We next find him about the year 1533 writing in rhymed octaves a life of Christ entitled L’Umanità del Figliuolo di Dio; and he is known to have composed, still later, another religious poem upon the creation, fall and restoration of man, besides a few tragedies. These, however, have never been published. Some of his later years were spent in Sicily under the patronage of Don Fernando de Gonzaga, the viceroy; he even appears for a short time to have had charge of a monastery there. In 1543 he retired to Santa Croce de Campesio, near Bassano; and there he died on the 9th of December 1544.
Folengo is frequently quoted and still more frequently copied by Rabelais. The earlier editions of his Opus macaronicum are now extremely rare. The often reprinted edition of 1530 exhibits the text as revised by the author after he had begun to amend his life.
FOLEY, JOHN HENRY (1818–1874), Irish sculptor, was born
at Dublin on the 24th of May 1818. At thirteen he began to
study drawing and modelling at the schools of the Royal Dublin
Society, where he took several first-class prizes. In 1835 he was
admitted a student in the schools of the Royal Academy, London.
He first appeared as an exhibitor in 1839 with his “Death of
Abel and Innocence.” “Ino and Bacchus,” exhibited in 1840,
gave him immediate reputation, and the work itself was afterwards
commissioned to be done in marble for the earl of Ellesmere.
“Lear and Cordelia” and “Death of Lear” were
exhibited in 1841. “Venus rescuing Aeneas” and “The Houseless
Wanderer” in 1842, “Prospero and Miranda” in 1843. In
1844 Foley sent to the exhibition at Westminster Hall his
“Youth at a Stream,” and was, with Calder Marshall and John
Bell, chosen by the commissioners to do work in sculpture for
the decoration of the Houses of Parliament. Statues of John
Hampden and Selden were executed for this purpose, and received
liberal praise for the propriety, dignity and proportion of their
treatment. Commissions of all kinds now began to come rapidly.
Fanciful works, busts, bas-reliefs, tablets and monumental
statues were in great numbers undertaken and executed by him
with a steady equality of worthy treatment. In 1849 he was
made an associate and in 1858 a member of the Royal Academy.
Among his numerous works the following may be noticed,
besides those mentioned above:—“The Mother”; “Egeria,”
for the Mansion House; “The Elder Brother in Comus,” his
diploma work; “The Muse of Painting,” the monument of
James Ward, R.A.; “Caractacus,” for the Mansion House;
“Helen Faucit”; “Goldsmith” and “Burke,” for Trinity
College, Dublin; “Faraday”; “Reynolds”; “Barry,” for
Westminster Palace Yard; “John Stuart Mill,” for the Thames
embankment; “O’Connell” and “Cough,” for Dublin;
“Clyde,” for Glasgow; “Clive,” for Shrewsbury; “Hardinge,”
“Canning” and “Outram,” for Calcutta; “Hon. James
Stewart,” for Ceylon; the symbolical group “Asia,” as well as
the statue of the prince himself, for the Albert Memorial in
Hyde Park; and “Stonewall Jackson,” in Richmond, Va.
The statue of Sir James Outram is probably his masterpiece.
Foley’s early fanciful works have some charming qualities; but
he will probably always be best remembered for the workmanlike
and manly style of his monumental portraits. He died at
Hampstead on the 27th of August 1874, and on the 4th of
September was buried in St Paul’s cathedral. He left his models
to the Royal Dublin Society, his early school, and a great part
of his property to the Artists’ Benevolent Fund.
See W. Cosmo Monkhouse, The Works of J. H. Foley (1875).
