5. Low carte, of the modern system, or common carte inside the arm, of the ancients, is thus executed. Being on guard, in carte, direct the point of your sword along, and underneath your opponent's wrist; and, when about four inches from his body, raise your wrist in supination as high as the mouth, and throw the point into the pit of his stomach without extending your body so much as in the preceding thrust. This thrust is parried by low carte, the octave, half-circle, prime, and seconde. Rolando's Modern Art of Fencing, p. 28.

6. Quinte, both ancient and modern, was the fifth thrust, whence it derives its name. It is thus given the wrist, being in the mean position, should be held as high as the chin, the fort of your blade opposed to the foible of your adversary's, and supporting thus your opposition pass as it were by stealth your point under his wrist, and thrust at his abdomen, still in the attitude of carte with the flat of the blade uppermost. This thrust is parried by quinte, seconde, octave, and the half circle.

7. Carte over arm, or modern prime over arm, is a carte thrust, passed over the arm along your opponent's blade, with the wrist in supination three inches above the head; the right arm should be entirely extended, and the other parts of the body placed as directed in high carte. This thrust is best parried by pointe volante; it may also be parried by tierce, and the cart eover arm parade.

8. Carte cut outside the arm, is thus executed: when on guard in tierce over your opponent's arm, lower by stealth your point by means of a half circle outside the arm; adjust your point under his arm-pit, the flat of the blade uppermost, supporting the sword precisely under his elbow; the wrist will then be in the mean position with the same position as in low carte. This thrust is to be parried by the half circle, seconde, quinte, or octave. See FENCING, plate II. fig. 1.

9. Flanconnade, so called, because mostly touching only the flank, is thus performed: being engaged in carte, lower the point below your opponent's wrist, take the foible of his blade without quitting it, and plunge your point into his flank under his elbow outside the arm; the wrist raised and supported in the mean position as high as the mouth; oppose suddenly the left wrist close to the elbow, the hand open, and stoop at the same time to avoid being touched by seconde. This is parried by seconde and low carte. See plate II. fig. 2.

We shall now endeavour to give a short description of the different simple parades. A parade, or parry, is formed by giving a dry beat on your opponent's sword, to avoid being touched by his point. A dry parade, is the action of striking his blade with a firm vivid motion, so as to turn it aside without following it. There were for merly only six parades taught; there are now fifteen in use.

The first is that of high carte, or modern prime, which is thus executed: supposing you are on guard, and your opponent thrusts high carte, then turn your right side so as to oppose as narrow a front as possible, and parry with a dry beat from

the inside fort of your blade against his foible, lowering yours about six inches inside the arm, the wrist in the mean position at the breast height, and return high carte.

2. Ancient prime parade.-If when on guard your opponent thrusts ancient prime, parry with the fort outside of your sword, the wrist in pronation being as high as the forehead and opposed inside the arm; then extend your arm, and throwing your point below his stomach return ancient prime.

3. High tierce, or modern seconde, parade.—If when on guard your opponent thrusts high tierce, parry with a dry beat, fort against foible, outward from within; wrist nearly in pronation at the height of the flank, the arm extended in order better to be able to return with high tierce.

4. Ancient seconde parade.-If when on guard your opponent thrusts ancient seconde, parry with the inner fort of the blade turned out; the wrist in pronation breast high, the arm extended to return ancient seconde.

5. Low carte parade.-If from the guard your opponent thrust low carte, parry with a dry beat from the fort inside of your blade; the wrist in the mean position at the height of the abdomen, the point a little more elevated, and return low carte.

6. Quinte parade.-When from his guard your opponent makes the thrust of quinte, parry with the fort edge of your blade against his forble; lowering your wrist to the mean position, perpendicular with your knee, and the edge of your sword to the height of the thigh, somewhat inclined inwards, return low carte.

7. Carte over arm parade.-Upon your opponent's thrusting from his guard carte over arm, parry with your arm bent, with the fort outside of your blade against his foible, the wrist being in the mean position at the height of the chest, in the same situation as in carte outside the arm, and return with carte over arm.

