MITHRIDATES-MNEMONICS. reconquered the greatest part of Pontus, Bithynia, Cappadocia, and Armenia Minor. Pompey then appeared at the head of the Roman army. After he had in vain offered him peace, and sought a decisive battle, he besieged Mithridates in his camp, not far from the Euphrates. The king thence retreated, but was pursued, attacked in a defile, and totally routed at Nicopolis (B. C. 66); he escaped with only 800 horse. Tigranes would not receive him, and he fled to Colchis. Pompey followed him, and he took refuge in the dominions of a Scythian prince. He was now thought to be dead, until he suddenly reappeared in Pontus, collected troops, and, at the same time, offered terms of peace to Pompey; they could not, however, agree, and the war broke out afresh. The force of the Romans in Pontus was small, and Mithridates made some progress. The inhabitants, however, soon revolted from him, and his neighbours refused him their assistance; nevertheless, his unbending spirit rejected the proposals of peace made by Pompey. He put to death his son Machares, made himself king in Bosphorus, and formed the bold project of penetrating into Gaul (where he had sent ambassadors) at the head of his army, and marching, with the inhabitants, into Italy; but, having encamped at the Cimmerian Bosphorus, an insurrection broke out in his army, at the head of which was his son Pharnazes. Unable to reduce the rebels to their duty, and having taken poison without effect, Mithridates threw himself upon his sword, that he might not fall alive into the hands of the Romans (B. C. 64.) This celebrated monarch ruled Pontus fifty-nine years. MITHRIDATES; the title given to the Allgemeine Sprachenkunde of Adelung and Vater, in which the Lord's prayer is exhibited in nearly five hundred languages and dialects. See Vater. MITRA; a head-dress of the ancient Persian kings. See Infula. 5 this head-dress on a gem published by Natter, and subsequently by Winckelmann, in his Monumenti Inediti (No. 112). Priam, and the Amazons, upon the Homeric monuments, and the Parthian kings, upon several medals, have a similar mitre. The mitre is very frequently met with in early Christian manuscripts, in illuminated missals, and upon the oldest ecclesiastical monuments; this, however, might be expected, since its usage has always been principally ecclesiastical. A statue of St Peter, erected in the seventh century, bears this mark of distinction, in the shape of a round, high, and pyramidal mitre, such as those worn by each of the popes since. Perhaps this statue offers one of the earliest instances of its usage in the Christian churches. See Infula, and Tiara. MITTAU (in Lettonian, Jelgava); a city of Russia; chief city of the government of Mittau (see Courland), lat. 56° 39' N.; lon. 23° 43′ E. It is situated in a low and marshy country, about nine leagues from Riga. The population is 12,000, composed of Russians, Germans, Lettonians, and Jews. The old ramparts have been destroyed. It contains numerous charitable and literary institutions. The old castle, founded by the duke Ernest John, was occupied by Louis XVIII. for several years. Mittau, the ancient residence of the dukes of Courland, was captured by the Swedes in 1701, and recovered by the Russians in 1706. MITTIMUS; a writ by which records are transferred from one court to another. The precept directed to a gaoler, under the hand and seal of a justice of the peace, for the receiving and safe keeping of a felon, or other offender, by him committed to gaol, is also called a mittimus. MIZZEN; the aftermost or hindermost of the fixed sails of a ship. MIZZEN MAST; the mast which supports all the after sails. See Ship. MNEMONICS (from the Greek μmμove, to remember); the art of assisting the memory. In the article Memory, the liveliness with which ideas are often recalled by accidental associations, has been spoken of. This very naturally led men to attach ideas, words, &c., purposely, to certain things familiar to the mind, in order to be assisted by the latter in remembering the former. One kind of mnemonics, and perhaps the earliest, is to attach the idea to be remembered to some impression of the senses, such as the external objects which are most familiar to our eyes (topology, from rozes, place): some persons make use of a picture, arbitrarily drawn, to which they attach the subjects to be remembered, in a certain order (symbolics, from ovμodov, mark); others make use of numbers. There are certain natural aids to the memory, which we all employ; for instance, if we put a piece of paper in a conspicuous spot of our room, or make a knot in a handkerchief, in order to be reminded of certain things at particular times. As to topology, an orator who intends to deliver a long speech without notes, may