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FEL which a greater man—Lord Bacon—had set him the example. The last line of an epitaph which he wrote on Charles, is as follows;—

he was for some time in the Low Countries, and wrote an account of his travels there. The year of his death is unknown. Among his miscellaneous writings is a Latin epitaph on himself, which concludes thus—"While our restored Cæsar disperses the clouds, and exalts the national glory; at length departing from the earth, Owen Felltham left his relics here." If he wrote this while feeling that his end was near at hand, he must have died not long after the Restoration.—T. A.  * FELSING,, one of the most eminent engravers of Germany, was born at Darmstadt in 1802. The younger son of Johann Konrad Felsing, himself an engraver of repute in his day, Jakob learned the rudiments of his profession from his father, and then, at the age of twenty, went to Milan as pensioner of the grand-duke, and afterwards to Florence. There his engraving from Carlo Dolci's "Christ at the Mount of Olives," 1828, procured for him the highest prize of the Milan academy; and the academy of Florence elected him professor. He afterwards studied at Rome, Naples, and Parma, where his acquaintance with the celebrated Italian engraver Toschi led to a considerable modification of his style. After a stay of ten years in Italy, he returned in 1832 to Darmstadt, where, during the next few years, he completed a succession of excellent works. A visit to Paris brought him acquainted with Desnoyers. Whilst at Munich he entered warmly into the views of the modern German historical school, of which Cornelius and Overbeck are the leaders and representatives. Felsing is said to be as deeply acquainted with the theory, as he is accomplished in the practical part of his art. Few modern engravers render with such conscientious earnestness the spirit of their originals. In all that belongs to the higher and severer parts of his art, he stands in the very foremost rank; but in brilliancy, tone, and colour, and in the minor elegancies generally, he has, since his adhesion to the Düsseldorf school, shown much remissness. His principal works include the "Violin Player" of Raffaelle; Correggio's "Marriage of St. Catherine;" Del Sarto's "Madonna Enthroned;" "Christ bearing his Cross," after Crespi; Bendemann's "Mary at the Well;" the "Holy Family," after Overbeck; "St. Genoveva" of Steinbruck; "St. Catherine" of Mucke. Felsing holds the titles of professor and court engraver at Darmstadt.—J. T—e.  * FELTON,, an eminent classical scholar, was born November 6th, 1807, at Newbury, now West Newbury, Massachusetts; entered Harvard university in 1823; was appointed Latin tutor in 1829, and in 1834 Eliot professor of Greek literature. The duties of this latter office he has since constantly discharged, with the exception of a year (1853-54) which he passed in foreign travel, and in which he visited England, Scotland, Wales, France, Germany, Switzerland, Italy, Malta, Constantinople, and Athens. He has written extensively on subjects of general literature, particularly in the North American Review, and has powerfully contributed, both by his academic labours and by popular lectures, to the diffusion of a taste for classical scholarship among his countrymen. His separate contributions to classical criticism are numerous and important. In 1833 he edited the Iliad of Homer, with Flaxman's illustrations and English notes; in 1840 published a Greek Reader; in 1841 edited the Clouds of Aristophanes; in 1843 took part in the publication of a volume entitled Classical Studies; in 1847 edited the Panegyricus of Isocrates and the Agamemnon of Æschylus; in 1849 edited the Birds of Aristophanes; in 1852 published selections from the Greek historians; and in 1855 a revised edition of Smith's History of Greece. He translated, in 1849, Guizot's Earth and Man, &c.—J. S., G.  FELTON,. See, first duke of.  FELTON,, an English divine, was born in 1679, in the parish of St. Martin-in-the-Fields, Westminster. He was educated chiefly at the Charter-house under Dr. Walker, whence he went to Edmund hall, Oxford. He filled the office of domestic chaplain at Belvoir castle, under three successive dukes of Rutland. While tutor to Lord John Roos, afterwards third duke of Rutland, he published his "Dissertation on Reading the Classics and forming a just style." In 1711 he was presented to the rectory of Whitewell in Derbyshire, and in the following year took the degree of D.D. In 1722 he was elected principal of Edmund hall. In 1725 he published a sermon on "The Resurrection of the same numerical body and its re-union to the same soul." In 1728-29 he preached eight sermons which were published as "The Christian faith asserted against Deists, Arians, and Socinians." In 1736 he was appointed to the rectory of Berwick in Elmet, Yorkshire. He died in March, 1740, and was buried in the chancel of the Berwick church. A volume of his sermons was published in 1748, by his son.