8. Low tierce parade is adapted in the same manner either to a tierce or carte over arm thrust, and is thus executed :—-Upon your antagonist attempting either of these, parry with the inner fort edge upon his foible by a dry beat, lowering and bending your elbow a little; the wrist in pronation at the height of the haunch, the point elevated, and return seconde.

9. The octave parade, so called as having been formerly the eighth and last of the parades, is thus performed:-Upon your antagonist's thrusting carte cut outside the arm, parry with the fort outside edge of your blade against his foible, the wrist in the mean position at the height of the breast; the arm bent outwards, the point low; and then return carte over arm.

10. Half circle parade upon low carte.-When from his guard your opponent thrusts low carte, parry with a dry beat from the inner fort edge of your blade against the foible of his, forming a half circle outside the arm; stretch out your arm, the wrist in supination the height of your mouth, and return carte.

11. Flanconnade parade.-If from the carte engagement your opponent thrust the flanconnade, turn your wrist suddenly in pronation at the height of the haunch, forming an angle from it

to the point of the sword, the arm bent at the same time that he endeavours to assure himself of your blade, from the foible to the fort, and return seconde

When this parry is used in the attack it is in the following manner :-If your opponent from the guard in carte thrust flanconnade, parry carte; without quitting his blade, lower your point a little, and pass it immediately under his wrist; thus binding his blade, and returning his sword to nearly the position in which it before was. This is however a dangerous parade to use in an attack, as a quick fencer would often, by disengaging carte over arm with the strong part of his sword against the foible of yours, thrust you at the same time you were thrusting at him.

12. Pointe volante parade is the twelfth and last of the simple parades, and is so named from the swiftness with which the point of the sword is thrown over the shoulder When your antagonist thrusts carte over arm, parry rapidly by bending your elbow, and throwing the point of your sword over your shoulder without displacing your wrist from the situation in which it was in the guard in carte; the outside edge of your sword thus gliding from one end to the other of your antagonist's will throw it sufficiently aside to enable you to return to your guard.

We have now enumerated the twelve simple parades commonly in use: there are now three others, of the circular kind, remaining to be noticed, the first of which is,

The counter carte parade, the chief of the circular parades, as it envelopes almost every thrust in fencing, either inside, outside, over or under the arm. It is in fact describing a small circle round your adversary's blade to throw it aside when you join it.

The counter of tierce is neither so easy nor so certain a parade as the last, and ought only to be used when out of measure.

The circle parade is performed by wheeling your sword closely and rapidly round from right to left so as to throw off your adversary's point from the centre of attack. This is the most difficult to perform of all the parades now in use, and is eminently useful as it embraces all the thrusts that can be aimed at you in retreating. Indeed, if it could be continued as long as it might be necessary to join an adversary's blade, who possesses both vivacity and address, it would be general against every attempt; but, as the arm and wrist after the fourth or fifth round become considerably deranged, a quick fencer, in order to follow you, will describe a smaller circle and easily come within its central point. To effect this parade with certainty, extend your arm, the wrist in supination being as high as the mouth, the point of the foil very low, and by the motion of the wrist alone describe from right to left, in an oblique manner, the figure of a cone in as small a compass as possible. See plate II. fig. 3.

Having now enumerated the principal thrusts and parades, we shall give some account of the common artifices in fencing, and a definition of some of the common terms.

The appeal.-Marking an appeal is an en

deavour to throw your adversary off his guard by inducing him to make some thrust for which being prepared you may return to advantage. This artifice consists in a lively close stroke from the fort to the foible of his blade to throw it aside, and by giving a stamp with the right foot induce him to parry at a thrust you never intended to give, or to thrust you at a time when you expect and are prepared for it. The greatest attention should however be paid, lest your adversary, anticipating your intention, throw in his thrust at the very time you are executing your appeal, and thus seizing the time touch you before you are prepared.

Beating. To beat the foil is to strike the foible of your adversary's blade with the fort edge of yours, as often with a view to turn his point aside as to open his guard so as to be enabled to touch him. See BEAT, in fencing, in the body of the work.

Binding.-To bind and cross an adversary's sword is to join it by sliding and forcing strongly upon it with your edge from the fort to the foible under his wrist, to drive it away, as it were, so that you may be sure to touch if not disarm him. For this reason it is a method of disarming the most advantageous, as, if well executed, it becomes, if not absolutely certain, yet very useful, as being attended with no comparative danger.

