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 F O U F U 479 department of the Hautes Pyrenees. From that time to his death he actively busied himself with the affairs of his country. He readily acquiesced in the revolution of February 1848, and is said to have exercised a decided influence in financial matters on the provisional Govern ment then formed. He shortly afterwards published two pamphlets against the iise of paper money, entitled, Pas d Assignafa ! and Opinion de M. A. Foidd sur les Assi jnats. During the presidency of Louis Napoleon he was four times minister of finance, and took a leading part in the economical reforms then made in France. His strong conservative tendencies led him to oppose the doctrine of free trade, and disposed him to hail the &quot; Coup d Etat &quot; and the new empire. On the 25th of January 1852, in consequence of the decree confiscating the property of the Orleans family, he resigned the office of minister of finance, but was on the same day appointed senator, and soon after rejoined the Government as minister of state and of the imperial household. In this capacity he directed the Paris exhibition of 1855. The events of November 18GO led once more to his resignation, but he was recalled to the ministry of finance in November of the following year, and retained office until the publication of the imperial letter of the 19th of January 1867, when M. Emile Olivier became the chief adviser of the emperor. During his last tenure of office he had reduced the floating debt, which the Mexican war had considerably increased, by the negotiation of a loan of 300 millions of francs (1863). Fould, besides uncommon financial abilities, had a taste for the fine arts, which he developed and refined during his youth by visiting Italy and the eastern coasts of the Mediterranean. In 1857 he was made an honorary member of the Academy of the Fine Arts. He died at Tarbes on the 5th October 1867. FOULIS, ANDREW and ROBERT, two learned Scotch printers and publishers, whose enterprise and devotion to the interests of the higher education deserve to be gratefully remembered. Robert, the elder of the two, was born in 1707, and his brother in 1712. Their father was a maltman in Glasgow, and they consequently had very ordinary opportunities for intellectual culture in their early years. Robert was apprenticed to a barber ; but his ability attracted the attention of Dr Francis Hutchison, who strongly recommended him to establish a printing press. After spending 1738 and 1739 in England and France in company with his brother Andrew, who had been intended for the church and had received a better educa tion, he started business about 1740-1, and in 1743 was appointed printer to the university. In this same year he brought out Demetrius Phalereus, the first Greek book ever printed in Glasgow ; and this was soon followed by the famous 12mo edition of Horace which was long but erroneously believed to be immaculate : though the successive sheets were suspended in the university and a reward offered for the discovery of any inaccuracy, six errors at least, according to Dibdin, escaped detection. Soon afterwards the brothers entered into partnership, and they continued for about 30 years to issue carefully corrected and elegantly printed editions of classical works in Latin, Greek, English, French, and Italian. Upwards of 500 separate publications proceeded from their press among the more noticeable being the small editions of Cicero, Tacitus, Cornelius Nepos, Virgil, Tibullus and Propertius, Lucretius, and Juvenal ; a beautiful edition of the Greek Testament, in small 4to ; Homer, 4 vols. fol., 1756-1758 ; Herodotus, Greek and Latin, 9 vols. 12mo, 1761 ; Xenophon, Greek and Latin, 12 vols. in 12mo, 1762-1767 ; Gray s Poems ; Pope s Works ; Milton s Poems. The brothers spared no pains, and Robert went to France to procure manuscripts of the classics, and to engage a skilled engraver and a copper-plate printer. Unfortunately it became their ambition to establish an institution fur the encouragement of the fine arts ; and though one of their chief patrons, the earl of Northumberland, warned them to &quot; print for posterity and prosper,&quot; they spent their money in collecting pictures, pieces of sculpture, and models, in paying for the education and travelling of youthful artists, and in copying the masterpieces of foreign art. Their countrymen were not ripe for such an attempt, and the &quot; Academy &quot; not only proved a failure but involved the projectors in ruin. Andrew died in 1775, and his brother went to London, hoping to realize a large sum by the sale of his pictures. They were sold for much less than he anticipated, and he returned broken-hearted to Scotland, where he died at Edinburgh in June 1776. The debts of the firm amounted to 6500. Robert was the author of a Catalogue of Paintings with Critical Remarks, 3 vols. See W. J. Duncan, Notices and Documents illustrative of the Literary History of Glasgow, printed for the Maitland Club, 1831, which inter alia contains a catalogue of the works printed at the Foulis press, and another of the pictures, statues, and busts in plaster of Paris produced at the &quot;Academy&quot; in the university of Glasgow. FOUNDING, the art of reproducing solid objects in metal or other fusible substances by pouring the melted substance into moulds. It is also known as casting, and objects so produced are said to be of cast metal. Works where founding or casting is carried on are termed foundries, and their proprietors founders. The verb to found is not, however, in current use, being almost entirely replaced by cast. The root of the word is the Latin fundus. Three principal operations are involved in founding: (1) moulding, or the production of a hollow mould to re ceive the melted metal ; (2) melting, or running down the metal; and (3) pouring, or filling the mould with the liquid metal. The preparation of the original object or pattern from which the mould is made is not strictly part of foundry work proper, the founder receiving the pattern prepared in wood from the original drawings from the engineer s pat ternmaker, except in those cases where no pattern is re quired, and the model is built up on the foundry floor by the moulder by the use of revolving templates, dividing engines, or other contrivances. The metals best suited for foundry work are those that possess the property of increasing in volume at the moment of passage from the liquid to the solid state so that its particles may be pressed into and fill up the finest cavities of the mould in setting. This property is best developed in bismuth, the alloys of copper with tin and zinc (bronze and brass), and cast iron. Lead does not take a sharp impression unless alloyed with tin or antimony, as in type metal. Copper also does not give sound castings. Patterns for moulding require to be made somewhat larger than the cast required, the difference being determined by the linear dilatation of the metal between the ordinary temperature and that at the moment of solidification. This varies for different metals; for cast iron it is about ^g-; for hard bronze, -^; soft bronze, ^^, brass, ^; zinc, ^; lead, -gV; tin, yiy; and bismuth, %$-*. Patterns for iron founders are therefore made larger than the finished size required in the proportion of one-eighth of an inch to the foot in their linear measurement, an allowance known as &quot; shrinkage &quot; the patternmaker s rule being longer by that quantity than the ordinary engineer s rule. Patterns are usually made of wood, except when the object is in tended to be reproduced in great numbers, when brass or iron ones are often used. The more easily fusible alloys, such as pewter, type metal, Britannia metal, &c., are cast in metallic (iron or brass) moulds, which are used inde finitely; but with metals having a higher melting point, a separate mould is required for each cast, metal moulds