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FLOWER,, 'glazier.' He contracted to paint the windows of Henry VII.'s Chapel, Westminster Abbey, but died about the 4th Henry VIII., before the completion of the work.

FLYNTE,, die sinker. Was sculptor of the irons for the Royal Mint. 'Sculptor de et pro Ferris,' 2nd Henry VII.

FOGGO,, history painter. Was born in London, June 11, 1790. His father was a warm advocate for the emancipation of the negroes, and during the suspension of the Habeas Corpus Act in 1799 thought it prudent to leave England, and went with his family to Paris. The son was educated in the schools of the French Academy, and adopted art as his profession. In 1815, on the return of Napoleon from Elba, he hastily left Paris and came to London with small means, which were soon exhausted. But he did not want perseverance. He painted his 'Hagar and Ishmael,' which was exhibited at the British Institution, and gained favourable notice. He was also fortunate in obtaining some teaching, which proved his chief means of support. In 1819 he was joined by his brother George, who was educated in art with him, and from that time they worked together, their pictures being the effort of their combined talent. In 1822 they completed their large work, 'Christians at Parga preparing to Emigrate;' in 1824, 'Christ healing the Impotent Man at the Pool of Bethesda;' in 1826, 'The Entombment of Christ;' but they exhibited very few works, and those generally at the British Institution. In 1840-43 they were competitors in the Westminster Hall Exhibitions for the decorations of the Houses of Parliament, but were not successful. The works they produced were chiefly Scripture subjects, and from their unusually large dimensions and treatment, were hardly of a class to find purchasers; but the two brothers, working harmoniously together for nearly 46 years, followed the bent of their own genius, undeterred by the want of public appreciation, while they found by teaching their chief means of living. James died in London, September 14, 1860, and was buried in the Highgate Cemetery.

FOGGO,, history painter. Born April 14, 1793. He was younger brother of the above, and was associated with him in his principal works, and, like him, drew the figure well. He was an energetic, active man, and was associated with many plans for the advancement of art. He drew and lithographed the Raphael cartoons, and was the author of 'A Letter to Lord Brougham on the History and Character of the Royal Academy,' 1835; the 'Report of a Meeting to promote the free Admission to St. Paul's and Westminster Abbey,' 1837; 'Results of the Parliamentary Inquiry on the new Schools of Design and the Royal Academy,' 1837; 'A Catalogue of the National Gallery, with Critical Notes,' 1847. He died September 26, 1869, aged 76.

FOLDSONE,, portrait painter, also styled himself history painter. He practised in the latter half of the 18th century. He painted small heads in oil; rapid in his execution, his practice was to attend his sitters at their own houses early in the morning, generally to dine with them, finish his work in the day, and to retire with his honorarium. He exhibited portraits at the Spring Gardens Exhibition in 1769, and small whole-length portraits, with two portrait-groups, at the Academy, in 1771, a classic subject in 1773, and continued to exhibit up to 1783. He died, early in life, soon after. His daughter (Mrs. Mee) was a successful miniature painter.

FOLEY, R.A., sculptor. Was born in Dublin, May 24, 1818, and at the age of 13 entered the art schools of the Royal Dublin Society, where he studied the figure, architecture, and ornamental design. In 1834 he came to London, and the following year was admitted to the schools of the Royal Academy. In 1839 he first appears as an exhibitor contributing two groups. In the following year he sent his 'Ino and the infant Bacchus,' when his abilities were at once recognised. 'Lear and Cordelia' followed in 1841, 'Venus rescuing Eneas from Diomed' in 1842, 'Prospero and Miranda' in 1843. His attention was then directed to the National Competition in Westminster Hall, where he exhibited in 1844 'A Youth at a Stream,' and in 1847 his model for a statue of Hampden. In 1849 he was elected an associate of the Academy, but at this time his contributions to the exhibition were few, a bust or a statuette chiefly. In 1854 he exhibited his design for the Wellington Memorial, and in 1858 was elected a full member of the Academy. Subsequently he contributed in 1859 'Egeria,' in 1860 'The elder brother in Comus,' his diploma work, in 1861 his 'Oliver Goldsmith' and a part of 'General Nicholson's Monument.' This was the last year in which he exhibited. Some difference with the member charged with the arrangement of the sculpture at the following exhibition, led to his persistent refusal to exhibit, which, it is believed, was only overcome just before his death. Among his chief works are 'Selden and Hampden' for St. Stephen's Hall, Westminster, 'Goldsmith and Burke' for Trinity College, Dublin, 'Lord Herbert,' 'Lord Hardinge,' 'Sir James Outram,' 156