Villa (1864); New Ruins of Pompeii (1865); Environs of Rome, Environs of Paris (1866); Country-House (1867); Harvest, Valley of Munster (1868); Mt. Blanc from St. Cergues (1869); View at Vaux de Cernay (1872); Souvenir of Nice (1873); Spring, Terrace at Nice (1874); Ravine of Puits-Noir (1875); Mirror of Scey (1876); Mont Cervin, Lake Nemi (1878); Valley of Rossillon, Morning (1879); Highway at Combs-la-Ville, Evening (1880); Castle of Gandolfo on Lake of Albano, Washing-Place near Pierrefonds (1881); Villafelipa, Villefranche (1882); Beach at Capri, Part of a Villa at Nice (1883); Morning at Clisson, Last Days of Autumn (1884); Lake of Nemi, Shady River (1885).
FRANCES Y PASCUAL, Don PLÁCIDO,
born at Valencia; contemporary.
Genre painter, pupil of Valencia art school.
Medals: 1st class, Saragossa; 3d class, Madrid.
Works: The King's Order, What is
she thinking of? (1879); Proclamation of
Boabdil (1884).—La Ilustracion (1879), ii.
59; (1884), i. 362.
FRANCESCA DA RIMINI, Alexandre
Cabanel. See Paolo and Francesca.
By Dominique Ingres, Angers Museum; canvas. Illustration of the mediæval story of Francesca da Rimini, as related by Dante and Boccaccio. Francesca, the wife of Giovanni Malatesta, called from his lameness from birth Gianciotto (commonly made into Lancelotto), fell in love with her handsome brother-in-law, Paolo Malatesta, a liaison which ended in the death of the two at the hands of the enraged Gianciotto. In the picture the couple are represented as just having finished reading the story of Lancelot and Guinevere. The book has fallen from Francesca's hands; Paolo, bending forward, gives her the fatal kiss, and Lanciotto, lifting the drapery, advances with drawn sword to take his revenge. Painted in Rome in 1819; bought by M. Turpin de Crissée, who bequeathed it to Angers Museum. Original sketch, Mme. Montett-Gilibert. Lithographed by A. Lecomte, 1834. Replica painted by Ingres for Prince Salerno, Naples.—Larousse, xiii. 1218.
By Ary Scheffer, Sir Richard Wallace, Manchester House; canvas (Dante, Inferno). Salon of 1835, under title: Dante and Virgil encountering in Hell the Spirits of Francesca da Rimini and Paolo. Francesca, her eyes closed, her hair dishevelled, hangs tenderly on the neck of Paolo as they float through the air, while the two poets contemplate the touching scene in silence. Painted for Duc d'Orléans; bought in 1853 by Prince Demidoff for 43,000 fr.; Demidoff sale (1870) to Lord Hertford for 100,000 fr. Engraved by Calamatta; etched by Veyrasset. Replica, painted 1855, exhibited 1859, owned by Mme. Marjolin, the artist's daughter.—Larousse, xiii. 1218.
By George Frederick Watts, London; canvas, H. 5 ft. × 4 ft. 1 in. Francesca and Paolo, phantoms pale and death-like, clasped in a loving embrace, are swept onward before the wind against a background of clouds and fiery rain. Painted in 1879. Exhibited in New York in 1884.
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FRANCESCA, PIERO DELLA, born at
Borgo San Sepolcro
in 1416 (?), died
there, Oct. 12, 1492.
Umbrian school.
Real name Pietro di
Benedetto degli
Franceschi; first
master unknown. In
1439 he assisted Domenico
Veneziano
in painting the frescos
in S. M. Nuova,
Florence, where he was brought into contact
with many eminent painters, and laid
the foundation of his great scientific knowledge
of linear and aerial perspective. In
the projection of shadows, the perfecting of
mediums for oil painting, the delineation
of architecture in backgrounds, and the
correct balance of light and shade, he had
few rivals. So perfect was his rendering
of nature, that had he been guided by a
