[4] H. Brunner, Zeitschr. der sav. Stift. für Rechtsgeschichte, Germ. Abth. viii. 1-38 (1887). Also in his Forschungen, 39-74 (1894).
[5] See F. Dahn, Könige der Germanen, viii. 2, 90 ff.
[6] F. Dahn, Könige der Germanen, viii. 2, 197.
[7] G. Waitz, Deutsche Verfassungsgeschichte, vi. 112 ff. (1896). Most fully described in G. Seeliger, Die soziale u. politische Bedeutung d. Grundherrschaft im früheren Mittelalter (1903).
[8] F. Dahn, Könige, viii. 2, 89-90; 95.
FEUERBACH, ANSELM (1829-1880), German painter, born at Spires, the son of a well-known archaeologist, was the leading classicist painter of the German 19th-century school. He was the first to realize the danger arising from contempt of technique, that mastery of craftsmanship was needed to express even the loftiest ideas, and that an ill-drawn coloured cartoon can never be the supreme achievement in art. After having passed through the art schools of Düsseldorf and Munich, he went to Antwerp and subsequently to Paris, where he benefited by the teaching of Couture, and produced his first masterpiece, “Hafiz at the Fountain” in 1852. He subsequently worked at Karlsruhe, Venice (where he fell under the spell of the greatest school of colourists), Rome and Vienna. He was steeped in classic knowledge, and his figure compositions have the statuesque dignity and simplicity of Greek art. Disappointed with the reception given in Vienna to his design of “The Fall of the Titans” for the ceiling of the Museum of Modelling, he went to live in Venice, where he died in 1880. His works are to be found at the leading public galleries of Germany; Stuttgart has his “Iphigenia”; Karlsruhe, the “Dante at Ravenna”; Munich, the “Medea”; and Berlin, “The Concert,” his last important picture. Among his chief works are also “The Battle of the Amazons,” “Pietà,” “The Symposium of Plato,” “Orpheus and Eurydice” and “Ariosto in the Park of Ferrara.”
FEUERBACH, LUDWIG ANDREAS (1804-1872), German philosopher, fourth son of the eminent jurist (see below), was born at Landshut in Bavaria on the 28th of July 1804. He matriculated at Heidelberg with the intention of pursuing an ecclesiastical career. Through the influence of Prof. Daub he was led to an interest in the then predominant philosophy of Hegel and, in spite of his father’s opposition, went to Berlin to study under the master himself. After two years’ discipleship the Hegelian influence began to slacken. “Theology,” he wrote to a friend, “I can bring myself to study no more. I long to take nature to my heart, that nature before whose depth the faint-hearted theologian shrinks back; and with nature man, man in his entire quality.” These words are a key to Feuerbach’s development. He completed his education at Erlangen with the study of natural science. His first book, published anonymously, Gedanken über Tod und Unsterblichkeit (1830, 3rd ed. 1876), contains an attack upon personal immortality and an advocacy of the Spinozistic immortality of reabsorption in nature. These principles, combined with his embarrassed manner of public speaking, debarred him from academic advancement. After some years of struggling, during which he published his Geschichte der neueren Philosophie (2 vols., 1833-1837, 2nd ed. 1844), and Abälard und Heloise (1834, 3rd ed. 1877), he married in 1837 and lived a rural existence at Bruckberg near Nuremberg, supported by his wife’s share in a small porcelain factory. In two works of this period, Pierre Bayle (1838) and Philosophie und Christentum (1839), which deal largely with theology, he held that he had proved “that Christianity has in fact long vanished not only from the reason but from the life of mankind, that it is nothing more than a fixed idea” in flagrant contradiction to the distinctive features of contemporary civilization. This attack is followed up in his most important work, Das Wesen des Christentums (1841), which was translated into English (The Essence of Religion, by George Eliot, 1853, 2nd ed. 1881), French and Russian. Its aim may be described shortly as an effort to humanize theology. He lays it down that man, so far as he is rational, is to himself his own object of thought. Religion is consciousness of the infinite. Religion therefore is “nothing else than the consciousness of the infinity of the consciousness; or, in the consciousness of the infinite, the conscious subject has for his object the infinity of his own nature.” Thus God is nothing else than man: he is, so to speak, the outward projection of man’s inward nature. In part 1 of his book he develops what he calls the “true or anthropological essence of religion.” Treating of God in his various aspects “as a being of the understanding,” “as a moral being or law,” “as love” and so on, Feuerbach shows that in every aspect God corresponds to some feature or need of human nature. “If man is to find contentment in God, he must find himself in God.” In part 2 he discusses the “false or theological essence of religion,” i.e. the view which regards God as having a separate existence over against man. Hence arise various mistaken beliefs, such as the belief in revelation which not only injures the moral sence, but also “poisons, nay destroys, the divinest feeling in man, the sense of truth,” and the belief in sacraments such as the Lord’s Supper, a piece of religious materialism of which “the necessary consequences are superstition and immorality.” In spite of many admirable qualities both of style and matter the Essence of Christianity has never made much impression upon British thought. To treat the actual forms of religion as expressions of our various human needs is a fruitful idea which deserves fuller development than it has yet received; but Feuerbach’s treatment of it is fatally vitiated by his subjectivism. Feuerbach denied that he was rightly called an atheist, but the denial is merely verbal: what he calls “theism” is atheism in the ordinary sense. Feuerbach labours under the same difficulty as Fichte; both thinkers strive in vain to reconcile the religious consciousness with subjectivism.
During the troubles of 1848-1849 Feuerbach’s attack upon orthodoxy made him something of a hero with the revolutionary party; but he never threw himself into the political movement, and indeed had not the qualities of a popular leader. During the period of the diet of Frankfort he had given public lectures on religion at Heidelberg. When the diet closed he withdrew to Bruckberg and occupied himself partly with scientific study, partly with the composition of his Theogonie (1857). In 1860 he was compelled by the failure of the porcelain factory to leave Bruckberg, and he would have suffered the extremity of want but for the assistance of friends supplemented by a public subscription. His last book, Gottheit, Freiheit und Unsterblichkeit, appeared in 1866 (2nd ed., 1890). After a long period of decay he died on the 13th of September 1872.