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FORTUNES OF NIGEL. FORTUNES OF NIGEL, The. An historical novel by Walter Scott (1822). The scene is laid in London, and gives a vivid sketch of life in that city in the early years of the seventeenth cen- tury.

FORTUNE-TELLING. The telling of for- tunes, whether by the arts of astrology, palmistry, or other forms of divination, was not an otfense at the common law. But by the English Vagrancy Act of 1824 (5 George IV., c. 83) any person who pretends to tell fortunes or practice palm- istry is liable to summary punishment by im- prisonment as a rogue and a vagabond. Modern statutes in this country generally class those 'pretending to tell fortunes' as disorderly per- sons, and provide for their arrest and sum- mary examination.

FORTU'NIO. The daughter of an octogena- rian lord, who in disguise goes as her father's substitute when he is summoned for military service. With the aid of resources granted her by a fairy, she accomplishes many wonderful feats. The character appears in many fairy tales, ancient and modern.

FORTUNY Y CARBO, for-too'n^ e kar'bS, (1839-74). A Spanish painter and etcher. He was bom at Reus, in Catalonia. June 11, 1839. He studied at the academy at Barcelona, under Claudio Lorenzalez, and received inspiration from lithographs of Gavarni. Afterwards he turned for his motives directly to nature. In 1856 he won a school prize, which enabled him to study at Rome. During the Spanish war against Morocco (1859-60), he was on the staff of Gen- eral Prim, and was completely absorbed in sketching those Oriental scenes which appealed most strongly to his nature. With a view of copying the Spanish masters he went, in 1865, to Madrid, where he fell somewhat under the influence of Goya. There he made the acquaintance of Mad- razo, whose daughter he married. In 1866 he visited Paris and received from the art dealer Goupil commissions which placed him above want, and soon after he settled in Rome. Hence- forth he devoted himself to kaleidoscopic pictures of the Rococo period, which became his special province. His studio in Rome was a salon in which men of letters, artists, and many brilliant members of the social world were wont to con- gregate. He was forced by ill health to leave Rome for a while, but in 1874 returned to that city, suflfered a relapse, and died October 21st of that year. His canvases were usually small in di- mensions, but filled with multitudinous details painted with great freedom, skill, and vivacity of colors. He was very successful in dazzling sunlight effects. The city hall of Barcelona con- tains several of his paintings, notably the "Battle of Tetuan," considered one of his finest works, although unfortunately not finished. The sketch for this is in the Museo de Arte Moderno at Madrid, which also contains "Queen-Regent Maria Christina and Her Daughter Inspiring the Gov- ernment Troops."

His work is to-day the dominating influence in Spanish art, in so far as it is individual, and has influenced the French school as well. Of his Oriental subjects, the best-known are the "Prnying Arab," "Fantasy of Morocco" (1866). "Tri- bunal of a Cadi." and, especially, the "Snake Charmers," which he duplicated. His most cele-

brated Rococo picture is the "Spanish Marriage" ("La Vicaria," 1869), containing portraits of the painter Regnault (q.v.), Madame Fortuny, and other friends. Others are the "Trial of the Model," the "Poet," the "Rehearsal," the "China Vase." There is a large number of his works in America, both in public and private posses- sion. Among these are three good examples: "An Ecclesiastic," "Don Quixote," and the "Men- dicant," in the Waters Collection, Baltimore, and a portrait of a "Lady in Black," in the Metro- politan Museum, New York, Others of his most widely admired creations are "Hindoo Snake- Charmers," in the Walters Collection, Baltimore ; "Wedding in the Vicaria at Madrid," "The But- terfly," and "Academicians Choosing a Model." One of his Oriental subjects, "Camels at Rest," is in the Metropolitan Museum, New York.

Fortuny was also an aquarellist of note, and a brilliant etcher, his works resembling those of Goya. Like him, he uses as a background the aquatint, and the outlines of his figures are drawn with light and spirited strokes. Some of his chief etchings are the "Dead Arab," the "Shepherd," the "Reader," the "Pensioner," the "Anchorite," the "Arab Mourning." Consult the biographies of Fortuny by Davillier (Paris, 1875) and Yriarte, in Les artistes celebres (ib., 1885). See also the Fortuny Album, published by Goupil (ib., 1889) ; Bell, Representative Painters of the Nineteenth Century (New York, 1899) ; Muther, History of Modern Painting, vol. iii. (London, 1896).

FORT WADS'WORTH. A United States military post, established in 1827, and occupying a reservation of 221 acres on Staten Island, N. Y., commanding 'the Narrows.' The post-ofllce is Rosebank, N. Y., while the telegraph station is Quarantine, Clifton, S. I. It was named for Gen. J. S. Wads worth, who was killed in the battle of the Wilderness (1864).

FORT WALLA WALLA, w6Plft w6l'lA. A United States military post, established in 1857. and occupying a reservation of 612 acres, one mile from Walla Walla, Wash., which is the post-oflice, telegraph, and railroad station. Its garrison consists of two companies of field ar- tillery.

FORT WAR'REN. A United States military post, established in 1837, and occupying a reser- vation 28 acres in extent on Georges Island, 7\i miles southeast of Boston, !Mass. The post was first occupied in 1861, and during the Civil War was used as a military prison. The post-office and telegraph station is Boston, Mass. The garrison comprises two companies of artillery.

FORT WASHINGTON, An important mili- tary post during the American Revolution, occupying the highest part of Manhattan Island, and covering the ground overlooking the Hud- son between the present 181st and 182d Streets, New York. It was surrendered to the English under Sir William Howe on November 16. 1776. After the battle of White Plains (q.v.). Wash- ington crossed over to New Jersey, but against his better judgment, left a considerable force under Colonel Magaw in Fort Washington. Howe invested the fort on November 15th. and commanded the garrison to surrender on pain of being put to the sword. Magaw replied that he would defend the place to the last