derive assistance from previously entering the room where he is to speak, and attaching in his mind to certain prominent objects in the room the chief heads of his speech. To remember dates, several methods have been devised. The one proposed in Gray's Memoria Technica is to make certain changes in the names of persons, places, &c., in such a way that the words shall signify also certain numbers, according to a plan previously adopted. A table must be drawn up, similar to the following: Mitra; the ancient Persian goddess of love. MITRE (Greek μrga), in costume; a sacerdotal ornament, worn on the head by bishops and certain abbots on solemn occasions, being a sort of cap, pointed and cleft at top. The high priest among the Jews wore a mitre, or bonnet, on his head. The inferior priests of that nation had likewise their mitres, but in what particulars they differed from that worn by the high priest, is not now certain. Some writers contend that the earlier bishops wore mitres; but this circumstance is also enveloped in a good deal of doubt. Among the primitive followers of Christianity, there was a class of young women who professed a state of virginity, and were solemnly consecrated thereto. These wore a purple and golden mitre, as a badge of distinction. His holiness the pope uses four different mitres, which are more or less rich, adorned according to the nature of the festivals on which they are assumed. The cardinals formerly wore mitres, and some canons of cathedrals in Roman Catholic countries have the privilege of wearing the mitre, which is also borne by several families of distinction in Germany as their crest. But we must look back into remoter ages, in order to find the origin of the use of the mitre. It would seem to have obtained primarily in India. According to several authors, it was first a part of female costume, and when worn by a man was considered as indicative of effeminacy. The fillet, with which Bacchus is often represented as having his head bound, has been denominated mitrephora. A peculiar kind of headdress, covering the whole head, is often found depicted on ancient coins, &c., with pendents, or pointed dewlaps, by means of which, perhaps, this kind of mitre was tied under the chin. This was probably the Phrygiar mitre; for we find Paris with If we now wish to impress in our memory that Julius a e i 0 26 au oi ei ou y 7 8 9 0 k n Cæsar arrived at the supreme power 46 B. C., we may change the Julius into Julios, which will be easily remembered whenever we think of Julius, and os signifies, according to the above plan, 46. If we wish to remember that Alexander the Great founded his empire 331 B. C., we change Alexander into Alexita, ita signifying 331, according to the above. In the same way Cyrus, changed into Cyruts, gives the year of the foundation of his great empire. This method may much facilitate the retaining of facts to a certain extent; but it would seem as if the changes themselves might become too numerous to be easily remembered. Systems of mnemonics of a more general character have been proposed; few, however, or none, have remained in vogue for any length of time. Generally speaking, mnemonics ought to be individual; each individual ought to find out that method of assisting his memory which is most convenient to himself; and this will vary, of course, with his habitual associations. The only true basis of a philosophic memory, however, is just classification. (See Memory.) Considerable aid to the memory may be derived from the use of rhymes, or a rhythmical arrangement of words. Remote antiquity made use of rhythm to preserve the memory of historical facts before the invention of writing. The ancients were well acquainted with mnemonics; according to some, the science came from the east to the Greeks; others consider the poet Simonides as the inventor of them; but such inventions cannot be properly assigned to any particular individual. In the time of Cicero it was known among the Romans (see Cicero De Oratore ii. 86 et seq.; Auct. ad Herenn. iii. 16 seq.; Quinctil. x, 1, 11 seq. After Quinctilian's time, mnemonics again declined. In considering the use of mnemonics by the ancient orators, we should remember that they delivered long orations indeed, but had nothing like our debates, in which a member of a deliberative body sometimes rises, and speaks for hours in succession, recapitulating all which has been said before him on the question, and therefore, to a considerable degree, without premeditation. Most of the systems of mnemonics devised for the ancients, would be useless for a parliamentary orator of the present day. In the place of the ancient mnemonics, the schoolmen used the tabellary method. Conrad Celtes, in the fifteenth century, and Schenkel, in the