FARINACCI, ROBERTO (1892– ), Italian politician, was born Oct. 16, 1892, at Isernia, in the province of Campo basso. Educated at Cremona, he entered the railway administra tion, becoming station-master at Cremona. While still a very young man he took to politics, and on the outbreak of the World War conducted an active interventionist propaganda. As soon as Italy went to war he volunteered for active service, but 18 months later was ordered to resume his civilian duties. After the Armistice he was one of the first to join Mussolini's Fasci di Combattimento and he organized the movement in Cremona. In 1921 he was returned to the Legislature as member for Manto va-Cremona, but was unable to take his seat in the Chamber, being under age. He had now become the leading figure in Cremona, and through the daily paper founded by him, Cremona Nuova, ac quired an increasing influence in the Fascist party. He also found time to complete his studies and secured a university degree in law. When Mussolini came into power, although not given office, Farinacci continued to be one of the Premier's most trusted advisers. In 1924 he was again returned to the Legislature and in March 1925 he became, on Mussolini's nomination, general secretary of the Fascist party. He was superseded (March 31, 1926), being succeeded by Augusto Turati (not to be confused with the Socialist deputy) . The real reasons for the change were not divulged. In any case Farinacci remained a force in the party: FARINATO, PAOLO (1524-1606), Italian painter, archi tect and engraver of the Veronese school. He was born at Verona and probably studied first under his father, Giovanni Battista, and then under Nicolo Giolfino. He was the head of a family of artists who were active in Verona for half a century as painters of facades and as decorators of walls in churches and palaces. Paolo's name first occurs in 1549, when Philip II. of Spain is said to have admired one of his pictures at Villafranca and ex pressed the desire to acquire it. His reputation was well estab lished in 1552 when Ercole Gonzaga invited him to co-operate with Paolo Caliari, Domenico Brusasorci and Battista dal Moro in the decoration of Mantua cathedral, where his painting of St. Martin is still to be seen. There are numerous works by him in the churches of Verona (S. Maria Organo, San Nazaro e Celso, San Giovanni in Fonte) and in the neighbourhood. Among his last pictures, dated 1603, are the "Betrothal of St. Catherine" in the museum of Verona, and the "Miracle of the Loaves and Fishes," in the church of San Giorgio, a very large painting re plete with figures, of which the master recorded with pride that he painted it in his 79th year. His style is characterized by marked peculiarities—by the overlong proportions of his figures, by their sometimes contorted poses, and by a feeling for space, pageant and movement. His colour scheme is low and silvery in tone, Vasari praises his compositions "with large number of figures, executed in good design." Though Paolo Farinato's paint ings are rarely met with out of Verona, his drawings, easily recog nizable by their pronounced style, are to be found in most of the great European collections. Among his first engravings are "Venus and Cupid" (1566) and "St. John the Evangelist" (1567) . He often signed his engravings and paintings with the figure of a snail. From the year 1573 onward he kept a careful chronological register of his works with details of his contracts. There are, moreover, numerous architectural designs in the diary; and his activities as an architect in connection with the fortress of Palma and the Castello S. Felice at Verona are mentioned by Ridolfi. His death must have occurred soon after July 23, 16o6, the date of his last will. He was buried in S. Paolo in Campo Marzo, having made arrangements for his tomb twelve years previously. He then, in 1594, adopted the surname of the dis tinguished Florentine family "Farinati degli Uberti," and used this name henceforth in his signatures, and inscribed it on his epitaph, although his ancestors were not connected with the Flor entine patricians, but were probably sellers of bread—"farinati." Paolo's two sons, Orazio and Giovanni Battista, and his daughter Vittoria, were also painters. As the Farinati were among the most important artists in Verona at the time when Paolo Veronese was forming his style, they doubtless contributed to the local influ ences which moulded the early work of the greatest of Verona's painters; thus young Caliari worked in conjunction with nephew of Paolo Farinato, Battista Farinato, called "Zelotti" (c. 1532 92). So similar was the work of these two young men that it is very difficult now to apportion it on stylistic evidence.
See Vasari Milanesi and Ridolfi, Le Maraviglie (1648) ; L. Simeoni published the artist's register of his works in Madonne Verona I. to V.; Bartsch enumerates io, and Passavant 11, engravings by the artist.
(I. A. R.)