FOLEY, SIR THOMAS (1757–1833), British admiral, entered
the navy in 1770, and, during his time as midshipman, saw a
good deal of active service in the West Indies against American
privateers. Promoted lieutenant in 1778, he served under
Admiral (afterwards Viscount) Keppel and Sir Charles Hardy
in the Channel, and with Rodney’s squadron was present at
the defeat of De Lángara off Cape St Vincent in 1780, and at the
relief of Gibraltar. Still under Rodney’s command, he went
out to the West Indies, and took his part in the operations which
culminated in the victory of the 12th of April 1782. In the
Revolutionary War he was engaged from the first. As flag-captain
to Admiral John Gell, and afterwards to Sir Hyde
Parker, Foley took part in the siege of Toulon in 1793, the action
of Golfe Jouan in 1794, and the two fights off Toulon on the 13th
of April and the 13th of July 1795. At St Vincent he was flag-captain
to the second in command, and in the following year
was sent out in command of the “Goliath” (74), to reinforce
Nelson’s fleet in the Mediterranean. The part played by the
“Goliath” in the battle of the Nile was brilliant. She led the
squadron round the French van, and this manœuvre contributed
not a little to the result of the day. Whether this was done by
Foley’s own initiative, or intended by Nelson, has been a matter
of controversy (see Journal of the Royal United Service Institution,
1885, p. 916). His next important service was with Nelson in
the Baltic. The “Elephant” carried Nelson’s flag at the battle
of Copenhagen, and her captain acted as his chief-of-staff. Ill-health
obliged Foley to decline Nelson’s offer (made when on the
point of starting for the battle of Trafalgar) of the post of Captain
of the Fleet. From 1808 to 1815 he commanded in the Downs
and at the peace was made K.C.B. Sir Thomas Foley rose to be
full admiral and G.C.B. He died while commanding in chief at
Portsmouth in 1833.
See J. B. Herbert, Life and Services of Sir Thomas Foley (Cardiff, 1884).
FOLI (Foley), ALLAN JAMES (1837–1899), Irish bass singer,
was born at Cahir, Tipperary, on the 7th of August 1837;
originally a carpenter, he studied under Bisaccia at Naples, and
made his first appearance at Catania in 1862. From the opera
in Paris he was engaged by Mapleson for the season of 1865, and
appeared with much success in various parts. He sang in the
first performance of The Flying Dutchman (Daland) in England
in 1870, and in the first performance of Gounod’s Redemption in
1882. He was distinguished in opera and oratorio alike for his
vigorous, straightforward way of singing, and was in great request
at ballad concerts. He died on the 20th of October 1899.
FOLIGNO (anc. Fulginiae, q.v.), a town and episcopal see of
Umbria, Italy, 771 ft. above sea-level, in the province of Perugia,
from which it is 25 m. S.E. by rail. Pop. (1901) 9532 (town),
26,278 (commune). It lies in a fertile plain, on the Topino, a
tributary of the Tiber; it is almost square in shape and is surrounded
by walls. It is a picturesque and interesting town;
several of its churches contain paintings by Umbrian masters,
notably works by Niccolò di Liberatore (or Niccolò Alunno,
1430–1502), and among them his chief work, a large altar-piece
(the predella of which is in the Louvre) in S. Niccolò. The
cathedral has a romanesque S. façade of 1133, restored in 1903;
the interior was modernized in the 18th century. To the left
of the choir is an octagonal chapel by Antonio da Sangallo the
younger (1527). In the same piazza as the S. façade is the Palazzo
del Governo, erected in 1350, which has a chapel with frescoes
by Ottaviano Nelli of Gubbio (1424). S. Maria infra Portas is
said to date from the 7th century, but from this period only
the columns of the portico remain. Raphael’s “Madonna
di Foligno,” now in the Vatican, was originally painted for the
church of S. Anna. The Palazzo Orfini and the Palazzo Deli are
two good Renaissance buildings.
Foligno seems to have been founded about the middle of the 8th century A.D It changed hands often during the wars of the 13th century, and was destroyed by Perugia in 1281. From 1305 to 1439 it was governed by the family of the Trinci as deputies of the Holy See, until in the latter year one of its members went against the church. Pope Eugene IV. sent a force against Foligno, to which the inhabitants opened their gates, and the last of the Trinci, Corrado II., was beheaded. Henceforth Foligno belonged to the states of the church until 1860. It suffered from a severe earthquake in 1832. Foligno is a station on the main line from Rome (via Orte) to Ancona, and is the junction for Perugia. Three miles to the E. is the abbey of Sassovivo with cloisters of 1229, very like those of S. Paolo fuori le Mura at Rome, with pairs of small columns supporting arches, and decorations in coloured mosaic (“Cosmatesque” work). The church has been modernized.
FOLIO (properly the ablative case of the Lat. folium, leaf, but
also frequently an adaptation of the Ital. foglio), a term in
