Page:Encyclopædia Britannica, Ninth Edition, v. 9.djvu/891

F U S F U X 855 15G8, p. 39) and the author of the oldest popular history of Faust call tho magician John, which name has been adopted in the popular books and generally accepted. This change of name, which has been variously explained, allowed the confused traditional remembrance of the printer to bo worked into the Faust saga, perhaps the more readily as in his colophons Fust said that his books were not made with pen or pencil, "sod arte quadam perpulchra." The confusion has been much assisted by the story of Fust s supposed prosecution for magic, which, widely credited, and frequently repeated as an authentic anecdote, seems to have been first mentioned by Johannes Walchius in his Decas fabularum kumani generis, Argentorati, 101 0, fol. 181. Ho states on the authority of Hendrik van Schore or Schorus, a Flemish author, then an old man and provost of Surburg, that when Fust sold his Bibles in Paris, the purchasers, surprised to find all the copies agree exactly in every letter, complained of deception (" a Fausto falsos ac deceptos se clamabant"), and bringing back their books demanded their money, and pursued him even in Mainz, so that to escape he removed to Strasburg. Johann Conrad Diirr, professor of theology at Altclorf, wrote an Epistola de Johanne Fausto, dated 18th July 1676, which Schelhorn printed in 1726 ; in his Amoenitates Literariae, vol v. pp. 50-80. Diirr (after relating from Emmanuel van Metereu tho tale of Koster s types being stolen on Christmas evo by John Fust his workman, who fled to Amsterdam, then to Cologne, and lastly to Mainz) says that, on showing his books, Fust was suspected of magic, as he could print in one day as much as several men could write in a year, and as the monks and nuns, who had long made great pro fits by copying, found their kitchens grow cold, and their bright fires extinguished, Fust incurred their hatred and calumny, and was transformed into a magician ; and this opinion was confirmed by his printing the Doctrinale Alex- andri (i. e., Doctrinale Alexandri Galli, a most popular mediaeval Latin grammar), which gave rise to the story that Faust had caused Alexander the Great to appear to Charles V. Lacaille (Histoire de V Imprimerie, Paris, 1 689, p. 12) repeats the story of Fust selling his Bibles in Paris, and adds, as Marchand (Hist, de V Imprimerie, La Haye, 1740, p. 27) says, out of his own head ("avance de son chef"), that the purchasers brought a suit against Fust accusing him of magic, so that he had to escape to Mainz, but the parliament of Paris made a decree discharging Fust of all prosecutions as to the sale of his Bibles. The whole story, as Bernard says, is very improbable and scarcely deserves a serious refutation. There is no proof that the monks were hostile to printing, or that it interfered with the profits of the copyists. On the contrary many books were printed by monks, the early printers often set up their presses in monasteries, and Gutenberg, Fust, and Schoffer were on friendly terms with many conventual houses, Diirr himself quotes from the Chronicle of Aventinus a statement that, if printing had not been discovered, the old books would have been lost, as they would no longer write in the monasteries. Printing did the mechanical work, and multiplied the material for calligraphy and illumina tion, and therefore did not at first interfere with the profits of the scribes or excite their hostility. The learned men who bought books in 1463 cannot have been ignorant of the invention of printing, which the colophon of the Bible of 1462 expressly mentions. No trace of a suit against Fust has been found in the registers of the parliament of Paris. Shortly before his death Fust was known in Paris to Louis de Lavernade, a magistrate of the highest rank, who could have had no intercourse with a man accused of magic. Ths confusion is especially seen in the German puppet plays even now placing Dr Faust in Mainz, while the popular histories make him dwell in Wittenberg, the