museum,
ib.; Dead Christ on his Mother’s Lap, St. Bavon’s, Ghent.--Biog. nat.
de Belgique, vii. 235; Michiels, viii. 223.
FRANCHOYS, LUCAS, the younger, born at Mechlin, June 28, 1616, died
there, April 3, 1681. Flemish school; history and portrait painter,
son and pupil of Lucas Franchoys, the elder; then pupil of Rubens
at Antwerp, where he remained some years after his master’s death;
spent several years in France, in favour at court, before returning
to Mechlin, where he became master of the guild in 1655, and dean in
1663. Works: Pope Honorius sanctioning the Rule of the Carmelites,
St. Onophrius fed by Angels in the Desert, Prophet Elijah, St.
Paul the Hermit, St. Andrew healing the Blind, The Virgin followed
by Carmelites, Christ in his Mother’s Lap, Museum, Mechlin; St.
Roch healing the Plague stricken, St. John’s, ib.; Martyrdom of
St. Lawrence and of St. John, Holy Family, St. Catharine’s, ib.;
Decapitation of St. John (1650), St. Quentin’s, Tournay; Resurrection
(1657), Cathedral, ib.; Education of the Virgin, The Virgin appearing
to St. Simon Stock (both attributed to Lucas the elder), Antwerp
Museum.--Biog. nat. de Belgique, vii. 236; Kramm, ii. 510; Michiels,
viii. 227; ix. 239; Neefs, Hist. de la peint. à Malines, i. 347; Van
den Branden, 809.
FRANCHOYS, PAUL. See _Franceschi_.
FRANCHOYS, PEETER, born at Mechlin, Oct. 20, 1606, died there, Aug.
11, 1654. Flemish school; portrait painter, son and pupil of Lucas
the elder, and student at Antwerp of Geeraard Zegers; returned to
Mechlin in 1635, then painted at the court of France, spending four
years in Paris, and was in great favour with Archduke Leopold at
Brussels; settled at Mechlin in 1646, where he became master of the
guild in 1649. His works on a small scale were compared to those
of Gonzales Coques, and his large portraits valued equally highly.
Works: Portrait of a Prior, Tongerloo Abbey; do. of Luc Fay d’herbe,
Mechlin Museum; do. of Gilbert Mutsaerts (1645), Lille Museum;
Male Portrait (1650), Cologne Museum; Man with Pistol, Dresden
Museum.--Biog. nat. de Belgique, vii. 238; Immerzeel, i. 252; Kramm,
ii. 511; Michiels, viii. 226.
FRANCIA, or FRANCIABIGIO. See _Bigio_.
FRANCIA, ALEXANDRE, born in 1813, died in Brussels, Aug. 24, 1884.
Marine painter; took his subjects from Holland, Ireland, and Italy.
Gold medal, Brussels, 1855; Orders of Leopold, Christ, Mauritius,
Lazarus, Oak Crown, and Medjidie. Works: On the Meuse; Strand of
Scheveningen; Riva dei Schiavoni; Lake of Killarney; Harbour of
Calais; Wreck of the Amphitrite.
[Illustration: Bust]
[Illustration: Signature]
FRANCIA, FRANCESCO, born in Bologna in 1450, died there, Jan. 5,
1517. Bolognese school. Real name Francesco di Marco di Giacomo
Raibolini; son of poor parents, apprenticed to a goldsmith,
matriculated in 1482, became steward of the guild in 1483, and
afterwards Master of the Mint under Bentivoglio. He was painter,
engraver, and medallist, as well as goldsmith. His master was Lorenzo
Costa, but he may have studied under Marco Zoppo. His Madonna, Berlin
Museum, and his St. Stephen, Palazzo Borghese, Rome, are examples of
his pre-Peruginesque manner, which show the hand of the goldsmith
trained to careful finish and precision. In 1490 Francia had become
the ablest draughtsman and master of composition in North Italy.
