Two other generals of brigade in Napoleon's wars bore the name of Franceschi, and the three have often been mistaken for each other. The first was born at Lyons, JEAN BAPTISTE MARIE FRANCESCHI-DELONNE (1767-1810), who served throughout the Revolutionary campaign on the Rhine, took part in the campaign of Zuerich in 1799, and distinguished himself very greatly by his escape from, and subsequent return to, Genoa, when in 1800 Massena was closely besieged in that city. He became a cavalry colonel in 1803, was promoted general of brigade on the field of Austerlitz, and served in southern Italy and in Spain on the staff of King Joseph Bonaparte. During the Peninsular War he won great distinction as a cavalry general, and in 1810 Napoleon made him a baron. At this time he was a prisoner in the hands of the Spaniards, into whose hands he had fallen while bearing important despatches during the campaign of Talavera. He was harshly treated by his captors, and died at Carthagena on the 23rd of October 1810. The second was FRANCOIS FRANCESCHI-LOSIO (1770-1810), born at Milan, who entered the French Revolutionary army in 1795. He served through the Italian campaign of 1796-97, and subsequently, like Franceschi-Delonne, with Massena at Zuerich and at Genoa, and at the headquarters of King Joseph in Italy and Spain. He was killed in a duel by the Neapolitan colonel Filangieri in 1810. FRANCESCHI, PIERO (or PIETRO) DE' (c. 1416-1492), Italian painter of the Umbrian school. This master is generally named Piero della Francesca (Peter, son of Frances), the tradition being that his father, a woollen-draper named Benedetto, had died before his birth. This is not correct, for the mother's name was Romana, and the father continued living during many years of Piero's career. The painter is also named Piero Borghese, from his birthplace, Borgo San Sepolcro, in Umbria. The true family name was, as above stated, Franceschi, and the family still exists under the name of Martini-Franceschi. Piero first received a scientific education, and became an adept in mathematics and geometry. This early bent of mind and course of study influenced to a large extent his development as a painter. He had more science than either Paolo Uccello or Mantegna, both of them his contemporaries, the former older and the latter younger. Skilful in linear perspective, he fixed rectangular planes in perfect order and measured them, and thus got his figures in true proportional height. He preceded and excelled Domenico Ghirlandajo in projecting shadows, and rendered with considerable truth atmosphere, the harmony of colours, and the relief of objects. He was naturally therefore excellent in architectural painting, and, in point of technique, he advanced the practice of oil-colouring in Italy.