FUGITATION 



KM; i K 



27 



themselves on their alliance with the house of 

 Filler. They possessed the most extensive libra 

 lies and art collections, maintained painters and 

 musicians, mid liberally encouraged art and 

 science. Their houses and gardens were master- 

 pieces of the ill chiteet life and taste of the times. 



While thus indulging i splendour, they were 

 n. .1 less Itent on doing good. Jacob (the Hecotul 

 of the name i bought house.-, in one of the suburbs 

 I' \iigslmrg, (Milled them down, and built ION 

 smaller houses (called the 'Fuggerel'jL which 

 he let to poor eiii/ens at u low rent. The race 

 is still continued in the two principal lines of 

 Kaimund and Antony, besides collateral branches. 

 The domains are chiefly in Bavaria. See Klein- 

 schmidt, Augsburg, Xiimberg, and Hire Hntulela- 

 J'ui-fiten ( 1881 ). 



Flirtation, the Scottish equivalent of Out- 

 lawry (q.v.) in England. 



Fugitive Slave Law* The constitution of 



the United Statos of America having recognised 

 slavery, or ' service,' as it was termed, provided 

 that persons held to service or labour in one state, 

 under the laws thereof, and escaping into another, 

 should be delivered up, on claim of the party to 

 whom such service or laltour might be due. An 

 act passed by congress in 179.3, providing for the 

 reclamation of fugitives, was superseded by a more 

 stringent act in 1850, containing many obnoxious 

 provisions; a larger fee, for instance, was paid to 

 the judicial officer when the person arrested was 

 adjudged to be a slave than wnen he was declared 

 free ; and all citizens were required, when called 

 upon, to render the officers personal assistance in 

 the performance of their duties. Any assistance 

 rendered to a fugitive, or obstruction ottered to 

 his arrest, was penal, and many persons were re- 

 manded under the act ; but the increased hostility 

 to slavery which it engendered actually led to 



assistance being given in a larger number of 



i-scapes I hall ever be Ion-, IliailiK I liP-u-h t!,- 



organisation known an the 'underground railroad.' 

 The act was rejiealed after the outbreak of the 

 civil war; and, since slavery ha* been abolished, 

 the constitutional provision has hwt all irn(>ortance. 



Fugleman (G-r. Jlni/i'liiiiiiiii, 'a man placed 

 at the end of a file; from ttiujel, 'a wing'), an 

 intelligent soldier posted in front of a line of men 

 at drill, to give the time and an example of the 

 motions in the manual exercises. 



Fugue is the form of musical comjHisition in 

 which all devices of counterpoint, or the art of 

 combining independent ideas in music, find their 



st fitting use. The laws which govern it are as 



strict as numerous, and can only be very generally 

 summarised. The ' subject ' chosen as the basis of 

 the composition should present a complete and dis- 

 tinct individuality, which to be readily recognised 

 in its permutations should be well marked. It is 

 given out by any one part, and immediately taken 

 up by a second its follower or pursuer (Jiiga, ' a 

 flight ' ). This ' answer,' as it is called, is identical in 

 form with the subject, or slightly modified in accord- 

 ance with a rule which requires the upper division of 

 the octave (G to C in the scale of C) to correspond 

 to and ' answer ' the lower ( C to G ). During the 



Answer. 



Subject. 



' answer ' the first part supplies an accompaniment 

 or ' counter- subject,' which should be a figure of con- 

 trasted character, and interesting enough to enable 



Answer. 



Bach. 



f^BVfpgfr^ 



Subject 



Counter-subject. 



Subject in notes of double length. 



J 



*==?=< 



Modified form of subject. 



Subject. 



it to play its important part in the subsequent 

 development. A third part joins by enouncing the 

 subject, while a fourth, fifth, even a sixth part may 

 be added, entering alternately with the answer, 

 subject, and answer. The introduction of all the 

 parts constitutes the first section, and is called the 

 'exposition.' During the development, which finds 

 its place in the second section, the composer should 

 show his skill in the use of imitation, canon, &c., 

 and so arrange his material that the intricacy and 

 interest gradually increase. Before the conclusion 

 of the fugue he should present a stretto, in which 

 the parts press on and overlap each other in their 

 enunciations of the subject. 





Subject. 