Coup de fouet, or lashing, is the act of giving a firm dry beat or jerk upon your opponent's blade, when he holds it flat and stiffly before him, in order to cause him to let it fall.

To disengage is to carry or pass the point of your sword from one side to the other over your antagonist's, by joining it without forcing.

Glizade is the act of sliding your blade upon the foible of his the body must be well effaced and firm upon the left haunch; the sword directly before you; and when you close slide upon your adversary's blade by the fort of your

own.

Volting. To volte is to turn your back almost entirely upon your adversary, by a half wheel to the left to about the distance of the guard, throwing back your point at the same time to his body. The volte is only useful when you are engaged with one, who, without any knowledge of fencing, rushes upon you with a curved arm, not suspecting the danger; or who, being acquainted with the danger, cautiously uses this method of fighting, with the view either of surprising or disconcerting you.

'It is not a little surprising,' says Mr. Forsyth in the treatise we have already quoted, that such dangerous manœuvres have been invented and adopted, so diametrically opposed to the true principles of fencing, which only require firmness of the body and legs, a requisite that can never be supplied in the action of volting, which too evidently and too frequently exposes us to be hit, before we can completely command this hazardous and uncertain evolution, and which, should we fai. in our design, leaves us without a resource with a stroug quick fencer, who will seldom fail to take advantage of the disorder into which these dangerous experiments are sure to involve us.' For SPADROON ExerCISE, and SWORD EXERCISE, see those articles.

FEND, v. a. & v. n. Latin fendo. See FENDER, n. s. FENCE. To keep off; FEND'ER-BOLT. shut out; to dispute; shift off (a charge): the sea phrase is exemplified by Dr. Rees: the household fender is a well known protection of the floor from coals falling out of the fire, says Dr. Johnson: we should add from the scene around us, and of children from falling into it.

Spread with straw the bedding of thy fold, With fern beneath to fend the bitter cold.

Dryden.

The dexterous management of terms, and being able to fend and prove with them, passes for a great part of learning: but it is learning distinct from knowledge.

Locke.

Fend, in the sea language, imports the same as defend. Hence the phrase fending the boat, &c.; that is, saving it from being dashed against the rocks, shore, or ship's side. Hence also fenders, any pieces of old cable-ropes, or billets of wood, &c., hung over the ship's side, to fend or keep other ships from rubbing against her; or to prevent her from striking or rubbing against a wharf or quay. Dr. A. Rees.

Fend, or fender-bolts, made with long and thick heads, struck into the outermost bends or wales of a ship, to save her sides from bruises and hurts. Id.

FENELON (Francis de Salignac de la Motte), was of an ancient and illustrious family, and born at the castle of Fenelon in Perigord, in 1651. In 1689 he was appointed tutor to the dukes of Burgundy and Anjou; and in 1695 was consecrated archbishop of Cambray. But a publication of his, entitled An Explication of the Maxims of the Saints concerning the Interior Life, in which he seemed to favor the extravagant notions of Madam Guyon, and the principles of Quietism, compelled him to quit the court; to which he never returned. A controversy was for some time carried on between him and M. Bossuet, bishop of Meaux; which terminated in an appeal to the pope, who condemned the archbishop's book, March 12th, 1699, and our prelate had what was wittily called the coquetry of humility to read his own condemnation from his own pulpit. Some allege that there was more of court policy than religious zeal in this affair; be this as it may, the archbishop submitted patiently, and, retiring to his diocese, performed the duties of his station, and led a most exemplary life. The work that gained him the greatest reputation, and which will render his memory immortal, is his Telemachus; the style of which is natural, the fictions well contrived, the moral sublime, and the political maxims excellent. Louis XIV. is said never to have approved of the appointment of Fenelon to the preceptorship of the princes, and to have regarded Telemachus as a satire upon his own government. He stopped therefore the printing of the work, and the archbishop could never recover his favor, notwithstanding his writings against the Jesuits, and munificent distribution of corn in a season of scarcity to the army. Fenelon is also said to have given unpardonable offence by his honest advice to Louis not to marry madame Maintenon. In person, manners, and general character Fenelon is universally. represented as having been one of the most engaging of men; uniting, with a noble politeness,

