being all accomplished musicians. Fuchs was a successful composer of ecclesiastical, of dramatic, and of instrumental music. In 1701 he published his "Concentus," a collection of pieces for seven instruments, and he wrote several overtures and many pieces of chamber music. In 1714 he produced the "Elisa" at the court theatre in Vienna for the celebration of the birthday of the grand-duchess, aunt of Charles VI. The emperor was so delighted with this work, that at its third representation he accompanied on the harpsichord in the orchestra; on this occasion, too, the empress sustained the principal character upon the stage; and to testify the imperial approval still more substantially, rings, snuff-boxes, and other costly presents, were given by lottery to each of the artists who participated in the performance. The opera of "Costanza e Fortezza" was composed by Fuchs for the occasion of the coronation of Charles VI. as king of Bohemia, in 1723, when it was performed at Prague in the open air, with a chorus of a hundred and a band of two hundred performers, besides the most celebrated principal singers in Europe. The composer, suffering from an attack of gout, was compelled to depute the direction of the performance to Antonio Caldara; but his imperial patron would not allow him to be absent from the scene of his artistic triumph, and so had him conveyed in a litter from Vienna, and obliged him to recline on a couch beside himself to witness the representation. Fourteen other operas were also produced by this prolific author, besides a very large number of masses, psalms, motets, litanies, and settings of every other portion of the service of the Roman church. The work, however, by which Fuchs is best known to our time, and that through which he has most influenced the art, is the "Gradus ad Parnassum," which was printed at the cost of the emperor in 1725. This elaborate treatise on counterpoint is referred to by all subsequent writers on the subject, and has been, in fact, a model in its form and arrangement, for the most approved theoretical works that have since appeared. Its being written in Latin was probably owing to the circumstance that its author, who spoke the Styrian dialect, was unable to write pure German; at least, that he was ignorant of German is proved by his letters to Matthison. The book was translated into German by Mitzler in 1742; it has been twice translated into Italian, once very inaccurately into French, and once anonymously into English; this last version having been printed by Preston in 1791.—G. A. M.
FUCHS, Johann Nepomuk von, a mineralogist and chemist, the son of a peasant, was born. May 15th, 1774, at Mattenzell, near Brennberg, in the Bavarian forest. He was a student in Heidelberg, Vienna, Freiburg, and Berlin. Subsequently he graduated in medicine. In 1807, after having been for two years a recognized extra-academical teacher, he was appointed professor of chemistry and mineralogy in the university of Landshut. In 1823 he became curator of the mineralogical cabinet in Munich, and a member of the Munich Academy. In 1826 the university having been transferred from Landshut to Munich, Fuchs was appointed professor of mineralogy in the latter place. A few years afterwards he was appointed to sundry offices, and in 1852 he retired with the title of privy councillor, and the right to prefix Von to his name. He died in Munich, March 5th, 1856. His researches are extremely numerous, and with hardly an exception, confined to mineralogy and inorganic chemistry. He has published on soluble glass and on mortar, and seems to have invented a spirit lamp and a blowpipe. His papers include a notice on arragonite and strontianite, remarks on the purple of cassius, on hydrated silica, on certain phosphorous compounds, and a method of separating the oxides of iron from one another.—J. A. W.
FUCHS, Konrad Heinrich, a distinguished German physician, was born at Bamberg, December 7, 1803; studied at Wurzburg; and successively filled chairs at Wurzburg and Göttingen, at which latter place he died, December 2, 1855. His most elaborate and esteemed works are—"Die krankhaften Veränderungen der Haut," 3 vols.; and "Lehrbuch der speciellen Nosologie und Therapie," 4 vols.—K. E.
FUCHS, Leonhard, a celebrated German physician and botanist, was born at Wemdingen, Swabia, in 1501, and was professor of medicine successively at Ingolstadt, Anspach, and Tubingen, where he died in 1565. He was one of the restorers of the school of Hippocrates, and one of the fathers of botany, who, in the beautiful words of Hallam, "has secured a verdant immortality in the well-known Fuchsia," which was called after him by Plumier. "Considered as a naturalist," continues Hallam, "and especially as a botanist, Fuchs holds a distinguished place; and he has thrown a strong light on that science. His chief object is to describe exactly the plants used in medicine; and his prints, though mere outlines, are generally faithful." His "Historia Stirpium" was translated into most European languages. Among his other works are "Medendi Methodus;" "De sanandis corporis humani malis;" and "Institutiones Medicæ."—K. E.