An Umbrian character, derived from the study of Perugino’s works,
shows itself from this time; as in his fine _Madonna_ with Saints,
_Nativity_ (1499), _Madonna_ of St. George, Annunciation (1500),
Bologna Gallery; _Madonna_ with Angels and Saints (1499), S. Jacopo
Maggiore, Bologna; Madonna with St. Joseph, Dudley Gallery, London;
The Deposition, Parma Gallery; _Madonna_ with Angels (doubtful),
_Madonna_ in Adoration, Old Pinakothek, Munich; Madonna with Saints
(1502), Holy Family, Berlin Museum; Madonna, do. with Saints and
Angels, Hermitage, St. Petersburg. Francia’s third manner, uniting
Umbrian softness with Florentine energy and power, was influenced
by Raphael, whom he may have seen in 1505 or 1506 at Bologna, with
whom he corresponded, and for whom he had a deep admiration. His
portraits show a gradual change from the style of Perugino to that of
Raphael, and the frescos by Francia (1509) in S. Cecilia, Bologna,
are Raphaelesque. Other works are: Coronation of the Virgin, Duomo,
Ferrara; Annunciation, Brera, Milan; do., Gallery Estense, Modena;
Assumption, S. Frediano, Lucca; Pietà, Virgin enthroned with Saints,
and Madonna with Saints, National Gallery, London; Baptism of
_Christ_ (1509), Dresden Gallery.--Vasari, ed. Mil., iii. 533, 551;
C. & C., N. Italy, i. 556; Burckhardt, 112, 387, 583; Baldinucci, i.
598; Ch. Blanc, École bolonaise; Lübke, Gesch. ital. Mal., i. 447.
[Illustration: Signature]
FRANCIA, GIACOMO DI FRANCESCO, born before 1486, died in 1557.
Bolognese school. Was the most noted, as a painter, of Francesco
Francia’s sons. In the fresco of the Baptism of St. Valerian, Oratory
of S. Cecilia, Bologna, by Giacomo, the figures are lifeless, coarse
in outline, and of short proportions. His Martyrdom of St. Cecilia,
ib., was probably painted after his father’s design. Other works
by Giacomo are: Christ on the Cross adored by Saints, Madonna with
Saints (1526), Saints and the Painter, Bologna Gallery; Angels, S.
Petronius, Bologna; Virgin Enthroned, Florence Academy; Virgin and
Saints (1544), Brera, Milan.--C. & C., N. Italy, i. 574; Vasari, ed.
Mil., iii. 558; Lavice, 12, 150.
FRANCIA, GIOVAMBATTISTA, born June 13, 1533, died May 13, 1575.
Bolognese school. Son of Giulio and grandson of Francesco Francia;
a poor painter, though a rich man, none of whose works can be
authenticated. Many inferior pictures which pass under the name of
his grandfather, Francesco Francia, may safely be attributed to
him.--C. & C., N. Italy, i. 574; Vasari, ed. Mil., iii. 558.
FRANCIA, GIULIO DI FRANCESCO, born in Bologna (?), Aug. 20, 1487,
died (?) Bolognese school, son of Francesco Francia. The St.
Margaret and the Dragon, signed and dated July 10, 1518, in the
church of the Almo Collegio di Spagna, Bologna, is a joint work of
Giulio and Giacomo. The only picture by Giulio alone is a Descent of
the Holy Ghost, Bologna Gallery.--C. & C., N. Italy, i. 574; Vasari,
ed. Mil., iii. 558; Gualandi, 64.
FRANCIS I., portrait, _Titian_, Louvre; canvas, H. 3 ft. 6½ in. × 2
ft. 11 in. Painted in 1533 from a medal, for Titian probably never
saw the king. Original in Palazzo Giustiniani, Padua. Titian painted
a third, which Vasari saw in the palace of Urbino. Engraved by G.
E. Petit; J. B. Massard; M. Leroux.--Vasari, ed. Mil., vii. 437; C.
& C., Titian, i. 383; Ridolfi, Maraviglio, i. 262; Cab. Crozat, ii.
Pl. 142; Filhol, vi. Pl. 431; Musée français, ii; Mündler, 209; Ch.
Blanc, École vénitienne.
FRANCIS OF ASSISI, ST., _Murillo_, Seville Museum; canvas, H. 9 ft.
