62 riGOLINO— FOPPA. ' Ucacy and consistent brilliancy of Qolour. Works, Ticenza, San Bartolomeo, the Adoration of the Kings : San Fran- cesco, the Madonna and Child, with Saints: San Tommaso, a similar altar-piece. {MoscaJ) FILIPPI, Bastiano, called Bastia- nino, h, at Ferrara, 1532, d, 1602. Ferrarese School. The son and scholar of Camillo Filippi; he after- wards studied under Michelangelo in Home, and became a confirmed imi- tator of the style of that great master. He executed extensive works for the churches of Ferrara: he painted also ornament, in which he was assisted by his brother Cesare. Works. Ferrara, Cathedral, the Last Judgment (fresco) : the Certosa, a picture of San Christofano: San Benedetto, a Dead Christ supported by Angels. (Baruffaidi.) FIORE, COLANTONIO DEL, 6. 1364, d, 1444. Neapolitan School. The pupil of Francesco Simon e, and one of the most important painters at Naples in his time. He was one of the first to forsake tradition for nature — ^few, however, of his works remain. Domicini, quoting an old writer, states, that Colantonio painted in oil as early as 1375, which is doubtless an error — although mere oil-painting was in use before the Van £yck8. The best of Colantonio's remaining works is the St Jerome, formerly in the church of San Lorenzo, now in the Gallery of Naples ; painted 1436, in tempera. He was the painter who gave his daughter to Lo Zingaro. In Sant' Antonio Abate is a picture of the Titular, by Colantonio ; and another, a firesco, in Sant' Angelo a Nilo. FIOBE, Jagobello del, painted from 1401 to 1436. Venetian School. The son and pupil of Francesco del Fiore. One of the earlier painters ' who attempted complete life-size figures, and who already displays some- thing of the rich softness of colonnng which became afterwards bo decided a characteristic of the school : he was especially fond of gilding and orna- ment, and elaborate architectural back- grounds. Works, Ceneda, Cathedral, Corona- tion of the Virgin. Venice, M anfiini Gallery, a Madonna (1436). Berlin Museum, the Archangel Michael trans- fixing the head of the Dragon with his lance. {Zanettiy Lanzi.) FONTANA, Prospero, 6. at Bologna, 1512, d, at Bome, 1597. Bolognese School. A pupil of Innocenzio da Imola, and the master of the Carracd HiB was one of the principal portrait- painters of his time, and one of the best masters who lived auring the decline of the art at Bologna. Bat according to Lanzi his incorrect draw- ing, mode of execution, and the man- nerism of his figures, contributed not a little to hasten the decline of that school; as a fresco-painter he was a mere machinist. Prospero's daughter Lavinia, called also Zappi, the name of her husband, inherited her father's skill in portrait-painting. She was a great favourite with the Boman ladies, from the time of Gregory VIII. to Paul v.; the last sat to her. She painted other works as well as portraits, all executed with care and delicacy; some of her portraits have been attri- buted to Guido. She died in Home, 1614, aged 62. As an instance of the expedition of Prospero Fontana, he painted in fresco an entire Hall in the Vitelli Palace, at Citta di Castello, in a few weeks. His master-piece is con- sidered the Adoration of the Magi, in Santa Maria delle Gxazie, Bologna. {Malvasia,) FOPPA, ViNCENZio, b, at Bresda, d. 1492. Lombard School. He was the founder of the Milanese School, and was the best painter of his time in Lombardy, and is compared by Cale-
