FIORENZO DI LORENZO (c. 1440-1522), Italian painter, of the Umbrian school, lived and worked at Perugia, where most of his authentic works are still preserved in the Pinacoteca. There is probably no other Italian master of importance of whose life and work so little is known. In fact the whole edifice that modern scientific criticism has built around his name is based on a single signed and dated picture (1487) in the Pinacoteca of Perugia—a niche with lunette, two wings and predella—and on the documentary evidence that he was decemvir of that city in 1472, in which year he entered into a contract to paint an altarpiece for Santa Maria Nuova—the pentatych of the “Madonna and Saints” now in the Pinacoteca. Of his birth and death and pupilage nothing is known, and Vasari does not even mention Fiorenzo’s name, though he probably refers to him when he says that Cristofano, Perugino’s father, sent his son to be the shop drudge of a painter in Perugia, “who was not particularly distinguished in his calling, but held the art in great veneration and highly honoured the men who excelled therein.” Certain it is that the early works both of Perugino and of Pinturicchio show certain mannerisms which point towards Fiorenzo’s influence, if not to his direct teaching. The list of some fifty pictures which modern critics have ascribed to Fiorenzo includes works of such widely varied character that one can hardly be surprised to find great divergence of opinion as regards the masters under whom Fiorenzo is supposed to have studied. Pisanello, Verrocchio, Benozzo Gozzoli, Antonio Pollaiuolo, Benedetto Bonfigli, Mantegna, Squarcione, Filippo Lippi, Signorelli and Ghirlandajo have all been credited with this distinguished pupil, who was the most typical Umbrian painter that stands between the primitives and Perugino; but the probability is that he studied under Bonfigli and was indirectly influenced by Gozzoli. Fiorenzo’s authentic works are remarkable for their sense of space and for the expression of that peculiar clear, soft atmosphere which is so marked a feature in the work of Perugino. But Fiorenzo has an intensity of feeling and a power of expressing character which are far removed from the somewhat affected grace of Perugino. Of the forty-five pictures bearing Fiorenzo’s name in the Pinacoteca of Perugia, the eight charming St Bernardino panels are so different from his well-authenticated works, so Florentine in conception and movement, that the Perugian’s authorship is very questionable. On the other hand the beautiful “Nativity,” the “Adoration of the Magi,” and the “Adoration of the Shepherds” in the same gallery, may be accepted as the work of his hand, as also the fresco of SS. Romano and Rocco at the church of S. Francesco at Deruta. The London National Gallery, the Berlin and the Frankfort museums contain each a “Madonna and Child” ascribed to the master, but the attribution is in each case open to doubt.
See Jean Carlyle Graham, The Problem of Fiorenzo di Lorenzo (Perugia, 1903); Edward Hutton, The Cities of Umbria (London).
(P. G. K.)
FIORENZUOLA D’ARDA, a town of Emilia, Italy, in the province of Piacenza, from which it is 14 m. S.E. by rail, 270 ft. above sea-level. Pop. (1901) 7792. It is traversed by the Via Aemilia, and has a picturesque piazza with an old tower in the centre. The Palazzo Grossi also is a fine building. Alseno lies 4 m. to the S.E., and near it is the Cistercian abbey of Chiaravalle della Colomba, with a fine Gothic church and a large and beautiful cloister (in brick and Verona marble), of the 12th-14th century.
FIORILLO, JOHANN DOMINICUS (1748-1821), German painter and historian of art, was born at Hamburg on the 13th of October 1748. He received his first instructions in art at an academy of painting at Bayreuth; and in 1761, to continue his studies, he went first to Rome, and next to Bologna, where he distinguished himself sufficiently to attain in 1769 admission to the academy. Returning soon after to Germany, he obtained the appointment of historical painter to the court of Brunswick. In 1781 he removed to Göttingen, occupied himself as a drawing-master, and was named in 1784 keeper of the collection of prints at the university library. He was appointed professor extraordinary in the philosophical faculty in 1799, and ordinary professor in 1813. During this period he had made himself known as a writer by the publication of his Geschichte der zeichnenden Künste, in 5 vols. (1798-1808). This was followed in 1815 to 1820 by the Geschichte der zeichnenden Künste in Deutschland und den vereinigten Niederlanden, in 4 vols. These works, though not attaining to any high mark of literary excellence, are esteemed for the information collected in them, especially on the subject of art in the later middle ages. Fiorillo practised his art almost till his death, but has left no memorable masterpiece. The most noticeable of his painting is perhaps the “Surrender of Briseis.” He died at Göttingen on the 10th of September 1821.