× 6 ft. The Saint, standing with his right foot on a globe, embraces
the crucified Saviour, who has released his right hand from the cross
to place it on the shoulders of the Saint; at right, two cherubs in
clouds hold an open folio. In his vaporoso (vaporous) or last manner.
Painted about 1676 for Capuchin Convent, Seville. Engraved by M.
Gutierrez, Mme. Soyer (outline); lithographed by Jacott; etched by L.
Flameng. Repetition, George Salting, London; sketch, Henry G. Bohn,
Twickenham, Middlesex.--Curtis, 234.
FRANCIS OF ASSISI, ST., or LA PORCIÚNCULA, _Murillo_, Madrid Museum;
canvas, H. 6 ft. 9 in. × 4 ft. 9 in.; figures a little less than
life-size. The Saint, kneeling on right before an altar placed on
left, looks up to the Saviour who is seated on clouds, one hand in
benediction, the other supporting a cross; the Virgin is seated on
the right, with the left hand extended; above, heads and cherubs;
beneath the Saviour, three cherubs; all showering roses on St.
Francis. In the painter’s second or calido (warm) manner. Appraised
in 1834 at 70,000 reals.--Curtis, 234; Madrazo, 471.
By _Murillo_, Heirs of the Infant Don Sebastian, Pau, France; canvas,
H. 14 ft. 1 in. × 9 ft. 8 in. The Saint, kneeling at left at an altar
placed in centre, with outstretched arms, looks up to the Saviour,
seated on clouds above the altar, who supports with his left hand
a cross and extends his right in benediction; on the left, the
Virgin, kneeling on clouds, intercedes with her Son for the grace
of Jubilee of the Porciúncula, whence called also La Porciúncula;
above the altar, a group of cherubs scatter on the Saint roses
which have sprung from the thorns he has used as a scourge; a lay
brother faintly seen on the left of the altar; above, many angels
and cherubs. Painted about 1676 for Capuchin Convent, Seville. Given
to D. Joaquin Bejarano for restoring church and its pictures after
French occupation; sold for 18,000 reals to D. José de Madrazo, from
whom Infant Don Sebastian bought it for 90,000 reals. Lithographed by
V. Camaron.--Palomino, iii. 422; G. de Leon, ii. 260; Ford, Handbook,
708; Curtis, 233.
FRANCIS BORGIA, ST., _Velasquez_, Stafford House, London; about 5
ft. 10 in. × 4 ft. 2 in.; eight figures, life-size. St. Francis,
in white dress, with plumed hat in hand, presents himself to St.
Ignatius Loyola, who, in black dress, advances to receive him; behind
former, two attendants and head of a black horse; behind latter,
three priests in a doorway. Captured in Spain by Soult, who sold it
(1835), with Murillo’s Abraham and Angels and Prodigal Son, to Duke
of Sutherland for 500,000 francs. Copy in Chapel of S. Francisco
Borgia, Church of Logroño.--Stirling, ii. 678; Curtis, 11.
FRANCIS DE PAUL, ST., _Murillo_, George Perkins, Chipstead Place,
Kent, England; a large picture. The Saint, kneeling in prayer,
looks up at the word Caritas in the sky above; cherubs hover over
him. Perhaps picture sold at Ashburnham sale (1850) for £1,050.
Repetition, without the cherubs, Madrid Museum.--Curtis, 239.
FRANCIS XAVIER, ST., _Murillo_, John S. W. Erle-Drax, Olantigh
Towers, Kent, England; canvas, figures full-length, life-size. The
Saint kneeling with eyes upraised; a stream of light falls on his
breast, from which issues a flame; in background, group of Indians
in a landscape. Belonged to D. Francisco Artier, from whom purchased
about 1809 by Mr. Campbell, Buchanan’s agent in Spain; passed to
Mrs. Grant, who sold it to C. O’Neil, whence purchased by Mr.
Drax.--Palomino, iii. 421; Davies, Murillo, lxiii.; Passavant, Tour
in England, ii. 20; Curtis, 241.
[Illustration: St. Francis Xavier, Rubens, Vienna Museum.]
By _Rubens_, Vienna Museum; canvas, H. 17 ft. × 12 ft. 6 in. St.
