See also:

• FRANCIA (c. 1450-1517)
• FRANCIA, JOSE GASPAR RODRIGUEZ (c. 1757-1840)

FRANCIA (c. 1450-1517)  , a Bolognese painter, whose real name was See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Raibolini, his See also:

• FATHER

father being Marco di Giacomo Raibolini, a See also:

• CARPENTER, LANT (1780-1840)
• CARPENTER, MIRY (1807-1877)
• CARPENTER, WILLIAM BENJAMIN (1813-1885)

carpenter, descended from an old and creditable See also:

• FAMILY

family, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna about 1450 . He was apprenticed to a See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith currently named See also:

• FRANCIA (c. 1450-1517)
• FRANCIA, JOSE GASPAR RODRIGUEZ (c. 1757-1840)

Francia, and from him probably he got the See also:

• NICKNAME

nickname whereby he is generally known; he more-over studied See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design under Marco Zoppo . The youth was thus originally a goldsmith, and also an engraver of See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

dies and niellos, and in these arts he became extremely eminent . He was particularly famed for his dies for medals; he See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to be See also:

• MINT
• MINT (Lat. moneta; Mid. Eng. mynt)

mint-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master at Bologna, and retained that See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office till the end of his See also:

• LIFE

life . A famous See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal of See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• JULIUS

Julius II. as liberator of Bologna is ascribed to his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, but not with certainty . As a type-founder he made for Aldus See also:

• MANUTIUS

Manutius the first See also:

• ITALIC

italic type . At a mature See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age—having first, it appears, become acquainted with See also:

• MANTEGNA, ANDREA (1431–1506)

Mantegna—he turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to See also:

• PAINTING

painting . His earliest known picture is dated 1494 (not 1490, as ordinarily stated) . It shows so much mastery that one is compelled to believe that Raibolini must before then have practised painting for some few years . This See also:

• WORK

work is now in the Bologna See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery,—the " Virgin enthroned, with See also:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

Augustine and five other See also:

• SAINTS, BATTLE OF THE

saints." It is an oil picture, and was originally painted for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Maria See also:

• DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

delta Misericordia, at the See also:

• DESIRE

desire of the See also:

• BENTIVOGLIO, GIOVANNI (1443-1508)
• BENTIVOGLIO, GUIDO (1579-1644)

Bentivoglio family, the rulers of Bologna . The same patrons employed him upon frescoes in their own See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace; one of " See also:

• JUDITH, THE BOOK OF

Judith and Holophernes " is especially noted, its See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style recalling that of Mantegna .

Francia probably studied likewise the See also:

• WORKS

works of See also:

• PERUGINO, PIETRO (1446-1524)

Perugino; and he became a friend and ardent admirer of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael, to whom he addressed an enthusiastic See also:

• SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet . Raphael cordially responded to the Bolognese master's admiration, and said, in a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter dated in 1508, that few painters or none had produced Madonnas more beautiful, more devout, or better portrayed than those of Francia . If we may See also:

• TRUST

trust See also:

• VASARI, GIORGIO (1511-1571)

Vasari—but it is difficult to suppose that he was entirely correct—the exceeding value which Francia set on Raphael's See also:

• ART

art brought him to his See also:

• GRAVE

grave . Raphael had consigned to Francia his famous picture of " St See also:

• CECILIA, SAINT

Cecilia," destined for the church of S . Giovanni in See also:

• MONTE

Monte, Bologna; and Francia, on inspecting it, took so much to See also:

• HEART
• HEART, LUNG

heart his own inferiority; at the advanced age of about sixty-six, to the youthful Umbrian, that he sickened and shortly expired on the 6th of See also:

• JANUARY

January 1517 . A contemporary See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record, after attesting his pre-See also:

• EMINENCE (Lat. eminentia)

eminence as a goldsmith, jeweller and painter, states that he was " most hand-some in See also:

• PERSON, OFFENCES AGAINST THE

person and highly eloquent." Distanced though he may have been by Raphael, See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis is rightly regarded as the greatest painter of the earlier Bolognese school, and hardly to be surpassed as representing the art termed " antico-moderno," or of the " quattrocento:" It has been well observed that his style is a See also:

• MEDIUM

medium between that of Perugino and that of Giovanni See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini; he has somewhat more of spontaneous See also:

• NATURALISM

naturalism than the former, and of abstract dignity in feature and See also:

• FORM (Lat. forma)

form than the latter . The magnificent portrait in the Louvre of a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black, of brooding thoughtfulness and saddened profundity of See also:

• MOOD

mood, would alone suffice to See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place Francia among the very See also:

• GREAT

great masters, if it could with confidence be attributed to his hand, but in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability its real author was See also:

• FRANCIABIGIO (1482–1525)

Franciabigio; it had erewhile passed under the name of Raphael, of See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione, or of See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian del Piombo . The See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, contains two remarkably See also:

• FINE

fine specimens of Francia, once combined together as See also:

• PRINCIPAL

principal picture and See also:

• LUNETTE (French diminutive of lune, moon)

lunette,—the " Virgin" and " See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child and St See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna " enthroned, surrounded by saints; and (in the lunette) the " Pieta," or lamentation of angels over the dead Saviour . They come from the Buonvisi See also:

• CHAPEL

chapel in the church of S . Frediano, See also:

• LUCCA (anc. Luca)
• LUCCA, BAGNI DI (Baths of Lucca, formerly Bagno a Corsena)

Lucca, and were among the master's latest paintings . Other leading works are—in See also:

• MUNICH (Ger. Munchen)

Munich, the Virgin " sinking on her knees in See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

adoration of the Divine See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant, who is lying in a See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden within a rose trellis; in the See also:

• BORGHESE

Borghese gallery, See also:

• ROME
• ROME (Roma)

Rome, a See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter See also:

• MARTYR (Gr. pimp or µaprvs)

Martyr; in Bologna, the frescoes in the church of St Cecilia, illustrating the life of the See also:

• SAINT (lat. sanctus, " holy ")

saint, all of them from the design of Raibolini, but not all executed by himself . His landscape backgrounds are of uncommon excellence .

Francia had more than 200 scholars . See also:

• MARCANTONIO [MARCANTONIO RAIMONDI]

Marcantonio Raimondi, the famous engraver, is the most renowned of them; next to him Amico Aspertini, and Francia's own son Giacomo, and his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin Julio . Lorenzo See also:

• COSTA, GIOVANNI (1826–1903)
• COSTA, LORENZO (146o-r535)
• COSTA, SIR MICHAEL ANDREW AGNUS (1808-1884)

Costa was much associated with Francia in pictorial work . Among the authorities as to the life and work of Francia may be mentioned J . A.See also:

• CALVI

Calvi, Memorie delta vita di Francesco Raibolini (1812), and especially G . C . See also:

• WILLIAMSON, ALEXANDER WILLIAM (1824–1904)
• WILLIAMSON, SIR JOSEPH (1633–1701)
• WILLIAMSON, WILLIAM CRAWFORD (18r6–1895)

Williamson, Francia (two) . (W . M .