FLORIN, the name applied to several coins of the continent of Europe and to two coins struck in England at different times. The word comes through the Fr. florin from the Ital. fiorino, flower, Lat. flos, florem. Fiorino was the Italian name of a gold coin issued at Florence in 1252, weighing about fifty-four grains. This coin bore on the obverse a lily, from which it took its name of “the flower,” on the reverse the Latin name of the city Florentia, from which it was also known as a “florence.” “Florin” and “florence” seem to have been used in English indiscriminately as the name of this coin. The Florentine florin was held in great commercial repute throughout Europe, and similar coins were struck in Germany, other parts of Italy, France, &c. The English gold florin was introduced by Edward III. in 1343, half and quarter florins being struck at the same time. This gold florin weighed 108 grains and was to be current for six shillings. It was found, however, to be overvalued in proportion to the silver currency and was demonetized the following year. The florin did not again appear in the English coinage until 1849, when silver coins with this name, having a nominal value of two shillings (one-tenth of a pound), were struck. When first issued the “Dei gratia” was omitted from the inscription, and they were frequently referred to as the “Godless” or “graceless” florins. The D.G. was added in 1852. In 1887 a double florin or four shilling piece was issued, but its coinage was discontinued in 1890. The total value of double florins issued during these years amounted to £533,125. (See also [Numismatics].)
FLORIO, GIOVANNI (1553?-1625), English writer, was born in London about 1553. He was of Tuscan origin, his parents being Waldenses who had fled from persecution in the Valtelline and taken refuge in England. His father, Michael Angelo Florio, was pastor of an Italian Protestant congregation in London in 1550. He was attached to the household of Sir William Cecil, but dismissed on a charge of immorality. He dedicated a book on the Italian language to Henry Herbert, and may have been a tutor in the family of William Herbert, earl of Pembroke. Anthony à Wood says that the Florios left England on the accession of Queen Mary, but returned after her death. The son resided for a time at Oxford, and was appointed, about 1576 tutor to the son of Richard Barnes, bishop of Durham, then studying at Magdalen College. In 1578 Florio published a work entitled First Fruits, which yield Familiar Speech, Merry Proverbs, Witty Sentences, and Golden Sayings (4to). This was accompanied by A Perfect Induction to the Italian and English Tongues. The work was dedicated to the earl of Leicester. Three years later Florio was admitted a member of Magdalen College, and became a teacher of French and Italian in the university. In 1591 appeared his Second Fruits, to be gathered of Twelve Trees, of divers but delightsome Tastes to the Tongues of Italian and English men; to which was annexed the Garden of Recreation, yielding six thousand Italian Proverbs (4to). These manuals contained an outline of the grammar, a selection of dialogues in parallel columns of Italian and English, and longer extracts from classical Italian writers in prose and verse. Florio had many patrons; he says that he “lived some years” with the earl of Southampton, and the earl of Pembroke also befriended him. His Italian and English dictionary, entitled A World of Words, was published in folio in 1598. After the accession of James I., Florio was named French and Italian tutor to Prince Henry, and afterwards became a gentleman of the privy chamber and clerk of the closet to the queen, whom he also instructed in languages. His magnum opus is the admirable translation of the Essayes on Morall, Politike, and Millitarie Discourses of Lo. Michaell de Montaigne, published in folio in 1603 in three books, each dedicated to two noble ladies. A second edition in 1613 was dedicated to the queen. Special interest attaches to the first edition from the circumstance that of the several copies in the British Museum library one bears the autograph of Shakespeare—long received as genuine but now supposed to be by an 18th-century hand—and another that of Ben Jonson. It was suggested by Warburton that Florio is satirized by Shakespeare under the character of Holofernes, the pompous pedant of Love’s Labour’s Lost, but it is much more likely, especially as he was one of the earl of Southampton’s protégés, that he was among the personal friends of the dramatist, who may well have gained his knowledge of Italian and French from him. He had married the sister of the poet Daniel, and had friendly relations with many writers of his day. Ben Jonson sent him a copy of Volpone with the inscription, “To his loving father and worthy friend Master John Florio, Ben Jonson seals this testimony of his friendship and love.” He is characterized by Wood, in Athenae Oxonienses, as a very useful man in his profession, zealous for his religion, and deeply attached to his adopted country. He died at Fulham, London, in the autumn of 1625.