Francis Xavier, standing upon a high pedestal, habited in the black
robes of his Order, is healing the sick and the dying, who are
grouped in various positions around; behind the multitude rises
a splendid temple with idols, one of which is falling upon its
affrighted worshippers; above, in clouds, the Virgin with a chalice,
surrounded by angels bearing a cross, in a stream of celestial light.
Painted for Jesuits’ Church, Antwerp; bought in 1774 by Empress Maria
Theresa for 18,000 florins. Original sketch also in Vienna Museum.
Engraved by Marinus; J. Blaschke.--Smith, ii. 18; Gal. de Vienne,
iii. Pl. 136.
FRANCISCA, daughter of Velasquez (?), _Velasquez_, Madrid Museum;
canvas, H. 1 ft. 11 in. × 1 ft. 6 in. About seven years old,
half-length, standing, in grayish dress with slashed sleeves and
bow of red-and-white ribbon on breast; holds a bunch of flowers on
a white cloth, her hands touching each other. Etched by B. Maura.
Another portrait, resembling this, except that the hands do not
touch and bow of ribbon is red, also in Madrid Museum.--Curtis, 103;
Madrazo, 622.
FRANCISQUE. See _Millet_.
[Illustration: Initials]
FRANCK, FRANZ FRIEDRICH, born at Augsburg in 1627, died there in
1687. German school; history painter, son and pupil of Hans Ulrich F.
(1603–80). Works: Jacob and Esau, St. Ann’s, Augsburg; Job and the
Orphans, Esther, David (all of 1674), Orphan Asylum, ib.; St. Francis
Dying, Obermünster Stift, Ratisbon; Arrival of Jacob at Joseph’s in
Egypt, St. Ann’s, ib.; Table with Musical Instruments (2), Gotha
Museum; Portraits of Man and Wife (1674), Nuremberg Museum; Male
Portrait, Vienna Museum.--Allgem. d. Biogr., vii. 211.
[Illustration: Initials]
FRANCKEN (Franck), AMBROSIUS, the elder, born at Hérenthals in 1544,
died in Antwerp, Oct. 16, 1618. Flemish school; history and portrait
painter. Son of Nicolas (died 1596), a mediocre painter; pupil of
Frans Floris; when twenty-five years old went to Fontainebleau to
study the great frescos of Il Rosso and of Primaticcio. In 1573 free
master of St. Luke’s Guild at Antwerp, and in 1581–82 its dean.
Works: Madonna with Angels (wreath of flowers by Jeronimus van
Kessel), Dresden Gallery; Martyrdom of St. Crispinus, Miracle of the
Loaves (1598), Last Supper, Martyrdom of St. George, four episodes
from life of St. Sebastian, twelve others, Antwerp Museum; Christ
and the Adulteress, Raising of Jairus’s Daughter, Christ on Mount of
Olives (1600, masterpieces), The Trinity (1608), several Portraits,
St. Jacob’s Church, Antwerp; Exit from the Ark, Valenciennes Museum.
Ambrosius, the younger (died 1632), who was a master in the Antwerp
guild in 1624, was son and pupil of Frans the elder.--Biog. nat. de
Belgique, vii. 243; Cat. du Musée d’Anvers (1874), 159; Michiels, vi.
318; Rooses (Reber), 110; Van den Branden, 351.
FRANCKEN, CONSTANTYN, born at Antwerp, baptized April 5, 1661, died
there, Jan. 12, 1717. Battle painter, grandson of Frans Francken, the
younger; went to France at an early age, worked for years in Paris
and Versailles, and after his return to Antwerp entered the guild in
1695. Works: Battle of Eekeren, Retreat of General Marten van Rossum,
City Hall, Antwerp.--Van den Branden, 978.
