28 A N F A N 17th century. Cano de Arevalo. a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostenta tion in the splendour of their fans, which were set with jewels and mounted in gold, Rosalba Camera was the name of a fan painter of celebrity in the 17th century. Lebrun and Komanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a consider able reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century. The revocation of the edict of Nantes drove many fan- makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment pre pared with various perfumes. During the 18th century all the luxurious ornamenta tion of the day was bestowed on fans as far as they could dis play it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other " genre " painters, II6bert, Rau, Chevalier, Jean Boquet, Mad. r erite , are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An in teresting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the munici pality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages con nected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collec tions. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Deluge, Crevecceur, Me>y, SteGenevieve, and other villages, where whole families are engaged in preparing them ; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure sub jects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emi gration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs, and occasionally sold by families in straitened circum stances. A large number of fans of all sorts, principally those of ^ the 18th century, French, English, German, Italian, ^Spanish, &c., have been lately bequeathed to the South Kensington Museum. Regarding the different parts of folding fans it may be well to state that the sticks are called in French brim, the two outer guards panaches, and the mount feuille. (j. ir. p.) FANO, a city of Italy in the province of Urbino-e- Pasaro, is situated in a rich and fertile plain on the shores of the Adriatic, at the mouth of the Metauro, 7 miles S.E. of Pesaro. The town is clean and well built, and is inclosed by old walls, with a lofty bastioned front towards the sea. Its cathedral is an unimposing structure, but some of the churches are fine buildings, richly adorned with marbles and frescoes, and containing several master pieces of the great Italian painters. In the church of S. Francesco are the splendid tombs of the Malatestas. Fano has a Jesuit college, several monastic edifices, a gymnasium, a public library 7 , and a large and finely adorned theatre. The harbour is so choked up with sand as to be accessible only to vessels of the smallest size. Some silk manufactures and a small trade in corn and oil are carried on, and the town is much resorted to for sea-bathing. The population in 1871 was G439. Fano occupies the site of the ancient Fanum Fortuncc, so named from the temple of Fortune there. It afterwards took the name of Colonia Julia Fancstris, from a colony of veterans established by Augustus ; and a triumphal arch of white marble erected in honour of that emperor still forms one of the gates of the city. Though the town was within the duchy of Urbino it did not belong to the dukes, but was successively held by the Malatesta and the Sforza families, till in 1458 Pius 1 1. incorporated it with the States of the Church. Fano is the birthplace of Clement VIII. It was there that the first printing press with movable Arabic types was established, in 1514, at the expense of Pope Julius II. FANSHAWE, SIR RICHARD (1608-1666), poet and statesman, was the youngest son and tenth child of Sir Henry Fanshawe, remembrancer of the exchequer under James I. He was born early in June 1608, at Wareham Park, Hertfordshire. At the age of seven he lost his father, and was soon placed by his mother under the care of the famous schoolmaster, Thomas Farnabie. In Novem ber 1G23 he was admitted fellow commoner of Jesus College, Cambridge, under Dr Beale. In January 16:26 he entered the Middle Temple, but his mother dying soon after, and the study of the law being distasteful to him, ho travelled in France and Spain, learning the languages of those countries, and observing the customs of the people. On his return, in 1635, he was appointed secretary to the English embassy at Madrid under Lord Aston, and was resident there until Sir Arthur Hopton s appointment in 1G38. As soon as the civil war broke out he very pro minently joined the Royalist party, being at this time on terms of somewhat affectionate intimacy with Charles I. In 1644, being with the court at Oxford, he had the degree of D.C.L. conferred upon him, and the same year he was appointed secretary at w r ar to the prince of Wales, with whom he set out for the western counties, Scilly, and then Jersey. It was during this stormy period that Fan shawe first appeared as a poet : in 1G47 he published his translation of the Pastor Fido of Guarini, the remaining copies of which he re-issued in 1648 with the addition of a number of other poems, original and translated. In 1G48 his attention was again directed to public affairs by his appointment as treasurer to the navy under Prince Rupert, which he held till the latter was forced, in 1650, to escape to the West Indies. Fanshawe then proceeded to Paris, where he was created baronet, and sent to Madrid as envoy extraordinary. He was, however, immediately afterwards sent for to Scotland, but was captured on the way at the battle of Worcester in 1651. He was sent to London, and kept in such close confinement that his health broke down ; but Cromwell, finding that he was really dangerously ill, allowed him to choose a place of residence, with the proviso that he was not to stir from it more than 5 miles. It was during his captivity that he published, in 1652, his Selected Parts of Horace, Prince of Lyricks, a very graceful work, in which he keeps as close as possible to the metrical form of the Odes. He chose to retire to Tankerley Park, in