birthplace of Protestantism, where Marlowe s Tragical History of Dr Faustus, founded on the prose history, places him. Many writers have accepted Diirr s error (see Ristolhuber, Fautt dans I histoire et la legende, Paris, 1863, p. 173) ; thus Chasles (Etudes sur le moyen age, p. 398) calls Fust "magicien a barbe blanche," and Victor Hugo s introdu3- tion to Marlowe s play is based on this error, which, says Heine (Ueber Deutschland), "is widely spread among the people. They identify the two Fausts because they perceived indistinctly that the mode of thought represented by the magicians found its most formidable means of diffusion in the discovery of printing. This mode, however, is thought itself as opposed to tho blind Credo of tho Middle Ages." Authorities. Schaab, Die Gcschichte dcr Erfindung der Such druckcrkunst, Mainz, 1830-31, 8vo, 3 vols. ; De Vinne, The Inven tion of Printing, New York, 1876, 8vo; Bernard, DC V originc et des debuts de V Imprimerie en Europe, Paris, 1853, 8vo, 2 vols. ; Madden, Lettrcs d un Bibliographc, Versailles, 1868-75, 8vo, 2 vols. ; Falken- stein, Gcschichte der Buchdruckerkunst, Leipzig, 1840, 4to ; Van der Linde, The Haarlem Legend, translated by J. H. Hessels, London, 1871, 8vo; Kohler, Ilochvcrdiente und aus bewahrtcn Urkunden wohlbcglaubtc Ehrenrettung Johann Gutcnbcrgs, Leipzig, 1743, 4to; Wurdtwein, Bibliothcca Moguntina, August. Vindelicoruni, 1787, 4to ; Schwartz, Primaria quccdam documenta dc origine typographic, Altorf, 1740, 8vo; Schelhorn, De antiquissima Latinor. Bibliorum editione, Uhnse, 1760, 4to; Bcitrdge zur Gcschichte des Buchhandels, Leipzig, 1864, 4to ; Trithemius, Annalcs Hirsaugicnses, Typis Monasterii S. Galli, 1690, fol., 2 vols.; Cronica van der Hilligcr Stat. van Cocllen, Cologne, 1499, fol.; Joannis, Rcrum Moguntia* carum, Fraucofurti ad Mccuum, 1722-27, fol., 3 vols. (P. A. L.) 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 operations connected with the finishing of cut fustian (cutting, brushing, and singeing, &c.) are conducted under unhealthy conditions. The name is said to be derived from El-Fustat, a suburb of Cairo (see vol. vii. p. 769), where it was first made; and certainly a kind of cloth has been long known under that name. In a petition to parliament, temp. Philip and Mary, " fustian of Naples " is mentioned, and in books of a later time this term was abridged to fustiananapes, whence arose an obvious cor ruption fustian and apes. FUSTIC, or YELLOW WOOD, also known as old fustic (Germ. Gelbhok, Fr. Bois jaune), is a dye-stuff consisting of the wood of Madura tinctoria, Don, a large tree of the natural order Horaces, growing in the West Indies and tropical America, and having oblong, taper-pointed leaves, and an edible fruit. Fustic occurs in commerce in blocks, which are brown without, and of a brownish-yellow within. It is sometimes employed for inlaid work. For its use in the dyeing of yellow and other colours, see vol. vii. pp. 578, 579. Tho dye-stuff termed young fustic or Zante fustic, and also Venetian sumach, is the wood oi [Rhus Cotinus, Linn., a southern European and Asiatic shrub of the natural order Anacardiacea?, called by Gerarde " red sumach," and apparently the " coccygia " and " cotinus " of Pliny (Nat. Hist., xiii. 41, xvi. 30). Its leaves are deciduous, stiff, smooth, obovate, simple, and rounded at the apex, with long petioles; the blossoms are small, pale-purplish or flesh- coloured, and in loose panicles, and their pedicels, after the flowering is over, become long and hairy, forming together, as Gerarde remarks, " a most fine woollie or stockie tuft, crisped and curled like a curious wrought silken fleece" (The Herball, p. 1293, 1597). The plant in its native habitats is used both for dyeing and tanning, and by London (Arboretum, vol. ii. p. 550) it is recommended for ornamental purposes. FUTTEHPOOR. See FATHIPUE. FUX, JOHANN JOSEPH (1661-1 741), the composer of more than 400 works of various kinds and dimensions, but chiefly remembered as the author of a theoretical work on music.