FRANCKEN, FRANS, the elder, born at Hérenthals about 1540, died in
Antwerp, Oct. 6, 1616. Flemish school; history painter, brother of
Ambrosius the elder; pupil of Frans Floris; obtained the citizenship
of Antwerp in 1567, and in the same year was admitted as free master
to the guild of St. Luke, of which in 1588–89 he was the dean. Works:
Eteocles and Polynices, Museum, Antwerp; Triptych, with Jesus among
Doctors (1587), Cathedral, ib.; Burial of Christ, Jesus appearing
to Mary Magdalen, St. Jacob’s Church, ib.; Destruction of Pharaoh’s
Army, Blenheim, England; History of Esther, Louvre; Flight into
Egypt, Christ led to Golgotha (1597), An Allegory, Creation of Eve,
Creation of Animals (landscape of last two by J. Brueghel), Dresden
Gallery; Banquet with Music, Old Pinakothek, Munich; Curiosity Shop,
Assembly of Ladies and Gentlemen, Ecce Homo, Vienna Museum.--Biog.
nat. de Belgique, vii. 242; Cat. du Mus. d’Anvers (1874), 166;
Michiels, vi. 315; Riegel, Beiträge, ii. 74; Van den Branden, 342.
[Illustration: Bust]
[Illustration: Signatures]
FRANCKEN, FRANS, the younger, called Don Francisco, born in Antwerp,
May 6, 1581, died there, May 6, 1642. Flemish school; history,
landscape, and interior painter, son and pupil of Frans Francken,
the elder; went at an early age to Italy, and studied after the old
masters in Venice, where he is said to have acquired his surname.
Master of the guild at Antwerp in 1605, dean in 1615. Painted the
foreground figures in pictures of Velvet Brueghel, Neefs the elder,
and Josse de Momper. His various modes of signature have caused the
greatest difficulties in attributing certain works to him or to his
father, but it seems now sufficiently certain that in his father’s
lifetime he signed “den jon. F. F.,” after the death of the elder
Frans (1616) signed his name without addition, occasionally prefixed
“Do., D^s.” (Don, Dominus?), but also still “Den jon.,” and after
1630, “D., Do.,” or “D’ouden” (the elder), as then his son, Frans
III., may have begun to work independently. He is the most famous
of this numerous family of artists; his works are distinguished
for graceful treatment, remarkable harmony, spirited touch, and
capital drawing. Works: Christ Sentenced, St. John Preaching, Ecce
Homo, Taking of Christ, Neptune and Amphitrite, Interior of Church
in Flanders, Madrid Museum; Passion of Christ, Prodigal Son, Prince
visiting Treasury of a Church, Louvre, Paris; Christ bearing the
Cross, Lille Museum; Magdalen washing Christ’s Feet (1628), Notre
Dame, Bruges; Crœsus and Solon, Brussels Museum; Martyrdom of the
Crowned (1624), Works of Mercy (1608), Miracle of St. Bruno’s Grave,
Interior of Art Cabinet, Antwerp Museum; Ball at Court of Albert
and Isabella (1611), Parable of Prodigal Son, Adoration of Christ
and Virgin (1616), National Museum, Amsterdam; Musical Company in
a great Hall, Rotterdam Museum; Galatea, Adoration of the Magi,
Joseph’s Coffin and Destruction of the Egyptians (2), King Midas,
The Royal Banquet, Brunswick Museum; Homage to Flora, Cassel
Gallery; Destruction of the Egyptians (1621), Kunsthalle, Hamburg;
do., Mannheim Gallery; do., and Parable of Prodigal Son, Carlsruhe
Gallery; the World doing Homage to Apollo (1629), Oldenburg Gallery;
Apelles painting Campaspe, The Five Senses, Copenhagen Gallery; Rape
of Helen, Stockholm Museum; Feeding of the Five Thousand (1634),
Dessau Gallery; Neptune and Amphitrite, Belshazzar’s Feast, Triumph
of David, Solomon and the Queen of Sheba, Solomon showing his
Treasures to the Prophet, Martyrdom of St. Andrew, Solomon seduced
to Idolatry, Sword of Damocles, Gotha Museum; Christ on Mount of
Olives, Washing of Feet, Solon and Crœsus, Temptation of St. Anthony
(?), Berlin Museum; Christ bearing the Cross (1597), Christ and the
Woman taken in Adultery (1606), Dresden Gallery; Martyrdom of St.