sixteenth, re-established the ancient system. In modern times, several scholars have given much attention to this subject. Some of the best works are Kastner's Mnemonik, oder die Gedächtnisskunst der Alten (Leipsic, 1805); Systematische Anleitung zur Theorie und Praxis der Mnemonik, by Aretin (Sulzbach, 1810); Feinagle's New Art of Memory, to which is prefixed some Account of the Principal Systems of Artificial Memory (London, 1812); Gray's Memoria Technica (1730). The degree to which the power of memory has been sometimes carried, is almost incredible. Thus Seneca states, that, by the mere effort of his natural memory, he was able to repeat 2000 words upon once hearing them, each in its order, though they had no dependence or connexion on each other. He also mentions Cyneas, ambassador to the Romans from king Pyrrhus, who in one day so well learned the names of the people whom he saw, that the next day he saluted all the senators, and all of the populace assembled, each by his proper name. Pliny says that Cyrus knew every soldier in his army by name, and L. Scipio all the people of Rome. Charmipas, or rather Carneades, when required, it is said, would repeat any volume found in the libraries as readily as if he were reading. Doctor Wallis tells us, that, without the assistance of pen and ink, or any thing equivalent, he was able in the dark, by the | mere force of memory, to perform arithmetical operations, as multiplication, division, extraction of roots, &c., to forty places. It is said of Magliabecchi, that a gentleman, having lent him a manuscript which he was going to print, came to him soon after it was returned, and, pretending that he had lost it, desired him to repeat as much of it as he could; on which Magliabecchi wrote down the whole, without missing a word or varying the spelling. MNEMOSYNE (Greek, Memory), in the Grecian mythology; daughter of Uranus (Calus, Heaven), and Gaia (Terra, Earth), and by Jupiter the mother of the nine Muses. (q. v.) Mo signifies tribe, nation, in many idioms of Southern Africa. MOAB; the land of the Moabites, an Arabian tribe, dwelling in the mountainous region east of the Dead sea, from Zoar to the river Arnon, between the Midianites, Edomites, and Amorites. According to the Mosaic account (Gen. xix. 30), the Moabites were descended from Moab, the son of Lot by his eldest daughter. In the time of the judges, they were for eighteen years masters of the Hebrews, but in the time of David, were rendered tributaries to them. After the Babylonish captivity, they lost their separate national existence. Their principal leaders mentioned in scripture, are Balak and Eglon; their idols were Peor and Chemosh. MOALLAKAT (i. e. the hung up); seven Arabian poems of the time immediately preceding Mohammed, which, on account of their excellence, were suspended in public, on the temple at Mecca. An English translation with arguments, and the Arabic text, was published by Sir W. Jones (London, 1783.) See Arabian Literature. MOAT, or DITCH, in fortification, a deep trench dug round the rampart of a fortified place, to prevent surprises. The brink of the moat next the rampart, is called the scarp; and the opposite one, the counterscarp. A dry moat round a large place, with a strong garrison, is preferable to one full of water; because the passage may be disputed inch by inch, and the besiegers, when lodged in it, are continually exposed to the bombs, grenades, and other fire-works, which are thrown incessantly from the rampart into their works. In the middle of dry moats, there is sometimes another small one called lunette, which is generally dug till the water fills it. The deepest and broadest moats are accounted the best; but a deep one is preferable to a broad one; the ordinary breadth is about twenty fathoms, and the depth about sixteen. To drain a moat that is full of water, a trench is dug deeper than the level of the water, to let it run off, and then hurdles are thrown upon the mud and slime, covered with earth or bundles of rushes, to make a sure and firm passage. MOBILE; a city, port of entry, and capital of Mobile county, Alabama, on the west side of Mobile river, at its entrance into the bay. It is thirty miles north of Mobile point, which is on the east side of the mouth of the bay; fifty-five miles west by north from Pensacola; and 160 east from New Orleans; lat. 30° 40′ N.; lon. 88° 21′ W. In 1813, this town came into the possession of the United States, and then contained about 300 inhabitants. In 1822, its population was estimated at 2800; and in 1830, it contained 3194.