a natural and flowing elocution, and the power of making himself understood upon all subjects. No man inspired stronger attachments; and such was the respect borne to his character, that the duke of Marlborough, and the other generals of the allies, expressly excepted the archiepiscopal lands of Cambray from pillage when in possession of that part of Flanders. His principal works not already mentioned, are—Dialogues of the Dead, 2 vols. 12mo.; Dialogues on Eloquence, 12mo.; Philosophical Letters, a Demonstration of the Existence of a God, 12mo.; Letters on different Religious and Metaphysical Subjects, 12mo.; Spiritual Works, 4 vols. 12mo.; Sermons, and controversial pieces. Fenelon died from a fall received in the overturning of his carriage in 1715; a collection of all his religious works was afterwards printed at Rotterdam, under the care of the marquis Fenelon his grandnephew, when ambassador to the states general. FENERATION, n. s. Lat. fæneratio. Usury; the gain of interest; the practice of increasing money by lending.

The hare figured not only pusillanimity and timidity from its temper, but feneration and usury from its fecundity and superfetation. Browne.

FENESTRA, in anatomy, a name given to two small holes in the cavity of the tympanum, which are distinguished from each other by the epithets rotunda and ovalis.

FENESTRELLE, a fortress of France, in Piedmont, on the Clusone, near the borders of Dauphiny, consisting of three distinct erections, built on eminences, and communicating with each other by covered ways cut in the rock. In the valley below lies the village of Fenestrelles, with 860 inhabitants. Seven miles S. S. E. of Susa, and twenty N. N. W. of Pignerol.

FE'NNEL, n. s. Lat. faniculum. A plant of strong scent.

A sav'ry odour blown, more pleased my sense
Than smell of sweetest fennel, or the teats
Of ewe, or goat, dropping with milk at even.

FENNEL, in botany. See ANETHUM. FENNEL FLOWER. See NIGELLA. FENNEL FLOWER or CRETE. DELla.

Milton.

See GARI

FENNEL, GIANT. See FERULA.
FENNEL, HOG's. See PEUCEDANUM.
FENNEL, SCORCHING. See THAPSIA.

FENTON (Elijah), descended from an ancient family, was born at Shelton near Newcastle. He was the youngest of twelve children, and was intended for the ministry; but embracing political principles contrary to the measures of government, while at Cambridge, he declined entering into holy orders. He was secretary to the earl of Orrery; but seems to have spent most of his time among his friends and relations. His elder brother had an estate of £1000 a year. When his engagement with lord Orrery ceased, he obtained, through the recommendation of Pope, a situation with Mr. secretary Craggs, who, aware of the deficiences of his own education, wished to have a man of taste and learning for a companion. He next undertook, for Pope, the translation of the first, fourth, nineteenth, and twentieth books of the Odyssey, for which he re

tains which bound its south coast. The environs produce sugar, cotton, and silk. Shah Abbas often spent the winter in it. It lies 122 miles west of Asterabad; 140 north-east of Gilan, and 270 north of Ispahan.

FERABAT, a town of Persia, one mile and a half from Ispahan, extending nearly three miles along the banks of Zenderoad. It was built by Shah Abbas, who brought Armenians to it, from Ferabad, after they had revolted from the Turks. FERE, in zoology, an order of the class mammalia; thus characterised: foreteeth conic, usually six in each jaw; tusks longer than the other teeth; grinders with conic projections; feet with subulate claws; food carcases, and other animals attacked while alive.

FEʼRAL, adj. Lat. feralis. Funereal; deadly.
By the wan moon how oft the bird of night
Lengthens her feral note.

