FAUSTIN I. FAVART smith, and probably had no share in the inven- tion of the art. His connection with it com- menced in 1450, when Gutenberg induced him to enter into partnership with him, and ad- vance funds to establish the business of print- ing at Mentz, Faust having a lien on the mate- rials as security. The only known productions of the press of Faust and Gutenberg are an in- dulgence granted by Pope Nicholas V. to Pau- linus Chappe, ambassador of the king of Cy- prus, of which 13 copies on vellum printed in 1454 remain, and two copies of a second edi- tion printed in 1455, and an " Appeal to Chris- tendom against the Turks," supposed to belong to the former year. The celebrated folio Latin Bible of the Mazarin library is also attrib- uted to this period. This is a close imitation of the best writing, the rubricated capitals being written in by hand. A copy of it, the only complete one in America, is in the library of Mr. James Lenox of New York; it cost $2,600. In 1455 Faust put an end to the part- nership by suing Gutenberg for his advances, and taking possession of the greater part of the stock in satisfaction of the debt. Faust then associated with himself Peter Schoffer, his son-in-law, who had been in their employ- ment, and had perfected the process of making movable metallic types by the invention of the punch. The first complete result of this new invention was the Rationale Dimnorum Offici- ontm of Durandus (large folio, 1459). Two editions of a psalter, beautifully executed, had previously appeared with the imprint of Faust and Schoffer (1457 and 1459), but in these the large capitals were cut on wood. Copies of nine other works from their press with date and imprint still exist, including a Latin Vul- gate Bible (2 vols. large fol., 1462), and the D& Officiis and Paradoxa of Cicero (small fol., 1466 ; a copy of this, the first printed classic author, is in the Astor library, New York). At the sacking of Mentz in 1462 by one of the two rival archbishops, Adolph of Nassau, Faust's workmen were scattered, and the printing pro- cess, which had been kept as a secret in Mentz, was divulged by them in other countries. A short time afterward, however, Faust was en- abled to resume his operations. He made sev- eral journeys to Paris, where he is supposed to have died of the plague. FAUSTIN I. See SOULOTJQUE. FAUSTINA. I. Annia Galeria, commonly distin- guished as Faustina Senior, daughter of Annius Verus, prefect of Rome, and wife of the em- peror Antoninus Pius, born about A. D. 104, died in 141. She ascended the throne with Antoni- nus in 138, receiving the title of Augusta ; and though the emperor grieved at her profligacy, his affection for her made him place her after death among the goddesses, raise temples and altars to her, and have medals struck in her honor, exceeding in number and variety those in honor of any other Roman empress. II. Annia, called Faustina Junior, younger daugh- ter of the preceding, wife of her cousin the em- peror Marcus Aurelius, born about A. D. 125, died in 175. She surpassed even the dissolute manners of her mother. The emperor was aware of her disorderly life, but loved her notwithstanding the railleries and murmurings of the people and the advice of his friends. She accompanied him in an expedition to the East, and suddenly died at a village near the foot of Mt. Taurus. Aurelius mourned for her, ranked her among the goddesses, caused med- als to be struck in her honor inscribed Pudi- citia, and exalted the place where she died into a city named Faustinopolis. FAUVEAU, Felicie de, a French sculptress, born in Florence in 1803. She belongs to an old legitimist family of Brittany, and was patron- ized by Louis XVIII. and Charles X. She partook in 1832 in the royalist movement in La Vend6e, and on the arrest of the duchess de Berri escaped to Brussels, and then to Flor- ence. Her group of " The Abbot " (1827) illus- trates one of Walter Scott's romances, and her most successful work represents Christina and Monaldeschi (1829). In 1842 she exhib- ited in Paris various works, including " Judith showing the Head of Holophernes to the Peo- ple." Prominent among her later works are the Dante monument (1852), representing the tragic death of Paolo Malatesta and Francesca da Rimini, and the mausoleum of a young Florentine girl (1860). FAUVELET, Jean Baptiste, a French painter, born in Bordeaux in 1822. He is a disciple of Meissonier's style of genre painting. His earliest pictures, "A Young Man Reading" (1845), "The Two Roses," and "The Concert" (1847), were succeeded in 1848-'9 by "Non- chalance" and "The Carver." The govern- ment purchased in 1855 his " Two Musicians" for the Luxembourg. Among his later paint- ings is " The Prodigal Son " (1869). FAVARA, a town of Sicily, in the province and 3 m. S. E. of the city of Girgenti, on an eminence; pop. about 13,500. It has a beau- tiful castle, built in the 14th century, and in the neighborhood are many sulphur pits. FAVART, Marie Jnstine Benoite, a French ac- tress, born in Avignon in 1727, died in 1772. She was a daughter of M. du Ronceray, a mu- sician, and first appeared as a vocalist at the Opera Comique, Paris, in 1744, under the name of Mile, de Chantilly. Next year she married the dramatist and inventor of the vaudeville, CHAELES SIMON FAVART, who, by following soon after the camp of Marshal Saxe with a dramatic troupe, subjected himself and his wife to severe persecutions on account of her rejecting the marshal's addresses. After the marshal's death in 1750 she resumed acting in Paris, chiefly in her husband's plays. She excelled equally as actress, singer, and dancer, and introduced many excellent innovations in costume and other accessories. The plays of her husband, who survived her 20 years, fill 10 volumes, and some of her own are included in (Euvres choisies de M. et Mme. Favart (Paris,
