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Rh l’ersian Historical Texts). See Sir Gore Ouseley, Biographical Notices of Persian Poets (1846), p. 236; Von Hammer Purgstall, Geschichte der schönen Redekünste Persiens (Vienna, 1818), p. 140; the Oriental Collections, ii. (London, 1798), pp. 84, 124, containing translations of part of the Pandnāma; E. H. Palmer, Oriental Mysticism (1867); E. G. Browne, Literary History of Persia (1906).

FARINA, SALVATORE (1846–&emsp;&emsp;), Italian novelist, was born in Sardinia, and after studying law at Turin and Pavia devoted himself to a literary life at Milan. Farina has often been compared as a sentimental humorist with Dickens, and his style of writing has given him a special place in modern Italian fiction. His masterpiece is Il Signor Io (1880), a delightful portrait of an egoist; Don Chisciottino, Amore bendato, Capelli biondi, Oro nascosto, Il Tesoro di Donnina, Amore a cent’ occhi, Mio figlio, Il numero 13, are some of his other volumes.

FARINATO, PAOLO (1522–1606), Italian painter and architect, was a native of Verona. He is sometimes named Farinato degli Uberti, as he came from the ancient Florentine stock to which the Ghibelline leader Farinata degli Uberti, celebrated in Dante’s Commedia, belonged. He flourished at the same time that the art of Verona obtained its greatest lustre in the works of Paolo Cagliari (Paul Veronese), succeeded by other members of the Cagliari family, of whom most or all were outlived by Farinato. He was instructed by Niccolò Giolfino, and probably by Antonio Badile and Domenico del Riccio (Brusasorci). Proceeding to Venice, he formed his style partly on Titian and Giorgione, though he was never conspicuous as a colourist, and in form he learned more from the works of Giulio Romano. His nude figures show knowledge of the antique; he affected a bronzed tone in the complexions, harmonizing with the general gravity of his colour, which is more laudable in fresco than in oil-painting. Vasari praised his thronged compositions and merit of draughtsmanship. His works are to be found not only in Venice and principally in Verona, but also in Mantua, Padua and other towns belonging or adjacent to the Venetian territory. He was a prosperous and light-hearted man, and continually progressed in his art, passing from a comparatively dry manner into a larger and bolder one, with much attraction of drapery and of landscape. The “Miracle of the Loaves and Fishes,” painted in the church of S. Giorgio in Verona, is accounted his masterpiece; it was executed at the advanced age of seventy-nine, and is of course replete with figures, comprising those of the painter’s own family. A saloon was painted by him in S. Maria in Organo, in the same city, with the subjects of “Michael expelling Lucifer” and the “Massacre of the Innocents”; in Piacenza is a “St Sixtus”; in Berlin a “Presentation in the Temple”; and in the communal gallery of Verona one of his prime works, the “Marriage of St Catherine.” Farinato executed some sculptures, and various etchings of sacred and mythologic subjects; his works of all kinds were much in request, including the wax models which he wrought as studies for his painted figures. He is said to have died at the same hour as his wife. His son Orazio was also a painter of merit.

FARINELLI (1705–1782), whose real name was, one of the most extraordinary singers that ever lived, was born on the 24th of January 1705, at Naples. He was the nephew of Cristiano Farinelli, the composer and violinist, whose name he took. Having been prepared for the career of a soprano, he soon acquired, under the instruction of N. A. Porpora, a voice of marvellous beauty, and became famous throughout southern Italy as il ragazzo (the boy). In 1722 he made his first appearance at Rome in his master’s Eumene, creating the greatest enthusiasm by surpassing a popular German trumpet-player, for whom Porpora had written an obligato to one of the boy’s songs, in holding and swelling a note of prodigious length, purity and power, and in the variations, roulades and trills which he introduced into the air. In 1724 he appeared at Vienna, and at Venice in the following year, returning to Naples shortly afterwards. He sang at Milan in 1726, and at Bologna in 1727, where he first met and acknowledged himself vanquished by the singer Antonio Bernacchi (b. 1700), to whose instruction he was much indebted. With ever-increasing success and fame Farinelli appeared in nearly all the great cities of Italy; and returned a third time to Vienna in 1731. He now modified his style, it is said on the advice of Charles VI., from mere bravura of the Porpora school to one of pathos and simplicity. He visited London in 1734, arriving in time to lend his powerful support to the faction which in opposition to Handel had set up a rival opera with Porpora as composer and Senesino as principal singer. But not even his aid could make the undertaking successful. His first appearance at the Lincoln’s Inn Fields theatre was in Artaserse, much of the music of which was by his brother, Riccardo Broschi. His success was instantaneous, and the prince of Wales and the court loaded him with favours and presents. Having spent three years in England, Farinelli set out for Spain, staying a few months on the way in France, where he sang before Louis XV. In Spain, where he had only meant to stay a few months, he ended by passing nearly twenty-five years. His voice, employed by the queen to cure Philip V. of his melancholy madness, acquired for him an influence with that prince which gave him eventually the power, if not the name, of prime minister. This power he was wise and modest enough to use discreetly. For ten years, night after night, he had to sing to the king the same six songs, and never anything else. Under Ferdinand VI. he held a similar position, and was decorated (1750) with the cross of Calatrava. He utilized his ascendancy over this king by persuading him to establish an Italian opera. After the accession of Charles III. Farinelli retired with the fortune he had amassed to Bologna, and spent the remainder of his days there in melancholy splendour, dying on the 15th of July 1782. His voice was of large compass, possessing seven or eight notes more than those of ordinary singers, and was sonorous, equal and clear; he also possessed a great knowledge of music.

FARINGDON, properly, a market town in the Abingdon parliamentary division of Berkshire, England, 17 m. W.S.W. of Oxford by road. Pop. (1901) 2900. It lies on the slope of a low range of hills which borders the valley of the Thames on the south. It is the terminus of a branch of the Great Western railway from Uffington. The church of All Saints is a large cruciform building with low central tower. Its period is mainly Transitional Norman and Early English, and though considerably altered by restoration it contains some good details, with many monuments and brasses. Faringdon House, close to the church, was built by Henry James Pye (1745–1813), poet laureate from 1790 to 1813, who also caused to be planted the conspicuous group of fir-trees on the hill east of the town called Faringdon Clump, or locally (like other similar groups) the Folly. The trade of Faringdon is agricultural.

FARINI, LUIGI CARLO (1812–1866), Italian statesman and historian, was born at Russi, near Ravenna, on the 22nd of October 1812. After completing a brilliant university course at Bologna, which he interrupted to take part in the revolution of 1831 (see ), he practised as a physician at Russi and at Ravenna. He acquired a considerable reputation, but in 1843 his political opinions brought him under the suspicion of the police and caused his expulsion from the papal states. He resided successively in Florence and Paris, and travelled about Europe as private physician to Prince Jerome Bonaparte, but when Pius IX. was elected to the Holy See and began his reign with apparently Liberal and nationalist tendencies, Farini returned to Italy and was appointed secretary-general to G. Recchi, the minister of the interior (March 1848). But he held office for little more than a month, since like all the other Italian Liberals he disapproved of the pope’s change of front in refusing to allow his troops to fight against Austria, and resigned with the rest of the ministry on the 29th of April. Pius, wishing to counteract the effect of this policy, sent Farini to Charles Albert, king of Sardinia, to hand over the command of the papal contingent to him. Elected member of parliament for Faenza, he was again appointed secretary to the ministry of the interior in the Mamiani cabinet, and later director-general of the public health department. He resigned office on the proclamation of the republic after the flight of the pope to Gaeta in 1849, resumed it for a while when Pius returned to Rome with the protection