the institutions of the present to approximate more closely to those of the past, and devised for the new French constitution a body of reforms which reflected the opinions he had formed upon the democracy at Rome and in ancient France. But these were dreams which did not hold him long, and he would have been scandalized had he known that his name was subsequently used as the emblem of a political and religious party. He died at Massy (Seine-et-Oise) on the 12th of September 1889. Throughout his historical career—at the École Normale and the Sorbonne and in his lectures delivered to the empress Eugénie—his sole aim was to ascertain the truth, and in the defence of truth his polemics against what he imagined to be the blindness and insincerity of his critics sometimes assumed a character of harshness and injustice. But, in France at least, these critics were the first to render justice to his learning, his talents and his disinterestedness.
See Paul Guiraud, Fustel de Coulanges (1896); H. d’Arbois de Jubainville, Deux Manières d’écrire l’histoire: critique de Bossuet, d’Augustin Thierry et de Fustel de Coulanges (1896); and Gabriel Monod, Portraits et souvenirs (1897). (C. B.*)
FUSTIAN, a term which includes a variety of heavy woven
cotton fabrics, chiefly prepared for men’s wear. It embraces
plain twilled cloth called jean, and cut fabrics similar to velvet,
known as velveteen, moleskin, corduroy, &c. The term was
once applied to a coarse cloth made of cotton and flax; now,
fustians are usually of cotton and dyed various colours. In the
reign of Edward III. the name was given to a woollen fabric.
The name is said to be derived from El-Fustat, a suburb of Cairo,
where it was first made; and certainly a kind of cloth has long
been known under that name. In a petition to parliament,
temp. Philip and Mary, “fustian of Naples” is mentioned. In
the 13th and 14th centuries priests’ robes and women’s dresses
were made of fustian, but though dresses are still made from
some kinds the chief use is for labourers’ clothes.
FUSTIC (Fr. fustoc, from Arab. fustuq, Gr. πιστάκη, pistachio)
Yellow Wood or Old Fustic, a dye-stuff consisting of the
wood of Chlorophora tinctoria, a large tree of the natural order
Moraceae, growing in the West Indies and tropical America.
Fustic occurs in commerce in blocks, which are brown without,
and of a brownish-yellow within. It is sometimes employed for
inlaid work. The dye-stuff termed young fustic or Zante fustic,
and also Venetian sumach, is the wood of Rhus cotinus (fustet,
or smoke tree), a southern European and Asiatic shrub of the
natural order Anacardiaceae, called by Gerarde “red sumach,”
and apparently the “coccygia” and “cotinus” of Pliny (Nat.
Hist. xiii. 41, xvi. 30). Its colouring matter is fisetin, C15H10O6,
which was synthesized by S. von Kostanecki (Ber., 1904, 37,
p. 384). (See Dyeing.)
FUTURES, a term used in the produce markets for purchases
or sales of commodities to be completed at a future date, as
opposed to cash or “spot” transactions, which are settled
immediately. See Market, and (for a detailed discussion of
the question as affecting cotton) Cotton: Marketing and Supply.
FUX, JOHANN JOSEPH (1660–1741), Austrian musician,
was born at Hirtenfeld (Styria) in 1660. Of his youth and
early training nothing is known. In 1696 he was organist at one
of the principal churches of Vienna, and in 1698 was appointed
by the emperor Leopold I. as his “imperial court-composer,”
with a salary of about £6 a month. At the court of Leopold and
of his successors Joseph I. and Charles VI., Fux remained for
the rest of his life. To his various court dignities that of organist
at St Stephen’s cathedral was added in 1704. He married the
daughter of the government secretary Schnitzbaum. As a
proof of the high favour in which he was held by the art-loving
Charles VI., it is told that at the coronation of that emperor
as king of Bohemia in 1723 an opera, La Constanza e la Fortezza,
especially composed by Fux for the occasion, was given at
Prague in an open-air theatre. Fux at the time was suffering
from gout, but the emperor had him carried in a litter all the
way from Vienna, and gave him a seat in the imperial box.