-Mobile is situated considerably above the overflow of the river, in a dry and pleasant place; but access to the city is rendered somewhat difficult by a swampy island opposite. It has, moreover, swampy lands and stagnant waters back of it; and near it is a sterile country of pine woods. The city has several times been ravaged by the yellow fever, and has once been almost wholly destroyed by fire. Advantage was taken of the sickliness of Mobile, a few years since, to establish | much sought for on account of its wonderful fathe town of Blakely, on the eastern and opposite culty of imitating the tone of every inhabitant of side of the bay, and ten miles distant from Mobile. the woods, from the twitter of the humming-bird to Besides being healthy, this site has many very impor- the scream of the eagle. But its notes are not entant advantages over Mobile; but the project of estab-tirely imitative; its own song is bold, full, and exlishing it as a substitute for Mobile, entirely failed. ceedingly varied, during the utterance of which it Only New Orleans and Charleston are before Mobile appears in an ecstasy of delight. In confinement, it in the cotton trade, and Charleston is declining, loses little of its power or energy. To use the while Mobile is rapidly increasing. The value of words of Wilson, "He whistles for the dog; Cæsar exports of domestic produce from Alabama in 1829, starts up, wags his tail, and runs to meet his master. was 1,679,385 dollars; and nearly the whole of this He squeaks out like a hurt chicken, and the hen must have been shipped at Mobile. This city has a hurries about, with hanging wings and bristled regular steam-boat communication with New Orleans feathers, clucking, to protect her injured brood. through lake Ponchartrain. During most of the year, The barking of the dog, the mewing of the cat, the steam-boats are constantly plying between this place creaking of the passing wheelbarrow, follow with and the towns on the river, and many vessels are great truth and rapidity. He repeats the tune taught loading at the wharves for distant ports. him by his master, though of considerable length, fully and faithfully. He runs over the quiverings of the canary, or the clear whistlings of the Virginia nightingale or red-bird, with such superior execution and effect, that the mortified songsters feel their own inferiority, and become altogether silent; while he seems to triumph in their defeat, by redoubling his exertions."-The female lays from four to five eggs, of an ash-blue colour, marked with patches of brown; she incubates fourteen days, and is extremely jealous of her nest, being very apt to desert it if much disturbed. During the period when the young are in the nest, neither cat, dog, nor man can approach it without being attacked. When intended for the cage, they are either taken from the nest when they are very young, or at a later period by trap-cages. MOBILE; a river of Alabama, formed by the union of the Alabama and the Tombeckbee. It takes the name of Mobile where these two rivers unite at fort Mimms. It enters Mobile bay by two mouths. The Alabama is the eastern branch, and rises in the Alleghany ridges of Georgia. It receives a number of small streams, and becomes navigable for small sea vessels at fort Claiborne. Similar vessels ascend the Tombeckbee to the mouth of the Black Warrior, eighty miles above St Stephens. At moderate stages of water it affords steam-boat navigation to Tuscaloosa, 320 miles from Mobile. Both these rivers are very favourable to boat navigation. The lands on their borders are excellent, and produce great quantities of cotton. MOBILITY; a contingent property of bodies, but most essential to their constitution. Every body at rest can be put in motion, and if no impediment intervenes, this change may be effected by the slightest external impression. Thus the largest cannon ball, suspended freely by a rod or chain from a lofty ceiling, is visibly agitated by the horizontal stroke of a swan shot which has gained some velocity in its descent through the arc of a pendulum. In like manner, a ship of any burden is, in calm weather and smooth water, gradually pulled along even by the exertions of a boy. A certain measure of force, indeed, is often required to commence or to maintain the motion; but this consideration is wholly extrinsic, and depends on the obstacles at first to be overcome, and on the resistance which is afterwards encountered. If the adhesion and intervention of other bodies were absolutely precluded, motion would be generated by the smallest pressure, and would continue with undiminished energy. MOCHA, or MOKKA; a town on the Arabian sea, in the province of Yemen, with a commodious harbour, and about 6000 inhabitants, including several hundred Jews and about 500 Banians. It is frequented by merchants from the Barbary States, Egypt, Turkey, and India, and by British, French, and North American ships. The coffee which bears the name of the town, is