FEUDALISM. 571 FEUERBACH. phases of feudalism. Luchaire, Manuel des insti tutions frangaises (Paris, 1892); Esmciii, I'mirs ilimentaire d'hisloire du droit frangais (Paris, 1892) ; Seignobos, Feudal R6gime, translation by Dow (New York, 1902) ; Secrelau, Essai SUT la fdodalite (2 vols., Lausanne, 1858) ; Flach, Ori- gines de I'ancienne France (2 vols., Paris, L866- 93); Viollet, Histoire des institutions politigues (Paris, 1891); Boutaric, Institutions militavrea de la France (Paris, 1803) ; Gautier, f,<i chevale- rie (Paris, 1895); Schultz, Das hdfische Leben zur Zeit der Minnesinger .(2 vols., Leipzig, 1879- 90). FEUDAL SYSTEM. See Feudalism. FEUDAL TENURE. The system by which land was generally held in western Europe dur- ing the Middle Ages. It allowed one man to hold the title while the use belonged to some one else. The former was known as the lord or suzerain, while the latter was the vassal, and owed service for the land. If the vassal was a noble, his service was generally of a military nature, while if he was a villein, his service was usually in the form of work on his lord's es- tate. The noble's land was known as a fief (q.v.), and there was nothing to prevent him from hold- ing of several lords, but the one to whom he owed service primarily was known as liege lord. In some parts of Europe the feudal system had made little or no headway. Here property was held in fee simple, which was known as allodial tenure, and the separate estate was the allodium. See Feudalism. FEU-DE-JOIE, fe de zhwa (Fr., fire of joy). A form of musketry fire reserved for the celebra- tion of some joyful event, as, for example, the observance of the King of England's birthday in the British Army. The troops are formed in line, in two ranks, at open order. On the command present, rifles are brought to that position, with the muzzles pointing upward, care being taken to secure a uniform angle of elevation. On the com- mand fire, the right-hand man of the front rank discharges his rifle, followed at scarcely percep- tible intervals by the men on his left successively. When the extreme left of the front rank is reached, the left-hand man of the rear rank imme- diately follows, the fire being similarly continued until the extreme right is attained, when the round is completed. Three rounds, as a rule, are fired on such occasions. The random or independ- ent discharge of firearms in the air. common to Indians, and other uncivilized bodies of war- riors, might be termed a feu de joie. FEUERBACH, foi'er-bao, Anselm von ( 1829- 80). A German historical painter, born at Spey- er, the son of the archaeologist Anselm Feuer- bach( 1798-1851). His artistic proclivities having been early awakened in the course of his educa- cation at Freiburg (1836-40), he went to Diissel- dorf in 1846, where he studied under Schadow, and later to Munich, to work under Rahl. In order to perfect himself in coloring, he proceeded to Antwerp in 1850. and thence to Paris. Under the guidance of Couture, he acquired that minute finish of form and broad ooloristie treatment which are characteristic of his works. The first of these was "Hafiz at the Inn" (1852). Leav- ing Paris in 1S53, he painted at Karlsruhe the "Death of Pietro Aretino" (1854), and in 1855 went to Italy, with a stipend from the Govern- ment; working first in Venice, where he made Vol. VII.— 37. a masterly copy of Titian umption," and painted a Colo al Figure oi Pa bovi in the Karlsruhe Gallery. From 1858 to 1872 he was in Rome, where, absorbed in the en thusiast ic stud} oi I hi at Italia . he developed his individual style. The first fruit of this tendency was hi Danb it h the Women of Ravenna" I 1858). In Rome Feuerb found a munificent patron in Baron von Sens who acquired a number oi bis canvases for his famous colli el ion in Munich, among I hem the impressive "Pieta" | L863), be- sides "Francesea da Rimini and Paolo" l 1864), "Ariosto with the Ladie at Ferrara," "Hafiz at the Fountain" (1866), "Laura and Petrarch at Avignon. "Idy] from Tivoli." From his sojourn in Rome also dates the charming "-Madonna Sur- rounded by Angels Making Music" (1800), in the Dresden Gallery. More and more he confined his choice of subjects to the antique world, striving to give expression to his ideal — the cult of beauty — in serious and lofty themes, blending the cla [ cal traditions of the Italian Renaissance with the romantic spirit, imbued with a noble sentiment distinctly his own. Thus originated 'The Ban- quet of Plato" (1867), in the Karlsruhe Gallery, a second conception of which, on a larger scale (1873). is in the National Gallery in Berlin; "-Medea Preparing for Flight" (1870), in the V» Pinakothek at Munich; "The Judgment of Paris" (1870), in the Hamburg Gallery, one of his most forceful compositions; and "Iphigeniain Tauris" (1871), his crowning effort. In 1873 Feuerbach was appointed professor at the Vienna Academy, but resigned in 1877. and retired to Venice, where he died. His last work was the exquisite though unfinished "Concert of Venetian Girls" (1878), in the National Gallery in Ber- lin. Consult: Ein VermM-chtnis von Anselm Feuer- bach (Vienna, 3d ed. 1890), containing autobio- graphical notes: Pecht. in Zeitschrift fur bilcU nde Kunst, viii. (Leipzig, 1873) ; and Allgeyer, Anselm Feuerbach. Sein Leben und seine Kunst (Bamberg, 1894). FEUERBACH, Ludwig Andreas (1804-72). A German philosopher, fourth son of Paul Johann Anselm Feuerbach. He was born at Landshut. After studying theology for two years at Heidelberg under Paulus and Daub, in 1S24 he was attracted to Berlin for the purpose of hearing Hegel, and soon afterwards he abandoned theology to devote himself entirely to philosophy. In 1828 he became privat-docent in the University of Erlangen, but in a few years quitted the academical chair, and gave up his whole time to literary labor, residing at Bruckberg near Bay- reuth till I860, when he settled near Nuremberg. In a small anonymous work [Qedanken iiber Tod und Unsterblichkeit, 1830). he indicated that be had already gone beyond the standpoint of his mas- ter, Hegel, by combating the doctrine of immortal- ity. During the next few years he published three works on portions of the history of philosophy, I Mating severely the periods from Bacon to Spinoza, of Leibnitz, and of Baylc. But these his- torical works only paved the way to a critical investigation into the nature of religion and its relation to philosophy. The most celebrated re suit of this is his work on the nature of Christianity (Das Wesen des Christentw L841), which was translated into English by George Eliot, under the title The Essence of
