N ITC10 (1569-1622), his son and successor in the Duchy of Parma, was sombre, greedy, and proud. Ile was succeeded by his second son, ODOA RDO (1612-46), a prince remarkable for the elegance of his manners, his magnificence, mag nanimity, and FARNESE (1692-l766), the daughter of Odoardo H., mar ried, in 1714, Philip V. of Spain. Of a domineer ing and ambitious nature, she completely ruled the King. She involved Alberoni (q.v.) in her aggressive policy, the object of 'Odic!' was to establish her sons, Carlos and Philip, over prin cipalities in Italy. The male line of the Farnese family became extinct in the person of Antonio, who died in 1731.
The name of the Farnese fancily is connected with several celebrated palaces and works of art. The principal ones are: (1) The Farnese Palace at Rome, an edifice erected by l'ope Paul Ill., before his accession to the Holy See, after the designs of Antonio da Sangallo. It is in the form of a quadrangle, and was completed by Michelangelo. The palace is one of the finest in Rome. The antique sculptures for which it was formerly renowned are now in the mu seum at Naples; a few classic works, however, are still to be seen in the great hall. (2) The Ear nesina (or Villa Farnese), a magnificent palace in Trastevere, Rome. It owes its celebrity chiefly to the frescoes of Raphael: but it also contains frescoes by Peruzzi and Sebastian del Pioncho, and a colossal head in chiaroscuro, attributed to Michelangelo. (3) The Farnese Dull is the name given to a colossal group attribpted to Apollonius and Tauriseus of Tralles„ in Asia Minor, who probably belonged to the Rhodian school and lived about u.c. 300. The group rep
resents Dirce bound to the horns of a bull by Zethus and Amphion, for ill usage of their mother, Antiope. Pliny mentions the trans ference of the group to Rome, where it first adorned the library of Asinius Pollio, and after wards the baths of Caracalla. It was discov ered in the year 1546, restored by Bianchi. and placed in the Farnese Palace. (4) The Farnese Hercules, copied by (tlykon from an original by Lysippus. It exhibits the hero, exhausted by toil, leaning upon his club. the head inclined, the expression melancholy; one hand is held behind his back, grasping one of the apples of the Hes perides.
For the early history of the Farnese family and their part in the Renaissance, consult: Sy monds, The Renaissanee in Italy (7 vols., Lon don. 1S75-S6) Gregorovius, Gesehiehte der Stadt Rom (Stuttgart, .1836-96; Eng. trans., Lon don, 1894-1900) ; also the works of Muratori and of the Italian biographer Strada. For Ales sandro Farnese, the accounts given in Mot ley, Rise of the Dutch Republic, and id., The United Netherlands: Blok, Geschiednis von het nederlandsehe Volk (Groningen, 1892-99; Eng. trans., New York. 1898-1900) Pietro, Alessan dro Parncse, duca di Parma (Rome. 1886) ; and Gachard, Correspondanee d'Alexandre Farness arcc Philippe II., 1578-79 (Brussels, 1853). For the history of the dukes or princes of Parma: Scarabelli, Storia civile dei ducati di Parma (Piacenza, 185S) Pezzano, Storia della cilia di Parma (Parma, 1837-59). For Elizabeth Far nese: Armstrong, Elizabeth Farnese, the Terma gant of Spain (London, 1892).