FUEGER, Friedrich Heinrich, a celebrated German painter of the eighteenth century, was born at Heilbron in Würtemberg in 1751. He was educated at Stuttgart, and commenced his career there as a miniature-painter, but gave up in despair, and went to Halle to study the law; but here he returned to his original pursuit, repaired to the academy at Dresden, and thence in 1774 went to Vienna, where he was so fortunate as to be sent with an imperial pension to Rome to complete his studies there. Füger remained eight years at Rome, and was then invited to Naples, where he painted the queen's library in the palace of Caserta, with some frescos, by which he established so considerable a reputation, that he was recalled to Vienna in 1784 to fill the offices of professor and director of the academy there, with the rank of court-painter. From this time he passed a useful and distinguished career, until his death in 1818. His skill extended over various branches of art, miniature-painting, fresco, oil-painting, and etching. His style of design, however, was purely academic; he was a highly educated painter, but by no means what is called a genius; his model was Mengs, and like him he set nature aside in search of an ideal—expression and character being sacrificed for an imaginary refinement of form and composition, utterly powerless in the excitement of the spectator's sympathy. Some of Füger's pictures are on a large scale, and many of them have been engraved by J. P. Pichler and others. He executed also portraits, besides miniatures. Among his principal works are—"The Death of Cæsar;" "Camillus recalled to Rome;" "The Death of Virginia;" "The Death of Germanicus;" "The Liberation of Prometheus;" "Apollo and the Muses," &c.; and a series of twenty small pictures from Klopstock, which have been engraved on a large scale by J. F. Leybold. Füger's last picture was a large allegory of the "Restoration of Peace," painted in 1815, to the glory of Francis I. It represents the gratitude of the people on the banks of the Danube, but has little merit as a composition.—(Nagler, Künstler Lexicon.)—R. N. W.
* FUEHRIG, Joseph, professor of painting in the Academy of the Fine Arts, Vienna, a native of Bohemia, was born in 1800. He studied in the academies of Prague and Vienna, and then proceeded to Rome, where he joined the school or party at the head of which were Overbeck, Schnorr, and Schadow, and devoted himself to the reverent study of the early masters of ecclesiastical art. Führig has since painted a large number of religious pictures, selected from the New Testament and the Legends of the Saints; several of which adorn the churches of Vienna and its vicinity. Many of his secular pictures are taken from Bohemian history, and he has published a series of designs from Göthe's Hermann and Dorothea; Tieck's Genoveva, and Burger's Wild Huntsman. Führig is an adept in the use of the burin as well as the pencil, and has engraved some of the more important of his own pictures, among which may be named a "Crucifixion," a "Gloria," and a "Paternoster;" several of his works have also been engraved or lithographed by other artists. Führig is a knight of the imperial order of Francis Joseph, and of the pontifical order of St. George, and a member of several art academies, besides that of Vienna.—J. T—e.
FUENTES, Bartolomeo (sometimes called Fonte), a Spanish navigator of Portuguese origin, about the middle of the seventeenth century. In 1641 he commanded the Spanish fleet in New Spain and Peru. He sailed with four ships in 1641, and explored the coast of California. He advanced to the fifty-third parallel, and afterwards made a long and tedious voyage through an archipelago which, no doubt, was identical with the group of islands, of which Prince of Wales' Land is one. The remaining part of Fuentes' narrative is so obscure that many writers have discredited it altogether. It will be found translated from the Portuguese in the Monthly Miscellany of 1708; and in Arthur Dobbs' Account of the Countries adjoining Hudson's Bay: London, 1744.—F. M. W.
FUENTES, Pedro Enriquez de Azavedo, Count of, an eminent Spanish soldier and statesman, born in 1560; made his
