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every gentleman of respectability ought to have so striking a mark of distinction.'

But fencing is not the exercise of a few days, or even months; the practice of two or three years is requisite to enable a person to become a skilful fencer. In France, where the best fencers in Europe are found, a very indifferent opinion is entertained of any one if he cannot boast of at least four years regular practice in the fencing schools.

This art is, however, too much dependent on personal instruction and practice to demand any lengthened treatise in a work like the present. We shall, therefore, only attempt to give a succinct account of the first lessons, the thrusts, parades, &c., following Monsieur Danet's wellknown arrangement.

It will be necessary, first, to observe that the sword is divided into two parts: the strong part, or fort, as it is usually termed, reaching from the hilt to the middle of the blade, and the weak part, or foible from the middle to the point.

Thrusts are made either inside, or outside, over, or under the arm, and ought to be parried with the fort of the blade. Supposing the sword held flat before you, the inside is that edge which is nearest the left side, the outside that nearest the right; a thrust put above the sword is over the arm, one put in beneath it under the arm.

The GUARD.-The only regular guard in fencing, is assumed after the following manner. Hold the sword with the thumb flat upon the handle, at about the distance of an inch from the guard, pressing the hilt principally with the little and ring fingers; incline the edge of the blade a little inwards, the hilt being at the height of the right breast, and the point a little higher. The body is to be turned, so as to present the profile of it, the heel of the right foot in a line with the ancle of the left, at the distance of at least twice the length of the foot, and at right angles with each other. The right arm must be a little bent, the elbow inclining inwards; the left arm raised to the height of the head, and forming an easy semi-circle, the fingers a little bent, and the index just touching the thumb.

The THRUSTS.-In fencing there are nine different positions of the arm and wrist in thrusting, which are thus distinguished. 1. Prime of the modern nomenclature, commonly called high carte, inside the arm; 2. Ancient prime; 3. High tierce or modern seconde; 4. Old seconde, a mere low tierce; 5. Low carte of the moderns, the common carte of the ancient school; 6. Quinte, the same in both modern and ancient style; 7. Carte, over arm; 8. Carte, cut outside; and 9. Flanconnade.

It is necessary to observe that all thrusts and parades are included in but three positions of the wrist, viz. supination, the palm of the hand being turned upwards; pronation when reversed or turned downwards; and the mean position the medium between these two, the thumb being above the fingers as they are bent.

1. Prime or high carte, inside the arm. m.-This thrust is the prime of the moderns, not only because it is the highest elevation of the wrist, but because it is also the easiest, most used, and most simple thrust in fencing. It is given inside

the arm, the wrist in supination raised about three inches above the crown of the head during the movement of the right foot. The instructions for performing this thrust, as given in Rolando's modern art of fencing, are the following:-Carry the right foot forward to its greatest point of extension, which is generally about four times its length; and in the very time of this action, when you ought to direct your point, adjust your thrust without vacillation towards your adversary's right breast; but, as soon as the point of your sword reaches within three or four inches of his body, form the opposition of your wrist, the nails uppermost, your chest a little inclined forward, the head turned a little outside, the left haunch steadied, the shoulders well turned out, the right knee outwards, and bent perpendicularly with the instep; the left heel on the same line with the right heel, the leg well bent, and the foot firm upon the ground. The right hand, in directing the thrust, must always set out first, and the other parts of the body should follow rapidly. The thrust being made, get up quick on guard, joining your adversaries blade without forcing, and holding your point still opposite to his breast. In every thrust all these evolutions are to be executed with the same precision. This thrust is parried either by high carte, prime seconde, or octave. See plate I. FENCING, fig. 1.

2. Ancient prime.-This was the first thrust of the ancient school, and was so named as being the natural attempt made by any one, who had never learned to fence, to thrust with a sword. it is executed by raising the wrist in pronation about three inches above the crown of the head; and, in plunging the point at the adversary, the body is inclined somewhat more forward than in high carte: the remainder is executed in the same manner as described in the account of that thrust. In order to obtain an opening for this thrust, which is generally put in after the prime parade, it is sometimes necessary to step out of the line, to the right, as you make your thrust. This is parried by prime, half circle, and octave. 3. High tierce, or the seconde of the moderns.-In making the thrust of high tierce the wrist should be in pronation at about the height of the crown of the head; the sight may be directed under the arm, the body should be a little more inclined forward than in high carte, and the thrust should be given between the arm-pit and the right breast: the rest as in high carte. This thrust is parried by tierce, carte over arm, and pointe volante. Although this thrust is given in the same situation as the old prime, it differs from it not only in the height of the wrist, but in the more marked opposition of the fort of the blade. See plate I. fig. 2.

4. Seconde of the ancients, or low tierce of the moderns, is thus performed: lower the point of your sword under your adversary's guard, and thrust under his arm; the wrist in pronation raised as high as the eyes, directing the point under his arm-pit, and inclining the body and head farther forward than in the preceding; covering, particularly the head, as much with the wrist as by the fort of the blade. This thrust is parried by the half-circle, prime, seconde, octave, and quinte.

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 cover 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. Flanconnalle, 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 foible; 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 no ticed, 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.

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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; FENDER-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 lang uage, 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 conseerated 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 Jovernment. 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 fron 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.

Milton.

FENNEL, in botany. See ANETHUM.
FENNEL FLOWER. See NIGELLA.
FENNEL FLOWER OF CRETE. See GARI-

DELLA.