FLORIS, FRANS, or more correctly Frans de Vriendt, called Floris (1520-1570), Flemish painter, was one of a large family trained to the study of art in Flanders. Son of a stonecutter, Cornelis de Vriendt, who died at Antwerp in 1538, he began life as a student of sculpture, but afterwards gave up carving for painting. At the age of twenty he went to Liége and took lessons from Lambert Lombard, a pupil of Mabuse, whose travels in Italy had transformed a style truly Flemish into that of a mongrel Leonardesque. Following in the footsteps of Mabuse, Lambert Lombard had visited Florence, and caught the manner of Salviati and other pupils of Michelangelo and Del Sarto. It was about the time when Schoreel, Coxcie and Heemskerk, after migrating to Rome and imitating the masterpieces of Raphael and Buonarroti, came home to execute Dutch-Italian works beneath the level of those produced in the peninsula itself by Leonardo da Pistoia, Nanaccio and Rinaldo of Mantua. Fired by these examples, Floris in his turn wandered across the Alps, and appropriated without assimilation the various mannerisms of the schools of Lombardy, Florence and Rome. Bold, quick and resolute, he saw how easy it would be to earn a livelihood and acquire a name by drawing for engravers and painting on a large scale after the fashion of Vasari. He came home, joined the gild of Antwerp in 1540, and quickly opened a school from which 120 disciples are stated to have issued. Floris painted strings of large pictures for the country houses of Spanish nobles and the villas of Antwerp patricians. He is known to have illustrated the fable of Hercules in ten compositions, and the liberal arts in seven, for Claes Jongeling, a merchant of Antwerp, and adorned the duke of Arschot’s palace of Beaumont with fourteen colossal panels. Comparatively few of his works have descended to us, partly because they came to be contemned for their inherent defects, and so were suffered to perish, partly because they were soon judged by a different standard from that of the Flemings of the 16th century. The earliest extant canvas by Floris is the “Mars and Venus ensnared by Vulcan” in the Berlin Museum (1547), the latest a “Last Judgment” (1566) in the Brussels gallery. Neither these nor any of the intermediate works at Alost, Antwerp, Copenhagen, Dresden, Florence, Léau, Madrid, St Petersburg and Vienna display any charm of originality in composition or in form. Whatever boldness and force they may possess, or whatever principles they may embody, they are mere appropriations of Italian models spoiled in translation or adaptation. Their technical execution reveals a rapid hand, but none of the lustre of bright colouring; and Floris owed much of his repute to the cleverness with which his works were transferred to copper by Jerome Cock and Theodore de Galle. Whilst Floris was engaged on a Crucifixion of 27 ft., and a Resurrection of equal size, for the grand prior of Spain, he was seized with illness, and died on the 1st of October 1570 at Antwerp.
FLORUS, Roman historian, flourished in the time of Trajan and Hadrian. He compiled, chiefly from Livy, a brief sketch of the history of Rome from the foundation of the city to the closing of the temple of Janus by Augustus (25 B.C.). The work, which is called Epitome de T. Livio Bellorum omnium annorum DCC Libri duo, is written in a bombastic and rhetorical style, and is rather a panegyric of the greatness of Rome, whose life is divided into the four periods of infancy, youth, manhood and old age. It is often wrong in geographical and chronological details; but, in spite of its faults, the book was much used in the middle ages. In the MSS. the writer is variously given as Julius Florus, Lucius Anneus Florus, or simply Annaeus Florus. From certain similarities of style he has been identified with Publius Annius Florus, poet, rhetorician and friend of Hadrian, author of a dialogue on the question whether Virgil was an orator or poet, of which the introduction has been preserved.
The best editions are by O. Jahn (1852), C. Halm (1854), which contain the fragments of the Virgilian dialogue. There is an English translation in Bohn’s Classical Library.