FESTUS. 565 FETISHISM. peror against the Jews of the dispute between the Jewish and .Syrian inhabitants of Csesarea regarding their civic privileges — a dispute which had come over from the time of Felix, of whose removal from office, in fact, it had been the cause (see Keuxi ; and (2) the controversy be- tween Agrippa 11. and the priests in Jerusalem regarding the wall erected at the temple to break the view of the new wing of Agrippa's palace — a controversy in winch Festus took the side of Agrippa, but which was appealed to Heme by the priests, Festus dying bef ire the decision was known. In both these events, but especially in the former, Jewish hostility to Rome was greatly inflamed, and feelings were aroused which played an important part in the closely following Jewish War of A.D. 66. It was before Festus that Paul, who had been left a prisoner by Felix, had his final hearing. On this occasion Festus, for the sake of pleasing the -lews, sought to induce Paul to go to Jeru- salem for trial, in opposition to which suggestion the Apostle appealed to Caesar. This appeal re- sulted in Paul's deportation to Rome in the autumn of A.D. 5S (Acts xxv.-xxvi.). See Paul. FESTUS, Sextus Pompeius. A Latin lexi*- cographer of the second century of our era, and one of the most important ancient authorities we have on the Latin language. He made an epitome of the great work of Verrius Flaccus, De 1 < riorum Significatu. This compilation, which was arranged alphabetically in twenty books, was still further abridged in the end of the eighth century by Paul, son of Warnefried, commonly called Paulus Diaeonus. The great work <>f Flaccus has unfortunately entirely perished, and of the abridgment made by Festus only a single manuscript, and that in a deplorably imperfect condition, has survived. It came from Illyria, and fell into the hands of Pomponius Laetus, a distinguished scholar of the fifteenth century. It ultimately passed into the library of Cardinal Farnese, at Parma, and is now preserved at Naples. The work, in spite of all its imperfec- tions, is a storehouse of knowledge on points of mythology, grammar, and antiquities. All pre- vious editions of Festus were of little value com- pared with that of Miiller (Leipzig, 1880), but this is now superseded by the later edition of Thewrewk de Ponor (Budapest, 1889). FET, really Shenshin, Afansiy Afansiye- vitcii (1820-92). A Russian lyric poet. He was born in the Government of Orel. He entered first the faculty of law, and later that of philology, in the Moscow University, but soon joined the army and served in the Russo-Turkish War of 1853-56. Owing to difficulties with the family papers, he assumed his mother's name. Fet, under which he was known until 1875, when officially allowed to resume his real name, Shenshin. His first volume of poems, the Lyric Pantheon (1840), was high- ly successful. In 1860 he became an agriculturist in a country place. Then for nearly two decades he only occasionally contributed articles on agriculture under the title From the Country. In 1877 he settled in the Government of Kursk, and published a series of masterly translations of the Roman poets (Horace. Vergil. Catullus, Ovid. Tibullus. Propertius. Juvenal), translating also into Russian Faust and Schopenhauer's The World as Will and Idea. FETI, l.i'l DOMENICO (called MAWTUAWO, from the fact thai his chief works were executed at Mantua) (1589-1624). An Italian painter, born in Rome. IK' was a pupil of Lorenzo < ardi, called Cigoli. Ferdinand Gonzaga, Duke oi Mantua, appointed him Court painter. Be painted a number of frescoes and works in oil in the cathedra] there, ami then wenl to Venice, where he died, i he victim of his intemperance. I'll i hail considerable ability, but his pictures, though in man] cases powerful in coloring, pos- sess little style, being often ill-managed ■<- t.. light and shade; and the vulgarity oi Eis nature prevented his religious tn being oi a high class. His paintings are well distributed through the galleries of Europe; Dresden eleven of them. The more notable are "David with the Head of Goliath," "The Flight into Egypt," "The Good Samaritan," -'The Parable of the Wine," and "Meditation." FETIALES, fe'shl-a'lez I Lat., speakers, from fari, Gk. tp&vat, phanai, to speak). Roman prii who acted in international affairs as heralds in the announcement of war to a foreign State, and who presided over the solemnities attending the return of peace. Their duties were discharged with much ceremony. They were anciently citi- zens of high birth, were chosen for life, and wen- called pain x patrati. FETID WOOD-WITCH. See Fungi, Edible and Poisonous. FETIS, fa'tes', Francois Joseph (1784-1871). A Belgian composer and writer on music, lie was the son of an organist, and played the organ in his native town (lions) when only ten years of age. He received his musical edu- cation in Paris and then traveled in Germany and Italy, studying the works of the great mas ters. In 1806 he returned to Paris, married a wealthy woman, and was enabled to devote his time to studying the history of music. In 1813 financial misfortunes compelled him to accept the position of organist and instructor in Douai. In 1821 he became professor in the Conservatory of Paris, and published three years later his Traite du eontrepoint et de la fugue. In 1S27 he founded the Revue Musiealc. a journal devoted to musical criticism. In 1833 he was appointed director of the Royal Conservatory of Brussels. The most successful of his operas was /..; re Me (1826), which had a run of one hundred nights; besides, he wrote much sacred and instrumental music. His principal works are: Biographit uni verselle des musiciens ct bibliographie generate ih la musique, in 8 vols. (2d ed. 1860-65) ; Histoire generate de la musique (5 vols., 1S69- 7"i). reaching down to the fifteenth century only; and Traili- complei de la thiorie et de la pratiqui de I'harmonie (11th ed. 1875). Consult Alvin, Notice sur F. J. Fetis (Brussels, 1874). FE'TISHISM (from fetish, Fr. fHiohe, from Port, feitico, artificial, from Lat. facticius, made by art. from facere. to make: the term was originally applied by Portuguese pioneers in western Africa to artifacts adored by the natives and supposed by them to possess magical po- tency). A form of belief and fiducial practice in which supernatural attribute- an- impute, 1 to material objects, especially objects of artificial character; the practice includes sorcery, thauma- turgy, or magic, with various attendant cere-
