England, and that he spent fifteen years of his life in bring ing this to perfection at a manufactory at Bow, during which, his constitution being impaired by constantly work ing in furnaces, he retired into Wales, with little hope of recovery. Here, however, his health was perfectly restored, and he returned again to London, and resumed his profession, to which he now added the art of mezzotinto engraving, and had considerable employment and success, both as a painter and engraver. He died of a decline, brought on by intense application, April 2, 1762.

In the first exhibition in 1760 there was a half-length portrait of the famous singer, Leveridge, which was painted by Frye, and possessed very considerable merit; and in the exhibition of the following year he also had pictures in all the different processes of oil-colours, crayons, and miniature. Of his mezzotinto productions, there are six heads as large as life; one of them the portrait of the artist himself; to which may be added two other portraits of their majesties, the same size with the former, but inferior in execution. He had issued proposals in 1760 for twelve heads in the above manner, but we presume his illness and subsequent death prevented his completing more than six; in these, however, he shewed rather more industry than judgment; for no branch of engraving, whether in mezzotinto, or in strokes, can be suited to the display of portraits of such magnitude. '

FRYTH. See FRITH.

FUCHS, or FUCHSIUS (LEONARD), an eminent German physician and botanist, was born at Wembding, in Bavaria, in 1501. After a classical education at Hailbrun and Erfurt, he went in his nineteenth year to Ingoldstadt, where he pursued the study of the learned languages under Capnius and Ceporinus, two eminent professors, who had embraced the doctrines of the reformation, which they imparted to their pupil. He received the degree of master of arts in 1521, and having also studied medicine, was admitted to his doctor's degree in 1524. He first practised at Munich, where he married, and had a large family, and in 1526 he removed to Ingoldstadt, and was made professor of medicine; but his religion occasioning some trouble, he settled at Onoltzbach about two years afterwards, under the patronage and protection of George,

› Edwards's Painters.-Strutt's Dictionary-Geut. Mag, vol. XXXIV,

margrave of Bayreuth. Here he was very successful as a practitioner, and published some treatises on the healing art. In 1533, the management of the university of Ingoldstadt being committed, by William duke of Bavaria, to Leonard Eccius, a celebrated lawyer, acquainted with the merit of Fuchs, he procured his return to his former professorship; but his zeal for the reformed religion was still too prominent not to give offence, especially, we should suppose, to John Eccius (see EccIUS), then a professor there, and he returned to Onoltzbach. Two years after, however, he found an honourable asylum in the university of Tubingen, which Ulric, duke of Wirtemberg, had determined to supply with protestant professors, and where he provided Fuchs with an ample salary, and every encouragement. In this place he remained until his death, May 10, 1566. He died in the arms of his wife and children, full of faith and fortitude, having in the course of his illness been observed to experience no relief from his sufferings, but while conversing with his friends on the subjects of religion and a future state, which made him forget every thing else, and he expressed himself with all his usual energy and perspicuity. He was interred, the day after his death, in a burying-ground adjoining to the town, where his first wife had been deposited but little more than three years before.

Some botanical remarks of Fuchs, relating principally to the Arabian writers, are found in the 2d volume of the "Herbarium" of Brunfelsius. But the work on which his reputation in this study chiefly rests, is his "Historia Plantarum," published at Basil in 1542, fol. with numerous wooden cuts. A German edition appeared the following year. In this work he chiefly copies Dioscorides, adding a few remarks of his own, and falling, as Haller observes, into the common error of the writers of his time, who expected to find in their own cold countries the plants of those more genial climates where the ancients studied botany and medicine. The publication of Fuchs, though nearly on a par with those of other learned men of his time, would probably have been long since forgotten, were it not for the transcendant merit of its wooden cuts, inferior to those of Brunfelsius alone in execution, and far exceeding them in number. They chiefly indeed consist of pharmaceutical plants, which though mere outlines, are justly celebrated for their fidelity and

elegance. These original editions are become very rare; but copies and translations of them, various in merit, are common throughout Europe. Amongst the poorest of these is a French duodecimo, printed at Lyons, under the title of Le Benefice Commun, in 1555, for which our author is certainly not responsible, and it is rather hard in Linnæus to class him, on account of some such spurious editions, under the heads of monstrosi and rudes in his "Bibliotheca Botanica," though indeed he there properly stands amongst the usitatissimi with respect to his original edition. By some of his writings, especially his "CorDarus furens," published in 1545, against Cornarus, who had attacked his "Historia Plantarum" in a work entitled "Vulpecula excoriata," he appears to have been vehement in controversy, but in his general character and deportment he is said to have been dignified and amiable, with a fine manly person, and a clear sonorous voice. His piety, temperance, and indefatigable desire to be useful, were alike exemplary. As a lecturer he was peculiarly admired and followed, especially in his anatomical courses. The famous Vesalius was present at one of his lectures, in which be found himself criticized. He afterwards familiarly addressed the professor, saying, "why do you attack me who never injured you?" "Are you Vesalius?" exclaimed Fuchs. "You see him before you," replied the former. On which great mutual congratulations ensued, and a strict friendship was formed between these learned men. Fuchs was so famous throughout Europe, that the great Cosmo duke of Tuscany invited him, with the offer of a salary of 600 crowns, to become professor of medicine at Pisa, which he declined. The emperor Charles V. also bore testimony to his merit, by sending him letters with the insignia of nobility, which honour also Fuchs for some time declined. He was indifferent to money, as well as to all other than literary fame. His great ambition was, whenever he undertook in his turn the rectorship of the university, to promote good order, industry, and improvement among the students, whom he governed with paternal assiduity and affection. Two colleges were always under his immediate care, one of them founded by duke Ulric for students of divinity alone, and more amply endowed by his son and successor. '

