Page:Biographical catalogue of the principal Italian painters.djvu/94

 FOPPA— FEANCESCA, 63 pino, in his Lexicon, with GioTanni Bellini and Leonardo da Yinci. He paid more than usual attention to per- spective, and was skilled in foreshorten- ing. Works. Milan, Brera, Martyrdom of St. Sebastian (fresco). Brescia, San Pietro, in Oliveto, the Trinity; and St Ursula^'; SS. Nazaro e Celso, their Martyrdom. Palazzo Gomunale, Christ bearing the Cross ; the Martyr- dom of Santi Faustino e Giovita. {^Lanzi.') FORABOSCO, or FERABOSCO, GxROiiAMO, h. at Padua, living in 1660. Venetian School. He painted more for private collections than for churches, and was an excellent portrait-painter. Zanetti speaks in the highest terms of his execution, which was at the same time delicate, elaborate, and forcible; he aimed at illusion in his portraits. Works. Venice, at the church of the Theatines, San Francesco : San Magno, Padua: Cathedral, Sant* Antonio. Dresden Gallery, a young Woman attempting to fly the hand of Death. Vienna, Lichtenstein Gallery, David. FORLI, Melozzo da, 6. at Forli, 1438, d, Nov. 8, 1494. Bolognese School. He is supposed to have been the fellow pupil of Mantegna, with Squarcione at Padua, and to have studied also under Piero della Fran- cesca, as he was great in perspective. Melozzo was also the first to attempt the 8otto in su painting on ceilings, in which Corregpo afterwards so greatly distinguishe^himself. In an Ascension of Christ, ip. the church of the Apostles at Bome^ painted in 1472, he has completely anticipated the foreshorten- ings of Correggio in his cupola at Parma. The chapel in whi^h these frescoes were has been rebuilt, but the frescoes were removed in 1711, some portions to the Quirinal, and some to the sacristy of the Vatican. Melozzo's style is similar to that of Mantegna and other great masters of the quattrocento. He was a good portrait-painter. Works. Borne, Quirinal Palace (on the staircase), the Ascension of Christ: Sacristy of St Peter's, single figures of angels : Vatican Gallery, Pope Sixtus IV. installing Platina, in 1475, as Librarian, or Prefect, of the Vatican Library: transfen'ed from the wall of the old Library to canvas, by Do- menico Succi, for Leo XII. {V^asari, Lanzi.) FRAGANZANO, Francesco, d. 1657. Neapolitan School. He was the scholar of Spagnoletto, and the bro- ther-in-law and master of Salvator Rosa. He was a good colourist; but was unfortunate. He had joined the rebellion of Masaniello' against the Spaniards in 1647, and through the intercession of powerful friends had been pardoned by the Government; but after the plague of 1656, he again joined the disaffected and attempted to excite another rebelHon against the Spaniards, for which he was imprisoned and executed. In consideration of his profession, instead of being hanged he was poisoned. His master-piece is the Death of St. Joseph, in the church of the Pelegrini ; it is one of the principal pictures in Naples. {Dominici.) FRANCESCA, Piero della, called also Piero Borghese, from his birth- place Borgo San Sepolcro ; Francesoa was his mother's name : b. about 1408, d. about 1496. Umbrian School. He considerably advanced the knowledge of perspective in Italy, which he was the first to fully develope in practice. Vasari commends him for the hfe-like expression of his heads, for ability in foreshortening, and for the knowledge he possessed of anatomy. Luca Pac- ciolo calls him £1 Monarca de la Pic- tura. Piero wrote some treatises on geometry and perspective, which it appears are still preserved At Borgo