brought down from the interior of the country by caravans. Gum Arabic, copal, mastich, myrrh, frankincense, indigo, senna, and other articles, are exported. The imports are chiefly Indian commodities. The trade is most active between May and August, in which period about 100 ships enter the port. There are several mosques, caravansaries, and European factories here. Lon. 43° 10' E.; lat. 13° 16' N. MOCKING BIRD (turdus polyglottos). This capricious little mimic is of a cinereous colour; paler beneath. It inhabits America from New England to Brazil, but is rare and migratory in the Northern States, whilst it is common and resident in the SouthThis bird, although it cannot vie with most of the American species in brilliancy of plumage, is ern. MODALITY. Kant uses this word for that category (see Kant) which determines the relation of all the ideas of the judgment to our understanding. The logical modality of Kant is, therefore, the manner in which the understanding conceives the connexion and relation of ideas in a judgment; whether we leave something undecided, as in problematical judgments, or give the thing as true, as in assertory judgments, or are obliged to consider a certain connexion of ideas to be true, as in apodictical judgments. For further information, see the article | Kant. MODE; a particular system, or constitution of sounds, by which the octave is divided into certain intervals according to the genus. The doctrine of the ancients respecting modes is rendered somewhat obscure, by the difference among their authors as to the definitions, divisions, and names of their modes. Some place the specific variations of tones, or modes, in the manner of division, or order of the concinnous parts; and others merely in the different tension of the whole; that is, as the whole series of notes are more acute or grave, or as they stand higher or lower in the great scale of sounds. While the ancient music was confined within the narrow bounds of the tetrachord, the heptachord, and octachord, there were only three modes admitted, whose fundamentals were one tone distant from each other. The gravest of these was called the Dorian; the Phrygian was in the middle, and the acutest was the Lydian. In dividing each of these tones into two intervals, place was given to two other modes, the Ionian and the Eolian; the first of which was inserted between the Dorian and Phrygian, and the second between the Phrygian and Lydian. The system being at length extended both upward and downward, new modes were established, taking their denomination from the five first, by joining the preposition hyper (over or above) for those added at the acute extremity, and the preposition hypo (under) for those below. Thus the Lydian mode was followed by the Hyper-Dorian, the Hyper-Ionian, the HyperPhrygian, the Hyper-Eolian, and the Hyper-Lydian, in ascending; and the Dorian mode was succeeded | Reggio, Mirandola, Correggio (birth-place of the by the Hypo-Lydian, Hypo-Æolian, Hypo-Phrygian, Hypo-Ionian, and the Hypo-Dorian, in descending. The moderns, however, only reckon two modes, the major and the minor. The major mode is that division of the octave by which the intervals between the third and fourth, and seventh and eighth, become half tones, and all the other intervals whole tones. The minor mode is that division by which the intervals between the second and third, and fifth and sixth, become half tones, and all the others whole tones. Another distinction also, exists between the major and minor modes; the major mode is the same, both ascending and descending; but the minor mode in ascending sharpens the sixth and seventh, thereby removing the half tone from between the fifth and sixth to the seventh and eighth. celebrated painter), Carpoli, and Rivoli, together with Massa and Carrara, and the former Imperial Fiefs, are united with the duchy of Modena proper to constitute one government; superficial extent of the whole, 2000 square miles; population, 375,000. The territory is fertile and well cultivated, the climate, in general, temperate and healthy, and the principal productions corn, rice, fruits, wine, oil, silk, honey, iron, marble, &c. The income of the state is about 1,500,000 florins; the armed force 2080 men. The ruling house is of the Austrian line of the house of Este (see Este); the government is absolute, and the administration is conducted by one minister and two secretaries; the Austrian civil code is in force. The present ducal house is descended from Cæsar of Este, a cousin (by a morganatic marriage) of the last duke of the former line of Este, which became extinct in 1598. The Pope Clement VIII. then took possession of Ferrara, which had previously formed a part of the Modenese territories, as a reverted fief of the papal