FROME, a parliamentary borough and market town of Somersetshire, is situated on the small river Frome, an affluent of the Avon, 11 miles S. of Bath. It was formerly called Frome Selwood, from its situation on the borders of the extensive forest of Selwood. The river is crossed at Frome by a stone bridge of five arches. The town is irregularly built on an acclivity, and the older streets, with the exception of the principal one, are somewhat narrow and irregular. The parish church is an elegant edifice in the later Gothic style, with a tower and a fine octagonal spire 120 feet in height, and the church of St Marys, a fine structure in the First Pointed style, was erected in 1864. The other public buildings of importance are the markethouse, and the museum. Among the educational and charitable institutions are the free grammar school, founded in the time of Edward VI., the national school, the asylum for the education and maintenance of 25 poor girls, the blue-coat school, and the almshouses for old men and women. Frome also possesses a literary institute, a mechanics’ institute, and a school of art. The inhabitants are chiefly employed in the manufacture of broadcloth and other fine woollens, but there are also foundries, wire-card manufactories, and edge-tool works, and the town has been long noted for its ale. The vicinity is fertile and picturesque, and is ornamented with numerous fine mansions. Frome returns a member to parliament. The population in 1871 was 9753.
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FROMENTIN, Eugène (1820-1876), French painter, was born at La Rochelle in December 1820. After leaving school he studied for some years under Louis Cabat, the landscape painter. Fromentin was one of the earliest pictorial interpreters of Algeria, having been able, while quite young, to visit the land and people that suggested the subjects of most of his works, and to store his memory as well as his portfolio with the picturesque and characteristic details of North African life. In 1849 he obtained a medal of the second class. In 1852 he paid a second visit to Algeria, accompanying an Archaeological mission, and then completed that minute study of the scenery of the country and of the habits of its people which enabled him to give to his after work the realistic accuracy that comes from intimate knowledge. In a certain sense his works are not more artistic results than contributions to ethnological science. His first great success was produced at the Salon of 1847, by the Gorges de la Chiffa. Among his more important works are—La Place de la Brèche à Constantine, 1849; Enterrement Maure, 1853; Bateleurs Nègres and Audience chez un Chalife, 1859; Berger Kabyle and Courriers Arabes, 1861; Bivouac Arabe, Chasse au Faucon, Fauconnier Arabe (now at the Luxembourg), 1863; Chasse au Heron, 1865; Voleurs de Nuit, 1867; Centaurs and Arabes attaqués par une Lionne, 1868; Halte de Muletiers, 1869; Le Nil and Un Souvenir d’Esneh, 1875. Fromentin was much influenced in style by Eugène Delacroix. His works are distinguished by striking composition, great dexterity of handling, and brilliancy of colour. In them is given with great truth and refinement the unconscious grandeur of barbarian and animal attitudes and gestures. His later works, however, show signs of an exhausted ...vein, and of an exhausted spirit, accompanied or caused by physical enfeeblement. But it must be observed that Fromentin’s paintings show only one side of a genius that was perhaps even more felicitously expressed in literature, though of course with less profusion. “Dominique,” first published in the Revue des Deux Mondes in 1862, and dedicated to George Sand, is remarkable among the fictions of the century for delicate and imaginative observation and for emotional earnestness. Fromentin’s other literary works are— Visites Artistique», 1852; Simvles Pèlerinages, 1856; Un Été dans le Sahara, 1857; Une Année dans le Sahel, 1858; and Les Maîtres dfautrefois, 1876. In 1876 he was an unsuccessful candidate for the Academy. He died suddenly at La Rochelle on the 27th August 1876.
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