Headley. FERALIA, in antiquity, a festival observed among the Romans on the 21st of February, or, according to Ovid, on the 17th of February, in honor of the manes of their deceased friends and relations. Varro derives the word from inferi, the shades, or from fero, to carry; on account of a repast carried to the sepulchres of such. Festus derives it from ferio, on account of the victims sacrificed. Vossius observes, that the Romans called death fera, cruel, and that the word feralia might arise thence. Macrobius refers the origin of the ceremony to Numa Pompilius. Ovid, in his Fasti, goes back as far as Eneas for its institution. He adds, that on the same day a sacrifice was performed to Muta, the goddess of dumbness; and that the persons who officiated were an old woman attended with a number of young girls. During the continuance of this festival, which lasted eleven days, presents were made at the graves of the deceased, marriages were forbidden, and the temples of the gods shut up. While the ceremonies continued, they imagined that the ghosts suffered no punishments in hell, but that their tormentors allowed them to wander round their tombs, and feast upon the meats which their surviving friends had prepared for them. For a more particular account of the offerings, sacrifices, and feasts for the dead, see INFERIE and SILICERNIUM. Sometimes at the feralia public feasts were given to people at the tombs of the rich and great, by their heirs or particular friends.

FERBER (John James), a Swedish mineralogist and physician, born at Carlscrona in 1743. He was brought up under his father, also a physician, and early became distinguished as a natural philosopher. He set out in 1765, on a mineralogical tour to inspect the mines of Germany, France, Holland, England and Italy; and on his return accepted an invitation to become professor of natural history at Mittau. He removed to St. Petersburgh in 1783, as professor of Natural Science in that capital, whence he removed in 1786 into the service of Prussia. He died in 1790 at Berne in Switzerland. His works are Letters from Italy, respecting the most remarkable Natural Productions in that Country, 1773, 8vo.; Collections towards a History of the Mines of Bohemia, Berlin, 1774, 8vo.; A Description of the Quicksilver Mines at Idria, Berlin, 1774,

8vo.; An Account of Mines in the Cantons of Deux Ponts, the Palatinate, and Nassau, Berlin, 1776, 8vo.; An Attempt towards an Oryctography of Derbyshire, Mittau, 1776, &c., &c.; all of which are written in the German language.

FERDINAND V. king of Spain, who married Isabella of Castile, whereby that kingdom was united to the Spanish crown. This illustrious pair laid the foundation of the glory and power of Spain. The conquest of Granada, and the discovery of America by Christopher Columbus, make his reign a celebrated era in history. He died in 1516, aged sixty-three. See SPAIN.

FERE, n. s. Sax. pena. A mate or companion.
Also written pheer; and applied to both sexes.
Clarissa to a lovely fere

Was linked, and by him had many pledges dear.
Spenser.

This king unto him took a pheere,
Who died and left a female heir. Shakspeare.
FERENTINUM, in ancient geography, a town
of the Hernici in Latium, which the Romans,
after subduing that nation, allowed to be go-
verned by its own laws: now called Ferentino.

FERETRUM, among the Romans, the bier used in carrying out the bodies of the dead, which duty was performed by the nearest male relations of the deceased: thus, sons carried out their parents, brothers their sisters, &c.

FERG, or FERGUE, Francis Paul, an eminent landscape painter, born in 1689, at Vienna, where he learned the first principles of his art. He practised under Hans Graf, Orient, and Thiele. He first went into Saxony, and painted for the duke of Brunswick, and for the gallery of Salzdahl. From Germany he came to London, where he was involved in difficulties. His necessities compelled him to diminish the prices of his paintings, in order to procure immediate support; and by a series of misfortunes he was always overwhelmed with debt. He died suddenly in the street one night in 1738, at the door of his lodgings. He had formed a style of his own from various Flemish painters, though resembling Poelemburgh most in the enamelled softness and mellowness of his coloring; but his figures are greatly superior; every part of them is sufficiently finished, every action expressive. He painted small landscapes, fairs, and rural meetings; his horses and cattle are not inferior to Wouvermans; and his buildings and distances seem to owe their respective softness to the intervening air not to the pencil. The greatest part of his works are in London and Germany; and they now bear a high price.

FERGANA, or FERGANAH, a mountainous province of Samarcand, abounding in mines of gold, silver, copper, iron, and coals.

FERGUSON (James), an eminent experimental philosopher and mechanic, born in 1710, at Keith, a village in the shire of Banff in Scotland. At the earliest age his extraordinary genius began to exert itself. He first learned to read, by overhearing his father, who was in low circumstances, teach his elder brother: and his taste for mechanics was first shown by his making a wooden clock after having once only been shown the inside of one. As soon as his age