see. In 1653, Correggio was added to the duchy by grant of the emperor of Germany, Mirandola, in 1710, and Novellara, in 1737. Hercules III. (died in 1803) married the heiress of the duchy of Massa-Carrara, and left an only daughter, who was married to Ferdinand, archduke of Austria, brother of Leopold II. In 1796, the French took possession of the country, and it was included in the Cisalpine republic, and afterwards in the kingdom of Italy. The present duke Francis IV., the son of the archduke Ferdinand, is prince of Hungary and Bohemia, and archduke of Austria. He was born in 1779, and, in 1812, married a daughter of the king of Sardinia. In 1814, he entered into possession of the estates of his grandfather, by virtue of a reversionary investment conferred on his father by the emperor, and his claims were confirmed by the congress of Vienna. He assumed the name of Este, and thus became the founder of the Austrian line of Este. His mother also entered upon the government of the duchy of Massa-Carrara, which she inherited from her mother, and to which the congress annexed the fiefs in the Lunigiana: on her death, in 1829, these passed to her son. The house of Modena-Este also holds the rich fideicommissa (see Fideicommissum) of the house of Obizzi, in Treviso. The present duke has a son, born in 1819, and two brothers. In consequence of the arbitrary character of the duke's government, an insurrection was organized, and the citizens of Modena, Reggio, Massa-Carrara and other places took arms, with the purpose of extorting from their rulers a more liberal form of government, in February, 1831. The duke was obliged to flee; but in March the Austrian troops entered Modena, at the request of the duke, and restored the authority of the government. MODEL; an original of any kind proposed for copy or imitation. It is used, in building, for an artificial pattern formed in stone or wood, or, as is most commonly the case, in plaster, with all due parts and proportions, for the more correct execution of some great work, and to afford an idea of the effect to be produced. Models in imitation of any natural or artificial substance are usually made by means of moulds of plaster of Paris. In painting, this is the name given to a man or woman who is procured to exhibit him or herself, in a state of nudity, for the advantage of the students. These models are provided in all academies and schools for painting, and the students who have acquired a tolerable use of the pencil are introduced to this kind of study. By this means, the details and porportions of the human shape, the play of the muscles, the varieties of expression, &c., are displayed and inculcated far better than by any course of lectures or any study of former works. It is desirable that the living models used in an academy, or even in a private painting room, should be changed as frequently as possible, or the student is in danger of falling into mannerism. Millin speaks of a model, of the name of Deschamps, who did duty in this way upwards of forty years in the academy at Paris, and comments on the facility with which this person's form and features might be recognized, in every variety of subject or of expression, in the paintings of the students of that period. In sculpture a model implies a figure made of wax or terra cotta, or any other malleable substance, which the artist moulds to guide him in fashioning his work, as the painter first makes a sketch, or the architect a design. When a model of any existing object is to be taken, the original is first to be greased, in order to prevent the plaster from sticking to it, and then to be placed on a smooth table, previously greased, or covered with a cloth, to guard against the same accident; then surround the original with a frame or ridge of glazier's putty, at such a distance as will admit of the plaster resting upon the table, on every MODENA (Mutina); capital of the duchy of the side of the subject, for about an inch, or as much as same name, situated in a fertile plain, on the canal of may be thought sufficient to give the proper degree Modena, which unites the Secchia and the Panaro, of strength to the mould. An adequate quantity of twenty-three leagues from Florence, thirty-six from plaster is then to be poured as uniformly as possible Milan; lat. 44° 38′ N.; lon. 10° 54′ E. It is the see over the whole substance, until it is everywhere of a bishop, and contains an old cathedral, at the covered to such a thickness as to give a proper sub-foot of the tower of which hangs the bucket which stance to the mould, which may vary in proportion was the subject of war between the Bolognese and to the size. The whole must then be allowed to Modenese, and of a mock heroic poem, by Tassoni, continue in this way till