Page:EB1911 - Volume 10.djvu/407

  —Among the older writers may be mentioned Strahlenberg (Das nord- und östliche Theil von Europa und Asia, 1730), Johann Gottlieb Georgi (Description de toutes les nations de l’empire de la Russie, French tr., St Petersburg, 1777); but especially the various works of Matthias A. Castrén (1852–1853) and W. Schott (1858). Modern scientific knowledge of the Finno-Ugrians and their languages was founded by these two authors. Among newer works some of the most important separate publications are: J. R. Aspelin, Antiquités du nord finno-ougrien (1877–1884); J. Abercromby, Pre- and Proto-historic Finns (1898); and A. Hackmann, Die ältere Eisenzeit in Finnland (1905).

The recent literature on the origin, customs, antiquities and languages of these races is voluminous, but is contained chiefly not in separate books but in special learned periodicals. Of these there are several: Journal de la Société Finno-ougrienne (Helsingfors) (Suomalais-Ugrilaisen Seuran Aikakauskirja); Finnisch-Ugrische Forschungen (Helsingfors and Leipzig); Mitteilungen der archäologischen, historischen und ethnographischen Gesellschaft der Kais. Universität zu Kasan; Keleti Szemle or Revue orientale pour les études ouralo-altaïques (Budapest). In all of these will be found numerous valuable articles by such authors as Ahlqvist, Halévy, Heikel, Krohn, Muncácsi, Paasonen, Setälä, Smurnow, Thomsen and Vambéry.

The titles of grammars and dictionaries will be found under the headings of the different languages. For general linguistic questions may be consulted the works of Castrén, Schott and Otto Donner, also such parts of the following as treat of Finno-Ugric languages: Byrne, Principles of the Structure of Language, vol. i. (1892); Friedrich Müller, Grundriss der Sprachwissenschaft II., Band ii., Abth. 1882; Steinthal and Misleli, Abriss der Sprachwissenschaft (1893).

 FINSBURY, a central metropolitan borough of London, England, bounded N. by Islington, E. by Shoreditch, S. by the city of London and W. by Holborn and St Pancras. Pop. (1901) 101,463. The principal thoroughfares are Pentonville Road, from King’s Cross east to the Angel, Islington, continuing E. and S. in City Road and S. again to the City in Moorgate Street; Clerkenwell Road and Old Street, crossing the centre from W. to E., King’s Cross Road running S.E. into Farringdon Road, and so to the City; St John Street and Road and Goswell Road (the residence of Dickens’ Pickwick) running S. from the Angel towards the City; and Rosebery Avenue running S.W. from St John Street into Holborn. The commercial character of the City extends into the southern part of the borough; the residential houses are mostly those of artisans. Local industries include working in precious metals, watch-making, printing and paper-making.

