Page:Encyclopædia Britannica, Ninth Edition, v. 9.djvu/840

 804 F 11 O F R Y and indeed until the time when more imaginative work had brought, with fame, other means of subsistence, he maintained himself by portrait painting. He is said to have painted, about this time, over 300 portraits ; but not one of them is now remembered as a work of any artistic value. In 1839 he obtained the gold medal of the Royal Academy for his picture of Prometheus bound by Force and Strength. At the cartoon exhibition at Westminster Hall in 1843 he was awarded a third-class prize of 100 pounds, for his cartoon of Una alarmed by Fauns and Satyrs. He ex hibited at the Academy Christ crowned with Thorns (1843), Nymphs dancing (1844), Sabrina (1845), Diana and Actceon (1846). In 1846 he was elected Associate of the Royal Academy. His Nymph disarming Cupid was exhibited in 1847; Una and the Wood-Nymphs of the same year was bought by the Queen. This was the time of Frost s highest popularity. Influences affecting the art of the country at the time led to the decline of his reputation after 1850; and opinion on his work so changed in later years that it was perhaps by courtesy only that he obtained the dignity of fall membership of the Royal Academy. His later pictures are simply repetitions of earlier motives. Among them may be named Eitphrosyne (1848), Wood-Nymphs (1851), Chastity (1854), II Penseroso (1855), The Graces (185G), Narcissus (1857), Zephyr with Aurora playing (1858), The Graces and Loves (1863), Hylas and the Nymphs (18G7). After being for some years at the head of the list of associates, Frost was elected to full member ship of the Royal Academy in December 1871. This dig nity., however, he soon resigned, and his name appears in the lists issued during the last years of his life among those of honorary retired Academicians. There is some thing very flimsy about the productions of this painter. In work aftsr work is continued the same unvarying series of maidens and nymphs, having the same smiles, gestures, graces. There is in these paintings no spontaneity and little truth of feeling of any kind. Frost bad no high power of design, though some of hissmallor and apparently less important works are not without grace and charm. Technically, his paintings are, in a sense, very highly finished, but they are entirely without mastery. The writings of Ruskin and the rise of the pre-Raphaelites changed the regard in which such productions as those of Frost were held ; and his career was practically at an end some years before his death. As a man he was highly esteemed by his friends for the gentleness and modesty of his disposition. He died on the 4th of June 1877. FROSTBITE. See MORTIFICATION. FRUGONI, CARLO INNOCENZO (1692-1 708), an Italian poet, was born at Genoa 21st November 1692. In accord ance with the custom of the family to which he belonged, being destined, as the youngest son, for the ecclesiastical profession, he was, at the age of fifteen, in opposition to his strong wishes, shut up in a convent ; and although in the following year he was induced to pronounce monastic vows, his sentiments continued to remain com pletely at variance with the profession he had adopted. He, however, made so rapid progress in his studies that he soon acquired considerable reputation as an elegant writer both of Latin and Italian prose and verse; and from 1716 to 1724 he filled the chairs of rhetoric at Brescia, Rome, Genoa, Bologna, and Modena successively, attracting by his brilliant fluency a largo number of students at each univer sity. Through Cardinal Bentivoglio he was recommended to Antonio Farnese, duks of Parma, who appointed him his poet laureate ; and he remained at the court of Parma until the death of Antonio, after which he returned to Genoa. Shortly afterwards, through the intercession of Bentivoglio, ho obtained from the pope the remission of his monastic vows, and by eloquent representations he ultimately suc ceeded in recovering a portion of his paternal inheritance. After the peace of Aix-la-Chapelle, he returned to the court of Parma, and there devoted the later years of his life chiefly to poetical composition. He died 20th December 1768. Frugoni holds a place in the first rank of the lyrical poets of his time, and his other compositions, which embrace almost every form of poetry, have in most cases consider able merit, and are generally characterized by harmony of versification, elegance of language, and appositeness and great variety of imagery. His collected works were published at Parma in 10 vols. in 1799, and a more complete edition appeared at Lucca in the same year in 15 vols. A selection from his works was published at Brescia in 1782, in 4 vols. FRUMENTIUS, an early Christian missionary and bishop who is recognized, by the Abyssinian church as its apostle and founder, and usually bears in Abyssinian litera ture the title of Abba Salama or Father of Salvation. According to Ilufinus, an ecclesiastical historian of the latter part of the 4th century, who gives vEdesius himself as his authority, a certain Tyrian philosopher, accompanied by his kinsmen Frumentius and ^Eclesius, set out on an expedition to &quot; India, &quot; but was murdered by the natives of a coast town which he visited by the way. The two young men, on the contrary, were taken under royal pro tection, and ultimately became tutors of the heir apparent to the throne. On the succession of their pupil they returned home. ^Edesius was made presbyter of Tyre, and Frumentius was consecrated bishop by Athanasius of Alexandria, and went back to propagate Christianity among the &quot; Indians.&quot; This story is substantiated by the letters of Athanasius, who distinctly mentions the consecration of Frumentius, in 326, as bishop of Axum in Abyssinia, and gives some details of the history of his mission. The opinion of Thomas Wright (Early Christianity in Arabia, 1855), that the scene of the labours of Frumentius was not Abyssinia but southern Arabia, appears quite irrecon cilable with the direct testimony of Athanasius, whatever support it may find in the vaguer notices of ecclesiastical historians. See Xiccphorus, ix. 18 ; liufinus, x. 9; Theodoret, i. 23; Atha nasius, Epistola ad C onstantinum. FRUYTIERS, PHILIP, a pupil of the Jesuits college at Antwerp in 16 27, entered the Antwerp guild of painters without a fee in 1631. He is described in the register of that institution as &quot;illuminator, painter, and engraver.&quot; The current account of his life is &quot;that he worked exclu sively in water colours, yet was so remarkable in this branch of his art for arrangement, drawing, and especially for force and clearness of colour, as to excite the admiration of Rubens, whom he portrayed with all his family.&quot; The truth is that he was an artist of the most versatile talents, as may be judged from the fact that in 1646 he executed an Assumption with figures of life size, and four smaller pictures in oil, for the church of St Jacques at Antwerp, for which he received the considerable sum of 1150 florins. Unhappily no undoubted production of his hand has been preserved, and hence we are at a loss surely to gauge his acquirements. All that we can point to with certainty is a series of etched plates, chiefly portraits, which are acknow ledged to have been powerfully and skilfully handled. If, however, we search the portfolios of art collections on the Continent, we sometimes stumble upon miniatures on vellum, drawn with great talent, and coloured with extraordinary brilliancy. In form they quite recall the works of Rubens, and these, it may be, are the work of Philip Fruytiers, who died in 1666, and was buried on the 21st of June in the church of the R6collets at Antwerp. FRY, or GURNEY, ELIZABETH (1780-1845), an emi nent philanthropist and, after Howard, the chief promoter