—J. L. A.  FELTON,, an English prelate, was born in 1563, at Yarmouth in Norfolk. He was educated at Pembroke hall, Cambridge, became a fellow of the college in 1583, and was collated to the rectory of St. Mary-le-Bow in 1596. He was elected master of Pembroke hall in 1616, and in the same year rector of Easton Magna. In 1617 he was promoted to the see of Bristol. He was nominated to the bishopric of Coventry and Lichfield in the following year, but was translated to Ely in 1619. He died, October 5, 1626. He was employed by James I. in the new translation of the Bible.—J. L. A.  FELTRE,. See.  FELTRO,, a distinguished decorative painter of the close of the fifteenth century, was born at Feltre in the Venetian Alps about 1475. Lanzi has assumed that his family name was Pietro Luzzo, and that he was the painter called Zaratta. He was employed early in Rome, about 1494, and there, by constantly studying the ancient arabesques in the various ruins, is said to have acquired that taste and skill for which he was afterwards distinguished. Vasari observes, that though this style of painting was carried to perfection by Giovanni da Udine and others, the chief merit is due to Morto, who revived it. Morto was employed also at Florence, and later at Venice. He was the assistant, and became the successful rival in love, of Giorgione. He executed the decorations of Giorgione's works for the Fondaco dei Tedeschi, completed in 1508. Some years afterwards he became a soldier, says Vasari, and accompanied the Venetian army to Zara in Dalmatia, where he was killed, aged forty-five. As he was still painting in 1519, this may have been about 1520. Though Morto may have revived that style of arabesque more particularly displayed by the school of Raphael, he was much too young to have been instrumental in reviving a taste for the purer cinquecento arabesque, which was fully developed certainly in sculpture before Morto was born. He may, however, may have been greatly instrumental in establishing the taste for the coloured grotesque arabesque at Rome. Andrea di Cosimo Feltrino, another distinguished decorative painter, was his pupil and assistant. The Berlin museum possesses an allegory of "Peace and War" by Morto.—(Vasari; Lanzi.)—R. N. W. <section end="376H" /> <section begin="376I" />FENDI,, an eminent Austrian painter and engraver, was born at Vienna, September 4, 1796; and died there August 28, 1842. He was educated in the academy of his native city, and became early celebrated for his drawings from the antique. In 1818 he was appointed draughtsman to the Royal Cabinet of Antiquities. In 1821 he accompanied the director Steinbüchel to Venice, where he made many copies of the great works of art. For the Royal Cabinet of Medals Fendi painted portraits of the principal numismatists of Europe. He also painted many historical pictures, chiefly of German subjects; some landscapes; and a series of illustrations, in water colours, of Schiller's poems. He executed a good many engravings with much skill—some for Dibdin's Bibliographical Tour, others for Hormayr's History of Vienna, and a few separate plates. He likewise made several lithographic drawings from the works of the Dutch and Flemish painters. His pictures are chiefly in Austrian collections.—J. T—e. <section end="376I" /> <section begin="376J" />FÉNEL,, born at Paris in 1695; died in 1753. He was indebted for his education chiefly to Menage. At the age of thirteen he was a sort of prodigy. He was canon of Sens, and prior of Notre Dame and Andresy. He shrank from all society, and a state of melancholy not easily distinguishable from mental alienation brought him to the grave. He was a member of the Academy of Inscriptions, and contributed many papers to its Transactions, chiefly on French antiquities.—J. A., D. <section end="376J" /> <section begin="376Zcontin" />FENELON,, Marquis de la Mothe, a French diplomatist, died in 1589. Fenelon, who had earned a brilliant reputation as a soldier, was sent as ambassador to <section end="376Zcontin" />