| Fig. 3.—Hobby. |
Lastly, the Hobbies (Hypotriorchis) comprise a greater number of forms—though how many seems to be doubtful. They are in life at once recognizable by their bold upstanding position, and at any time by their long wings. The type of this group is the English hobby (F. subbuteo), a bird of great power of flight, chiefly shown in the capture of insects, which form its ordinary food. It is a summer visitant to most parts of Europe, including the British Islands, and is most wantonly and needlessly destroyed by gamekeepers. A second European species of the group is the beautiful F. eleonorae, which hardly comes farther north than the countries bordering the Mediterranean, and, though in some places abundant, is an extremely local bird. The largest species of this section seems to be the Neotropical F. femoralis, for F. diroleucus though often ranked here, is now supposed to belong to the group of typical falcons.
(A. N.)
[1] Unknown to classical writers, the earliest use of this word is said to be by Servius Honoratus (circa A.D. 390-480) in his notes on Aen. x. 145. It seems possibly to be the Latinized form of the Teutonic Falk, though falx is commonly accounted its root.
[2] The nomenclature of nearly all the older writers on this point is extremely confused. What many of them, even so lately as Pennant’s time, termed the “gentle falcon” is certainly the bird we now call the goshawk (i.e. goose-hawk), which name itself may have been transferred to the Astur palumbarius of modern ornithologists, from one of the long-winged birds of prey.
[3] It is not to be inferred, as many writers have done, that falcons habitually prey upon birds in which disease has made any serious progress. Such birds meet their fate from the less noble Accipitres or predatory animals of many kinds. But when a bird is first affected by any disorder, its power of taking care of itself is at once impaired, and hence in the majority of cases it may become an easy victim under circumstances which would enable a perfectly sound bird to escape from the attack even of a falcon.
[4] French, Émérillon; Icelandic, Smirill.
FALCONE, ANIELLO (1600-1665), Italian battle-painter, was the son of a tradesman, and was born in Naples. He showed his artistic tendency at an early age, received some instruction from a relative, and then studied under Ribera (Lo Spagnoletto), of whom he ranks as the most eminent pupil. Besides battle-pictures, large and small, taken from biblical as well as secular history, he painted various religious subjects, which, however, count for little in his general reputation. He became, as a battle-painter, almost as celebrated as Borgognone (Courtois), and was named “L’Oracolo delle Battaglie.” His works have animation, variety, truth to nature, and careful colour. Falcone was bold, generous, used to arms, and an excellent fencer. In the insurrection of Masaniello (1647) he resolved to be bloodily avenged for the death, at the hands of two Spaniards, of a nephew and of a pupil in the school of art which he had established in Naples. He and many of his scholars, including Salvator Rosa and Carlo Coppola, formed an armed band named the Compagnia della Morte (“Company of Death”; see [Rosa, Salvator]). They scoured the streets by day, exulting in slaughter; at night they were painters again, and handled the brush with impetuous zeal. Peace being restored, they had to decamp. Falcone and Rosa made off to Rome; here Borgognone noticed the works of Falcone, and became his friend, and a French gentleman induced him to go to France, where Louis XIV. became one of his patrons. Ultimately Colbert obtained permission for the painter to return to Naples, and there he died in 1665. Two of his battle-pieces are to be seen in the Louvre and in the Naples museum; he painted a portrait of Masaniello, and engraved a few plates. Among his principal scholars, besides Rosa and Coppola (whose works are sometimes ascribed to Falcone himself), were Domenico Gargiuolo (named Micco Spadaro), Paolo Porpora and Andrea di Lione.