FUSIBLE METAL G. 



341 



affair produced against the authors proved so annoy- 

 ing-, that in the end Fuseli, after taking his degree in 

 the college, accompanied his friend to Vienna and 

 Berlin, in which latter capital they prosecuted their 

 studies for some time, under the learned Sulzer. 

 Here Fuseli obtained an intimate acquaintance with 

 the English language, and was induced by the Eng- 

 lish ambassador at that court, Sir Robert Smith, who 

 was much pleased with his genius, to visit England. 

 In 1762, he arrived in London, and, through the in- 

 troduction of his patron's letters, obtained the situa- 

 tion of tutor to a nobleman's son, whom he accom- 

 panied to Paris. On his return, in 1765, appeared 

 his first literary production, Reflections on the 

 Painting and Sculpture of the Greeks, and, soon after, 

 an essay in defence of Rousseau, against the attacks 

 of Voltaire. Some of his early sketches being about 

 this time shown to Sir Joshua Reynolds, the warm 

 encouragement bestowed on him by that distinguished 

 artist decided young Fuseli's fate, and he determined 

 to devote himself to painting. His first picture was, 

 Joseph interpreting the Dreams of the chief Baker 

 and Butler. In the pursuit of his profession, Mr 

 Fuseli, in 1770, visited Italy in company with his 

 friend Armstrong, and, while in that country, trans- 

 mitted to England several pictures, especially two 

 taken from the works of Shakspeare The Death of 

 Beaufort, and A Scene from Macbeth. He left Italy 

 in 1778, and, after paying a short visit to his native 

 place, returned to England, where he is believed to 

 have suggested to the late alderman Boydell the idea 

 of forming the Shakspeare gallery, for which institu- 

 tion he painted eight of his best pictures. In 1790, 

 he became a royalacademician, and in the course of 

 the next nine years painted a series of forty-seven 

 pictures from Milton, afterwards exhibited as the Mil- 

 ton gallery. In 1799, he succeeded Mr Barry, as pro- 

 fessor of painting to the royal academy, and, in 1804, 

 Mr Wilson, as keeper to thr.t association. In 1805, 

 he gave to the world an improved edition of Pilking- 

 ton's Dictionary of Painters, and, in 1817, received 

 the diploma of the first class of the academy of St 

 Luke at Rome. Mr Fuseli continued to paint till 

 within a week of his death, which took place while 

 he was on a visit to the countess of Guildford, at 

 Putney Hill, hi 1825. 



FUSIBLE METAL; an alloy of three parts of 

 lead with two of tin and five of bismuth, which melts 

 at 197 Fahr. 



FUSTIC WOOD is of a yellow colour, and con- 

 tains great quantities of colouring matter, fonning 

 the most durable of all the yellow dyes, which, how- 

 ever, is mostly used in compounding green and a 



variety of drab and olive colours, as, when employed 

 alone, it is dull and deficient in clearness. This 

 wood is the product of the Broussonetia tinctoria, a 

 tree allied to the mulberry, inhabiting the West 

 Indies, Mexico, Brazil, Colombia, and particularly 

 abundant in Campeachy, whence it is exported very 

 extensively. It also grows west of the Mississippi, 

 within the territory of the United States, extending 

 as far north as the river Arkansas, and the wood, 

 being remarkably firm, solid, and elastic, is highly 

 prized, and generally used by the Indians of those 

 parts for making their bows. It is there known by 

 the appellation of Osage orange, or bow-wood, and 

 is the maclura of Nuttall. It is described as attain- 

 ing the height of sixty feet and upwards in the West 

 Indies, but in Louisiana it reaches only twenty-five 

 or thirty, separating near the ground, into long, 

 slender, flexuous, and terete branches ; the bark and 

 fruit, when wounded, exude a milky juice ; the 

 leaves are alternate, oval, and entire, five or six 

 inches long and two or three broad, smooth and 

 shining on the upper surface ; the fruit resembles a 

 large orange in external appearance, and consists of 

 woody fibres, radiating from the centre, and termin- 

 ating in a granulated surface. 



FUX, JOHN JOSEPH, a celebrated German contra- 

 puntist and composer of sacred and theatrical music, 

 during the reigns of the emperors Leopold I., Joseph 

 I., and Charles VI., was born in Stiria about the year 

 1660, and held the office of imperial chapel-master 

 in Vienna for about forty years. Charles VI. 

 esteemed him so much, as to cause the gouty old 

 man to be carried, on a litter, from Vienna to Prague 

 (1723), to superintend an opera at the coronation 

 festival. Fux had great influence on the musical 

 taste of his time, by his compositions. His sacred 

 music is still esteemed, particularly a missa canon- 

 tea, which was published in Leipsic. 



FYT, JOHN, a Dutch painter, born at Antwerp, 

 1 625. The year of his death is not known. There 

 are pictures by him as early as 1652. His subjects 

 were chiefly game, beasts, birds, fruit, flowers, bass- 

 reliefs. He painted much with Rubens, James Jor- 

 daens, and Th. Willebort ; and his pencil was so 

 prolific, that almost every important collection of 

 paintings has some of his productions. His draw- 

 ing is highly natural, and yet elegant ; his colouring, 

 glowing and vigorous ; the colours, especially in 

 the light, laid on richly. In all these qualities, he 

 rivals De Voes and Snyders. He was also distin- 

 guished for skill in the art of etching. He published, 

 in 1642, two series of representations of animals. 

 David Koning was his scholar. 



G 



G ; the seventh letter in the English alphabet. 

 If we bend the tongue so as to form an arch, which 

 presses against the roof of the mouth, and produce a 

 sound by breathing and lowering the tongue, the 

 sound is called, in English, hard g. If we press the 

 tongue against the roof in the same way, and expire 

 without changing its position, we produce the strong 

 German guttural, as in ach, or the Spanish, as in 

 mitger. If we press the tongue to the roof in the 

 same way, only a little more towards the lips, the 

 guttural is produced, which appears in the German 



ich and brechen. If, with the tongue thus situated, 

 we breathe more softly, we produce the Germany, 

 or the English y, as in yellow. If we press the point 

 of the tongue against the front part of the roof, and 

 partly against the gum, the sound produced is the 

 English soft g, as in gem, or the Italian ge. This 

 slight difference in the mode of producing these 

 sounds, is the reason Unit the character g lias been 

 used to express all of them in different languages, 

 and several of them in the same languages. G is 

 nearly connected with C (as in ca), from which it 



