philosophy and theology, that assent which we give to a proposition advanced by another, the truth of which we do not immediately perceive from our own reason or experience; or it is a judgment or assent of the mind, the motive whereof is not any intrinsic evidence, but the authority or testimony of some other who reveals or relates it. Hence, as there are two kinds of authorities and testimonies, the one of God, and the other of man, faith becomes distinguished into divine and human.

Divine Faith, is that founded on the authority of God; or it is that assent we give to what is revealed by God.

The objects of this faith, therefore, are matters of revelation. See Revelation and Religion.

Human Faith, is that whereby we believe what is told us by men. The object hereof is matter of human testimony and evidence. See Metaphysics.

practical theology, makes the first of the theological virtues or graces.

Faith in God, in this sense, denotes such a conviction of his being, perfections, character, and government, as produces love, trust, worship, obedience, and resignation.

Faith in Christ, as it has been defined by some, is a mere assent to the gospel as true; according to others, it signifies such a persuasion that he is the Messiah, and such a desire and expectation of the blessings which he has promised in his gospel to his sincere disciples, as engage the mind to fix its dependence upon him, and subject itself to him in all the ways of holy obedience. See Theology.

Faith, likewise, in respect to futurity, is a moral principle, implying such a conviction of the reality and importance of a future state, as is sufficient to regulate the temper and conduct.

Fidelity, (Fides), was deified by the ancient Romans, and had a temple in the Capitol consecrated to her by Attius Catalinus. Her priests wore white veils; unbloody sacrifices were offered to her, and the greatest oaths were taken in her name. Horace clothes her in white, places her in the retinue of Fortune, and makes her the sister of Justice, Od. 24, 35. l. i. Public faith is represented in a great number of medals; sometimes with a basket of fruit in one hand, and some ears of corn in the other; and sometimes holding a turtle-dove. But the most usual symbol is two hands joined together. The inscriptions are generally, Fides Augufl, Fides Exercitus, or Fides Militum, &c.

Faithful, an appellation assumed by the Mahometans. See Mahometans.

Faithorn (William), an ingenious English artist, a native of London, was the disciple of Peak the painter, and worked with him three or four years. At the breaking out of the civil war, Peak espoused the cause of his sovereign; and Faithorn, who accompanied his master, was taken prisoner by the rebels at Baringhouse, from whence he was sent to London, and confined in Aldergate. In this uncomfortable situation he exercised his graver; and a small head of the first Villars duke of Buckingham, in the style of Melan, is reckoned among his performances at that time. The solicitations of his friends in his favour at last prevailed; and he was released from prison, with permission to retire to the continent. In France he found protection and encouragement from the Abbé de Marolles; and at this time it was that he formed an acquaintance with Nanteuil, from whose instructions he derived very considerable advantages. About the year 1650 he returned to England, and soon after married the sister of a Captain Ground. By her he had two sons; Henry, who was a bookseller, and William an engraver in mezzotinto. Faithorn opened a shop near Temple-Bar, where he sold not only his own engravings, but those of other English artists, and imported a considerable number of prints from Holland, France, and Italy. About the year 1680, he retired from his shop, and resided in Printing-House Yard; but he still continued to work for the bookellers, especially Royton, Martin, and Peake the younger, his former master's brother. He painted portraits from the life in crayons; which art he learned of Nanteuil during his abode in France. He also painted in miniature; and his performances in both these styles were much esteemed. His spirits were broken by the indiscretion and dissipation of his son William; and a lingering consumption put an end to his life in 1691. He wrote a book Upon Drawing, Graving, and Etching, for which he was celebrated by his friend Thomas Flatman the poet.