FRANCESCA, 'Piero della, also called PIERO BORGE ESE, Italian painter and writer: b. at Borgo-San-Sepolcro, about 1401; d. between 1494 and 1509. He came of a family of some note, and was given a good education, for his time. He studied mathematics and painting, and was the first to make use of geometry in his art, thus winning the right to be called °the father of perspective in
He also studied the cause and effects of light and suc ceeded in producing excellent light effects. It is said that, becoming blind at the age of 60, he continued his interest in his work by gather ing about him the young and ambitious painters to whom he gave lectures on their art and whom he invited to consult him with regard to their difficulties and problems. As a painter he belonged to the Florentine school. He had much of the vivacity of his mother who was French and who seems to have inspired him with French ideals. At any rate it was out of regard for her that he called himself °Fran cesca) (son of France), instead of Borghese, much confusion and noise. The tragedy has since been materially shortened, and has been played successfully in flay, England and America. The subject is that first treated sympathetically by Dante in the fifth canto of the
drama. Among the 20 or more dramatis persona, not including archers, men at-arms and the like personnel, four focus and hold the attention throughout the play, Fran cesca, Paolo, Gianciotto and Malatestino, Gianciotto's brother. The women who make up Francesca's attendants are suggestive, es pecially by their singing of the Greek chorus, contributing to the understanding of the period. and to the events which occur in the play, as do also the slave, the merchant, the doctor, the court jester, the astrologer and other super numeraries, all of these accessories differentiat ing notably this version of the play from the literary treatment of the subject by other au thors. Despite the fact that the blackest crimes known to humanity constitute the material of the play, there are throughout the tragedy pas sages in a lighter vein admirable in their way, girlish jesting and chattering, scenes of bright foolery between the jester, the voluble mer chant, the astrologer and the damsels, reveal ing the hand of a poet remarkably gifted. D Annunzio's vocabulary is extraordinary, for he has drawn freely on the most fitting words of old and modern Italian, and in a man ner likely to enrich permanently the Italian language. Arthur Symons has translated