of Honour, 1861. Works: Sailors making Merry, Rag-Dealer, Return to the Cottage, Cobbler's Shop, Corner of the Hearth, Village Barber (1835 to 1847); Cottage in Morbihan, Butcher's Shop, At the Castle of Baz (1849); The Country Tailor (1850); Chouans (1853), Lille Museum; The Blessing (1855), Luxembourg Museum; During Vespers (1855), Grenoble Museum; Hut in Morbihan, Music Lesson, Smoker (1855); Grandfather's Festival, Whip-Lash, Cancans, Country Interior (1859); Storm, Country Tailor, Old Story, Interior, Pap (1861); Between two Dilemmas (1864).—Larousse.
FORTUNE, Guido Reni, Accademia di S.
Luca, Rome; canvas, H. 4 ft. 11 in. × 4 ft. 3
in. Fortune personified by a female figure,
nude, with light drapery floating from her
shoulders; she holds in her left hand a kind
of purse from which gold pieces drop, and
in her right a sceptre and palms. Under
her feet is the world, and from behind a
winged boy grasps her hair, which floats in
the wind. In some copies Fortune bears
instead of a purse a crown. Carried to
Paris in 1796; returned in 1815, and in Vatican
until 1826.—Filhol, vi. Pl. 397, Musée
français, i.; Landon, viii. Pl. 32.
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Fortune, Guido Reni, Accademia di S. Luca, Rome.
FORTUNE CHASE (Jagd nach dem
Glück), Rudolf Friedrich Henneberg, National
Gallery, Berlin; canvas, H. 6 ft. 3 in.
× 12 ft. 6 in. A youth, in the costume of
a German nobleman of the 16th century,
chases on horseback the phantom of Fortune,
who flees before him strewing gold in
the path and holding up a crown; the Devil,
who accompanies him, changes into Death,
and with a scornful grin unfolds his flag;
at a bridge leading over a ravine lies the
youth's guardian angel, over whom he has
ridden, hiding her face on the ground; in
background, beyond the ravine, the battlements
of a mediæval town.
FORTUNE-TELLER, Michelangelo da
Caravaggio, Capitol Gallery, Rome. One
of his earliest works.—Meyer, Künst. Lex.,
i. 614.
By Michelangelo da Caravaggio, Louvre; canvas, H. 3 ft. 3 in. × 4 ft. 3 in. A gypsy holding the right hand of a young man elegantly clad, who appears to listen attentively. Bellori says that Caravaggio painted this picture to prove that one can be a good painter without having studied the antique and Raphael, his theory being that the exact imitation of nature should be the sole aim of art. Collection of Louis XIV. Engraved by E. Audran.—Villot, Cat. Louvre; Filhol, viii. Pl. 537; Cab. Crozat, ii. Pl. 93.
By Sir Joshua Reynolds, Duke of Marlborough, Blenheim; canvas. Lady Charlotte Spencer, as a little gypsy girl, telling the fortune of her brother, Lord Henry Spencer.
By Sir Joshua Reynolds, Earl Amherst, Knowle Park, near Sevenoaks, Kent. Young girl seated, with her right hand held out, by a young man with a red cap, to a gypsy, who is telling her fortune; background, landscape. Painted in 1776; sold to Duke of Dorset for 300 guineas. Engraved by Sherwin. Copy by J. R. Powell at Somerby, seat of Earl of Normanton, mistaken by
