DOI Kapitel:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61295#0302
280
FOGOLINO - FONTANA.
Fogolino, Marcello. A Friulan who flourished about 1525. He
spent his youth at Vicenza, where some of his works remain. His
pictures are more interesting as illustrations of the style of his time
and country, than for any merit of their own. In the Berlin Mus.,
there is a “ Virgin and Saints ” by him, and in the Acad, of Venice,
a “ Madonna and Saints ” which has been attributed to Bernardino
Licinio. He also painted in the churches of Pordenone and Trent,
where his pictures may still be seen.
Folo, Giovanni, born at Bassano (1764-1836). An eminent en-
graver. He studied in the school of Volpato, but later he made
Raphael Morghen his model. His “ S. Andrew,” after Domenichino,
is very highly esteemed, and is considered his chef-d'oeuvre by many.
The “ Madonna de’ Candelabri ” of Raphael and the “ Mater Dolo-
rosa ” of Sassoferato were engraved by Folo. His style was best
suited to large subjects, and his plates are after the works of the best
masters, namely, Raphael, M. Angelo, Guido, Titian, Poussin, Thor-
waldsen, Canova, etc.
Fontana, Domenico. A famous architect, whose life was writ-
ten by Milizia, and who is especially interesting to all who visit Rome,
on account of his having removed the Egyptian obelisk from its an-
cient position to the Square of S. Peter’s. This was done in 1586,
and was a memorable occasion in Rome. After great preparations,
the morning came when the obelisk was to be raised. Fontana re-
ceived the blessing of the Pope, who also told him that failure would
cost him his head. The workmen received the Holy Eucharist. The
concourse of spectators was immense, the priests, soldiers, and people,
high andkjow, were crowded in the streets and on the housetops.
When the obelisk was raised, the guns of S. Angelo were all dis-
charged, and joy was universal, and when, a few months later, the
removal was completed, and the obelisk was placed on its pedestal,
the people carried Fontana on their shoulders in a triumphal proces-
sion, with drums and trumpets. Fontana was made a nobleman and
a Knight of the Golden Spur; he had a pension of 2000 crowns,
which descended to his heirs; ten knighthoods; 5000 crowns ready
money, and all the materials he had used, which were valued at
20,000 crowns. Two bronze medals of him were struck, and on the
base of the obelisk, a Latin inscription was cut to perpetuate his
name and honor.
Fontana, Prospero, born at Bologna (1512-1597). He had a
fine mind, good invention, and many requisites for a good artist, but
he often painted so hastily and carelessly, that his works were very
imperfect. His pictures are still seen in Bologna. He also painted
portraits, and was distinguished in that branch of art at Rome in the
time of Julius III., and later.
Fontana, Lavinia, born at Bologna (1552-1614). Daughter of
the preceding, whom she excelled. Her portraits were excellent,
FOGOLINO - FONTANA.
Fogolino, Marcello. A Friulan who flourished about 1525. He
spent his youth at Vicenza, where some of his works remain. His
pictures are more interesting as illustrations of the style of his time
and country, than for any merit of their own. In the Berlin Mus.,
there is a “ Virgin and Saints ” by him, and in the Acad, of Venice,
a “ Madonna and Saints ” which has been attributed to Bernardino
Licinio. He also painted in the churches of Pordenone and Trent,
where his pictures may still be seen.
Folo, Giovanni, born at Bassano (1764-1836). An eminent en-
graver. He studied in the school of Volpato, but later he made
Raphael Morghen his model. His “ S. Andrew,” after Domenichino,
is very highly esteemed, and is considered his chef-d'oeuvre by many.
The “ Madonna de’ Candelabri ” of Raphael and the “ Mater Dolo-
rosa ” of Sassoferato were engraved by Folo. His style was best
suited to large subjects, and his plates are after the works of the best
masters, namely, Raphael, M. Angelo, Guido, Titian, Poussin, Thor-
waldsen, Canova, etc.
Fontana, Domenico. A famous architect, whose life was writ-
ten by Milizia, and who is especially interesting to all who visit Rome,
on account of his having removed the Egyptian obelisk from its an-
cient position to the Square of S. Peter’s. This was done in 1586,
and was a memorable occasion in Rome. After great preparations,
the morning came when the obelisk was to be raised. Fontana re-
ceived the blessing of the Pope, who also told him that failure would
cost him his head. The workmen received the Holy Eucharist. The
concourse of spectators was immense, the priests, soldiers, and people,
high andkjow, were crowded in the streets and on the housetops.
When the obelisk was raised, the guns of S. Angelo were all dis-
charged, and joy was universal, and when, a few months later, the
removal was completed, and the obelisk was placed on its pedestal,
the people carried Fontana on their shoulders in a triumphal proces-
sion, with drums and trumpets. Fontana was made a nobleman and
a Knight of the Golden Spur; he had a pension of 2000 crowns,
which descended to his heirs; ten knighthoods; 5000 crowns ready
money, and all the materials he had used, which were valued at
20,000 crowns. Two bronze medals of him were struck, and on the
base of the obelisk, a Latin inscription was cut to perpetuate his
name and honor.
Fontana, Prospero, born at Bologna (1512-1597). He had a
fine mind, good invention, and many requisites for a good artist, but
he often painted so hastily and carelessly, that his works were very
imperfect. His pictures are still seen in Bologna. He also painted
portraits, and was distinguished in that branch of art at Rome in the
time of Julius III., and later.
Fontana, Lavinia, born at Bologna (1552-1614). Daughter of
the preceding, whom she excelled. Her portraits were excellent,