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

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ceived the sum of £300. His tragedy of Mariamne rendered him more known; it was performed in 1723, with very great applause, and produced him £1000. 'An instructive comparison,' says Dr. Johnson, between the patronage of the public, and that of a king or minister.' He died in 1730 of indulgence and want of exercise. His pupil, lord Orrery, says of him, Poor Fenton died of a great chair and two bottles of port a day. He adds, he was one of the worthiest and modestest men that ever belonged to the court of Apollo. Pope wrote upon him the following beautiful but not very veracious epitaph:

This modest stone, which few vain marbles can, May truly say, here lies an honest man; A poet blessed beyond the poet's fate, Whom heaven kept sacred from the proud and great; Foe to loud praise, and friend to learned ease, Content with science in the vale of peace. Calmly he looked on either life, and here Saw nothing to regret, or there to fear; From nature's temperate feast rose satisfied, Thanked heaven that he had lived, and that he died.' FENTON (Sir Geoffry), privy counsellor and secretary in Ireland, during the reigns of queen Elizabeth and king James I., is well known for his translation of Guicciardin's History of the Wars of Italy, dedicated to queen Elizabeth in 1579. He died at Dublin in 1608, after having married his daughter to Mr. Boyle, afterward earl of Cork.

FENUGREEK, n. s. Lat. fanum Græcum. A plant.

FEOD, n. s. Fr. fief, of Old Latin FEODAL, adj. feodum. Fee; tenure; posFEODALITY, n. s. session held under a suFEODARY, perior: the adjective feoFEODATORY, adj. dal is strictly Gothic, signifying possessed by fee: a feodary, is one who holds under a feudal lord or superior: feodality, the possession of divers feoffs.'-Cot

grave.

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FEOD, or FEUD, is defined to be a right which a vassal hath in lands or some immoveable thing of his lord's, to use the same, and take the profits thereof, hereditarily, rendering unto the lord such feodal duties and services as belong to military tenure, &c., and the property of the soil always remaining to the lord. Pontoppiddan says, that odh in the northern languages is the same with proprietas, and all with totum in the Latin. Hence, odhall signifies right: and hence we may conjecture, that the udal right in Finland is derived. By transposing these two syllables, we form the word allodh; whence we have the etymology of the allodium or absolute property claimed by the holders of fiefs or feuds; and by combining odh, signifying property, with the word fee, signifying a conditional stipend or reward, we have the word feodh, signifying a property given by way of stipend or reward upon a certain condition. See FEUDAL SYSTEM. FEODAL SYSTEM. See FEUDAL SYSTEM.

FE'OFF, v. a. & n. s.FEOFFEE, N. s. FEOFFER, FEOFF'MENT.

Old Fr. feoffee; Low Lat. feoffare. To put in feodal possession; a fief: a feoffee, is one

put in possession: feoffer, one who gives possession: and feoffment, the act or form of giving it.

The late earl of Desmond, before his breaking forth into rebellion, conveyed secretly all his lands to feoffees in trust, in hope to have cut off her majesty from the escheat of his lands. Spenser.

Any gift or grant of any honours, castles, lands, or other immoveable things, to another in fee simple, that is, to him and his heirs for ever, by the delivery of seisin of the thing given: when it is in writing, it is called a deed of feoffment; and in every feoffment the giver is called the feoffer, feoffator, and he that receiveth by virtue thereof the feoffee, feoffatus. The proper difference between a feoffer and a donor is, that the fcoffer gives in fee-simple, the donor in fee-tail. Cowell.

FEOFFMENT, in law, from feoffare, to give one a feud, is still directed and governed by the feodal rules: insomuch that the principal rule relating to the extent and the effect of the feodal grant, tenor est qui legem dat feudo, is the maxim of the law with relation to feoffments, modus legem dat donationi. And therefore, as in pure feodal donations, the lord, from whom the feud moved, must expressly limit and declare the continuance or quantity of estate which he meant to confer, ne quis plus donasse præsumatur, quam in donatione expresserit: so, if one grants by feoffment lands or tenements to another, and limits or expresses no estate, the grantee (due ceremonies of law being performed) hath barely an estate for life. For, as the personal abilities of the feoffee were originally presumed to be the immediate or principal inducements to the feoffment, the feoffee's estate ought to be confined to his person and subsist only for his life; unless the feoffer, by express provision in the creation and constitution of the estate, has given it a longer continuance. These express provisions are indeed generally made; for this was for ages the only conveyance whereby an estate was created in fee simple, by giving the land to the feoffee, to hold to him and his heirs for ever; though it serves equally well to convey any other estate of freehold. But by the mere words of the deed the feoffment is by no means perfected: a very material ceremony remains to be performed, called livery of seizing; without which the feoffee has but a mere estate at will. See SEISIN.

FER DE FOURCHETTE, in heraldry, a cross having at each end a forked iron, like that formerly used by soldiers to rest their muskets on. It differs from the cross fourche, the ends of which turned forked: whereas this has that sort of fork fixed upon the square end. HERALDRY.

See

FER DE MOULIN, MILRIND, or INKE DE MOULIN, in heraldry, is a bearing supposed to represent the iron-ink, or ink of a mill, which sustains the moving wheel.

FERABAD, or FERABAT, a town of Persia, in the province of Mezanderan, twelve miles from the Caspian Sea, seated among the moun

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