Fux died at Vienna on the 13th of February 1741. His life,
although passed in the great world, was eventless, and his only
troubles arose from the intrigues of his Italian rivals at court.
Of the numerous operas which Fux wrote it is unnecessary to
speak. They do not essentially differ from the style of the
Italian opera seria of the time. Of greater importance are his
sacred compositions, psalms, motets, oratorios and masses,
the celebrated Missa Canonica amongst the latter. It is an all
but unparalleled tour de force of learned musicianship, being
written entirely in that most difficult of contrapuntal devices—the
canon. As a contrapuntist and musical scholar generally,
Fux was unsurpassed by any of his contemporaries, and his
great theoretical work, the Gradus ad Parnassum, long
remained by far the most thorough treatment of counterpoint
and its various developments. The title of the original
Latin edition is Gradus ad Parnassum sive manuductio ad
compositionem musicae regularem, methoda nova ac certa nondum
ante tam exacta ordine in lucem edita, elaborata a Joanne Josepho Fux
(Vienna, 1715). It was translated into most European
languages during the 18th century, and is still studied by
musicians interested in the history of their art. The expenses
of the publication were defrayed by the emperor Charles VI.
Fux’s biography was published by Ludwig von Köchel (Vienna, 1871). It is based on minute original research and contains, amongst other valuable materials, a complete catalogue of the composer’s numerous works.
FUZE or Fuse, an appliance for firing explosives in blasting
operations, military shells, &c. (see Blasting and Ammunition,
§ Shell). The spelling is not governed by authority, but modern
convenience has dictated the adoption of the “z” by military
engineers as a general rule, in order to distinguish this sense
from that of melting by heat (see below). The word, according
to the New English Dictionary, is one of the forms in which the
Lat. fusus, spindle, has been adapted through Romanic into
English, the ordinary fuze taking the shape of a spindle-like
tube. Similarly the term “fusee” (Fr. fusée, spindle full of tow,
Late Lat. fusata) is applied to a coned spindle sometimes used in
the wheel train of watches and spring clocks to equalize the action
of the mainspring (see Watch); and the application of the same
term to a special kind of match may also be due to its resemblance
to a spindle. Again, in heraldry, another form, “fusil,” derived
through the French from a Late Lat. diminutive (fusillus or
fusellus) of this same fusus, is used of a bearing, an elongated
lozenge. According to other etymological authorities, however
(see Skeat, Etym. Dict., 1898), “fuze” or “fuse,” and “fusee”
in the sense of match, are all forms derived through the Fr. fusil,
from Late Lat. focile, steel for striking fire from a flint, from Lat.
focus, hearth. The Fr. fusil and English “fusil” were thus
transferred to the “firelock,” i.e. the light musket of the 17th
century (see Fusilier).
In electrical engineering a “fuse” (always so spelled) is a safety device, commonly consisting of a strip or wire of easily fusible metal, which melts and thus interrupts the circuit of which it forms part, whenever that circuit, through some accident or derangement, is caused to carry a current larger than that for which it is intended. In this sense the word must be connected with fusus, the past participle of Lat. fundere, to pour, whence comes the verb “fuse,” to melt by heat, often used figuratively in the sense of blend, mix.
FYNE, LOCH, an inlet of the sea, Argyllshire, Scotland. From the head, 6 m. above Inveraray, to the mouth on the Sound of Bute, it has a south-westerly and then southerly trend and is 44 m. long, its width varying from 14 m. to 6 m. It receives the Fyne, Shira, Aray and many other streams, and, on the western side, gives off Lochs Shira, Gair, Gilp (with Ardrishaig, the Crinan Canal and Lochgilphead) and East Tarbert (with Tarbert village). The glens debouching on the lake are Fyne, Shira, Aray, Kinglas and Hell’s Glen. The coast generally is picturesque and in many parts well wooded. All vessels using the Crinan Canal navigate the loch to and from Ardrishaig, and there are daily excursions during the season, as far up as Inveraray. There are ferries at St Catherine’s and Otter, and piers at Tarbert, Ardrishaig, Kilmory, Crarae, Furnace, Inveraray, Strachur and elsewhere. The industries comprise granite quarrying at Furnace