Melchior Adam in vit. German. medic.-Niceron, vol. XVIII. —Haller Bibl. Bot. The latter part from Dr. Smith in Rees's Cyelopæd.-Saxii Onomast,

FUESSLI, or FUSSLI (JOHN GASPARD), a Swiss artist, and a man of considerable learning, was born at Zurich in 1706. After acquiring the elements of painting from a very indifferent artist, he left his country in the eighteenth year of his age, and going to Vienna, associated himself with Sedelmeier. Gran and Meitens were his principal guides, if he could be said to have any other guide than his own genius. He became well known at court, but his love of independence induced him to refuse very advantageous offers. He would not, however, have probably ever left Vienna, had not the prince of Schwarzenburg persuaded him to go to Radstadt, where he became the favourite of the court. Among others whose portraits he painted was the margrave of Dourlach, who had a great affection for him, and advised him to go to Ludwigsbourg, which he did with letters of recommendation to the duke of Wirtemberg, who immediately took him into his service. Here he passed his time very agreeably, making occasional excursions to paint the portraits of persons of distinction, until the war of Poland, when the entrance of the French into Germany threw every thing into confusion. The duke his patron at the same time fell sick, and was removed to Stutgard, but on Fuessli's leaving him to go to Nuremberg, his highness presented him with a gold watch, and requested him to return when the state of public affairs was changed. At Nuremberg he had a strong desire to see the celebrated artist Kupezki, of whose manners he had imbibed an unfavourable impression, but he was agreeably disappointed, and they became friends from their first interview. After remaining six months at Nuremberg, the duke of Wirtemberg died, and there being no immediate prospect of peace, Fuessli returned to his own country, and in 1740 married. Although his wife was a very amiable woman, he used to say that marriage was incompatible with the cultivation of the fine arts: if, however, he felt himself. occasionally disturbed by domestic cares, he had the happiness to communicate his art to his three sons, Rodolph, who settled at Vienna; Henry, at present so well known in England; and Caspar, who died in the vigour of life, an entomologist of fidelity, discrimination, and taste.

Fuessli's talents and reputation procured him the friendship of the greatest artists of his time, and Mengs sent him his treatise" on the beautiful," which he published with a preface. Winkelmann, especially, lived in great intimacy,

with him. His taste for poetry also procured him the acquaintance and correspondence of Keist, Klopstock, Wieland, Bodmer, and Breitinguer, nor was he less respected by many persons of the first distinction in rank, and his house was frequented by all the literati of his time, whom he delighted by his conversation-talents. Nor was he inconsiderable as a patron of the arts. He gave lessons gratis to many young persons, and made collections to assist them in their studies and travels, employing his interest with the great only for the benefit of genius and talents. In 1740 and 1742 he had the misfortune to lose his two friends Kupezki and Rugendas, both whose lives he wrote, and this employment seems to have suggested to him "The Lives of the Artists of Switzerland," which he wrote with great elegance and critical discrimination. He published also a "Catalogue raisonné of the best Engravings." His own collection was uncommonly rich in the finest specimens of that art. Of his paintings, his son appeals to the series of consular portraits, which he painted after his return to Zurich, engraved in mezzotinto by Preisler and others, as a fair test of his style and taste. He died at Zurich, May 6, 1781. His lives of Rugendas and Kupezki were published at Zurich in 1758; his Swiss Artists in 5 vols. 1769-1779; and his Catalogue of Engravers and their works, in 1770. Besides these he published "Winkelmann's Letters to his friends in Switzerland," 1778, and Mengs "On Beauty," in 1770.'

FUGGER (HULDRIC), an eminent benefactor to literature, was born at Augsburg in 1526, and deserves a place in this work for his affection to learning and learned men. His family was considerable for its antiquity and opulence; and Thuanus informs us, that when Charles V. changed the government of Augsburg, in 1548, he nominated the family of the Fuggers among those who thenceforward were to be raised to the dignity of senators. Yet this illustrious family, as all the genealogical writers of Germany notice, sprung from a weaver, who, in 1370, was made free of the city of Augsburg. Huldric had been chamberlain to pope Paul III. and afterwards turned protestant. He laid out great sums in purchasing good manuscripts of ancient authors, and getting them printed; and for this

1 Meister's Portraits of Illustrious Men of Switzerland.-Pilkington's Dict. by Fuseli.