An early form of the name is Vynesbury, but the derivation is not known. The place was supposed by some to take name from an extensive fen, a part of which, commonly known as Moorfields (cf. Moorgate Street), was drained in the 16th century and subsequently laid out as public grounds. It was a frequent resort of Pepys, who mentions its houses of entertainment and the wrestling and other pastimes carried on, also that it furnished a refuge for many of those whose houses were destroyed in the fire of London in 1666. Bookstalls and other booths were numerous at a somewhat later date. The borough includes the parish of (q.v.), a locality of considerable historic interest, including the former priory of St John, Clerkenwell, of which the gateway and other traces remain. Among several other sites and buildings of historical interest the (q.v.) west of Aldersgate Street, stands first, originally a Carthusian monastery, subsequently a hospital and a school out of which grew the famous public school at Godalming. Bunhill Fields, City Road, was used by the Dissenters as a burial-place from the middle of the 17th century until 1832. Among eminent persons interred here are John Bunyan, Daniel Defoe, Susanna, mother of John and Charles Wesley, and George Fox, founder of the Society of Friends. A neighbouring chapel is intimately associated with the Wesleys, and the house of John Wesley is opened as a museum bearing his name. Many victims of the plague were buried in a pit neighbouring to these fields, near the junction of Goswell Road and Old Street. To the south of the fields lies the Artillery Ground, the training ground of the Honourable Artillery Company, so occupied since 1641, with barracks and armoury. Sadler’s Wells theatre, Rosebery Avenue, dating as a place of entertainment from 1683, preserves the name of a fashionable medicinal spring, music room and theatre, the last most notable in its connexion with the names of Joseph Grimaldi the clown and Samuel Phelps. Other institutions are the technical college, Leonard Street, and St Mark’s, St Luke’s and the Royal chest hospitals. At Mount Pleasant is the parcels department of the general post office, and at Clerkenwell Green the sessions house for the county of London (north side of the Thames). Adjacent to Rosebery Avenue are reservoirs of the New River Head. The municipal borough coincides with the east and central divisions of the parliamentary borough of Finsbury, each returning one member. The borough council consists of a mayor, 9 aldermen and 54 councillors. Area, 589.1 acres.  FINSTERWALDE, a town of Germany, in the kingdom of Prussia, on the Schackebach, a tributary of the Little Elster, 28 m. W.S.W. of Cottbus by rail. Pop. (1905) 10,726. The town has a Gothic church (1581), a château, schools, cloth and cigar factories, iron-foundries, flour and saw mills and factories for machine building. The town, which is first mentioned in 1288, came into the possession of electoral Saxony in 1635 and of Prussia in 1815.  FIORENZO DI LORENZO (c. 1440–1522), Italian painter, of the Umbrian school, lived and worked at Perugia, where most of his authentic works are still preserved in the Pinacoteca. There is probably no other Italian master of importance of whose life and work so little is known. In fact the whole edifice that modern scientific criticism has built around his name is based on a single signed and dated picture (1487) in the Pinacoteca of Perugia—a niche with lunette, two wings and predella—and on the documentary evidence that he was decemvir of that city in 1472, in which year he entered into a contract to paint an altarpiece for Santa Maria Nuova—the pentatych of the “Madonna and Saints” now in the Pinacoteca. Of his birth and death and pupilage nothing is known, and Vasari does not even mention Fiorenzo’s name, though he probably refers to him when he says that Cristofano, Perugino’s father, sent his son to be the shop drudge of a painter in Perugia, “who was not particularly distinguished in his calling, but held the art in great veneration and highly honoured the men who excelled therein.” Certain it is that the early works both of Perugino and of Pinturicchio show certain mannerisms which point towards Fiorenzo’s influence, if not to his direct teaching. The list of some fifty pictures which modern critics have ascribed to Fiorenzo includes works of such widely varied character that one can hardly be surprised to find great divergence of opinion as regards the masters under whom Fiorenzo is supposed to have studied. Pisanello, Verrocchio, Benozzo Gozzoli, Antonio Pollaiuolo, Benedetto Bonfigli, Mantegna, Squarcione, Filippo Lippi, Signorelli and Ghirlandajo have all been credited with this distinguished pupil, who was the most typical Umbrian painter that stands between the primitives and Perugino; but the probability is that he studied under Bonfigli and was indirectly influenced by Gozzoli. Fiorenzo’s authentic works are remarkable for their sense of space and for the expression of that peculiar clear, soft atmosphere which is so marked a feature in the work of Perugino. But Fiorenzo has an intensity of feeling and a power of expressing character which are far removed from the somewhat affected grace of Perugino. Of the forty-five pictures bearing Fiorenzo’s name in the Pinacoteca of Perugia, the eight charming St Bernardino panels are so different from his well-authenticated works, so Florentine in conception and movement, that the Perugian’s authorship is very questionable. On the other hand the beautiful “Nativity,” the “Adoration of the Magi,” and the “Adoration of the Shepherds” in the same gallery, may be accepted as the work of his hand, as also the fresco of SS. Romano and Rocco at the church of S. Francesco at Deruta. The London National Gallery, the Berlin and the Frankfort museums contain each a “Madonna and Child” ascribed to the master, but the attribution is in each case open to doubt.

See Jean Carlyle Graham, The Problem of Fiorenzo di Lorenzo (Perugia, 1903); Edward Hutton, The Cities of Umbria (London).