Lawrence, Aschaffenburg Gallery; Seven Works of Mercy (1630), Cavalry
Skirmish (1631), An Allegory, Old Pinakothek, Munich; Christ and
Nicodemus, Crucifixion (1606), Witches’ Sabbath, do. (1607), Crœsus
and Solon (attributed to Frans the elder), Vienna Museum; Witches’
Sabbath, St. Elizabeth nursing the Sick, Berne Museum; Executions in
the Netherlands by order of Duke of Alva, Musée Rath, Geneva; Seven
Works of Mercy, Hermitage, St. Petersburg; Dives, The Rich Man of the
Gospel, Museum, New York; Passage of the Red Sea, Crucifixion (both
attributed to Frans the elder), Historical Society, ib.; Artist’s
portrait, and three others (?), Uffizi, Florence; others in Palazzo
Pitti, ib., Augsburg, and Schleissheim Galleries, in Liechtenstein
Gallery, Vienna, and Borghese Gallery, Rome.--Biog. nat. de Belgique,
vii. 249; Ch. Blanc, École flamande; Cat. du Musée d’Anvers (1874),
167; Meyer, Gemälde d. Köngl. Mus., 167; Riegel, Beiträge, ii. 74;
Rooses (Reber), 153; Van den Branden, 615.
FRANCKEN, FRANS III., called de Rubensche Francken, born in Antwerp
in 1607, died there, Aug. 21, 1667. Figure painter, son and pupil of
Frans Francken, the younger, with whom he worked conjointly probably
until 1639, when he became master of the guild; afterwards greatly
influenced by Rubens, whence his surname. Works: St. John Baptist
preaching, Liechtenstein Gallery, Vienna; Figures in Church Interior
by Neefs the elder (1654), National Museum, Amsterdam; do. (1652),
Schwerin Gallery; St. John’s Head given to Herodias, Mr. Theodoor
van Lerius, Antwerp; Scourging of Christ, Miss Verschuylen, ib.;
Continence of Scipio, Mr. Dufraisne, Cambrai.--Michiels, viii. 265;
Van den Branden, 618.
FRANCKEN, HANS, or JAN (Jan Baptist?), born at Antwerp in 1581, died
there, Dec. 24, 1624. Flemish school; history painter, nephew and
pupil of Ambrosius Francken, the elder, then studied in Paris, and
returned to Antwerp in 1608; formed himself after Rubens and Van
Dyck; master of the guild in 1611. His portrait by Van Dyck is in the
Amsterdam Museum. Works: Christ among the Doctors, Descent of the
Holy Ghost, Bruges Museum. Copies after Rubens: Visitation of Mary,
Assumption, Adoration of the Shepherds, ib.; Decapitation of St.
John, Brussels Museum; Christ and Magdalen (in Landscape by Velvet
Brueghel), Rotterdam Museum; Heads of Seven Apostles (attributed),
Dresden Museum.--Van den Branden, 339, 622; Kramm, ii. 508; Fétis,
Cat. du Mus. Royal, 322.
[Illustration: Bust]
FRANCKEN, HIERONYMUS (Jeroom), the elder, born at Hérenthals in
1542, died in Paris (?), May 1, 1610. Flemish school; history and
portrait painter, brother of Frans and Ambrosius the elder; pupil of
Frans Floris, went to France, became portrait painter to Henry III.,
and, continuing in favour at court under Henry IV. and Louis XIII.,
was called the painter of kings. Visited Italy either before or
after having first settled in Paris. In 1590 he retired to Antwerp,
where he attracted all the pupils of his old master, Floris, lately
deceased, but soon returned to Paris. Works: Abdication of Charles
V., National Museum, Amsterdam; Charles V. taking Orders, Lille
Museum; Decapitation of St. John the Baptist (1600), Dresden Gallery;
Assembly of the Sea-Gods, Stockholm Museum.--Biog. nat. de Belgique,
vii. 244; Jal., 612; Michiels, v. 317; vi. 312; Van den Branden, 340.
FRANCKEN, HIERONYMUS, the younger, born in Antwerp, baptized Sept.
12, 1578, died there, March 17, 1623. Flemish school, son of Frans
the elder; historical figure painter, pupil of Ambrosius Francken;
master of the guild in 1607. Works: Horatius Cocles at the Sublician
Bridge (1620), Antwerp Museum; Esther before Ahasuerus.