the plaster shall have attain-entitled La Secchia Rapita (the Rape of the Bucket), ed its firmness; when the frame being removed, the mould may be inverted, and the subject taken from it; and when the plaster is thoroughly dry, it should be well seasoned. with a large number of churches. The ducal palace has a fine collection of pictures, and a good library of 80,000 volumes. There are also a university and other institutions, literary and charitable. The fortifications are inconsiderable; the population about 25,000. Natives, Sigonius, Muratori, Tassoni, Fallopius. MODERN; that which belongs to recent times. The term modern history is used in different senses. MODILLION-MŒLLENDORF. The Germans often date the end of modern history with the French revolution, and call the rest the most recent history. In the history of art, literature, customs, &c., modern is frequently used in contradistinction to ancient or classical. (q. v.) "Modern civilization," says A. W. Schlegel," arose from the blending together of the elements of Northern origin and the fragments of antiquity." (See Romantic.) In science, modern is also used in contradistinction to ancient; thus we speak of modern philosophy. MODILLION; an ornament resembling a bracket, in the Ionic, Corinthian, and Composite cornices. In Grecian architecture, however, the Ionic order is without modillions in the cornice, as are also the Roman examples of the same order, with the exception of the temple of Concord, at Rome, which has both modillions and dentils. MODON (mothone); a strong city and port of the Morea, on the Mediterranean; lat. 36° 51′ N.; lon. 21o 40 E. It is entirely surrounded by the sea, and connected with the main land by a wooden bridge. The port is unsafe, but important on account of its road and its proximity to the gulf of Coron. The city is small and badly built; the streets narrow and dirty. The Greeks became masters of it in the war of Grecian independence, and, in 1825, Miaulis burned a Turkish fleet in the road. Ibrahim Pacha took possession of Modon soon after his arrival in the Morea, but was compelled by the French to evacuate it in 1828. Previously to the war, the inhabitants amounted to about 7000. (See Morea.) In 1829, they did not exceed 500. 9 by more frequent change of tones, and requires a knowledge of the relation among the various keys, and of the tones connecting them. As it is indispensable, in longer pieces, to carry melody and harmony through several keys, and to return at last to the fundamental, it is necessary, in respect to such modulation, duly to consider the character of the composition, and, in general, whether the modulation has merely in view a pleasing variety, or whether it is intended to serve as the support of a grand and bold expression. Considerations of this kind give to the composer the rules for particular cases, and show where he may depart widely from the principal tone, and where he may remain near it; where he may thus depart suddenly, and perhaps with some harshness, and where his departures ought to be slow and gradual; because such departures are the most important means of musical expression. In pieces of a mild and quiet character, it is not permitted to modulate so often as in those which have to express violent and great passions. Where every thing relating to expression is considered, modulation also must be so determined by the expression that each single idea in the melody shall appear in the tone which is most proper for it. Tender and plaintive melodies ought only to dwell upon the flat tones, while the lighter sharp tones, which must be touched in the modulation, on account of the connexion, ought to be left immediately afterwards. It is one of the most difficult parts of the art to remain steadily without fault in a modulation. It is therefore to be regretted that those who write on the theory of the art, dwell so little on this important subject, and believe themselves to have done enough, if they show how the composer may gracefully leave the principal tone, pass through the circle of all the twenty-four tones, and return at last to the first tone. Piccini had the best views of modulation. "Modulating," he says, "is to pursue a certain path. The ear will follow you; nay, it wishes to be led by you, yet upon condition that, after you have led it to a certain point, it shall find something to reward it for its journey, and to occupy it for some time. If you do not consider its claims, it suffers you to go on, at last, without regard, and every endeavour to attract it again is but lost labour." To conduct a melody according to a given modula tion; never to deviate from it, except for good reason; and in the right time to return to it in the proper way, and without harshness; to make use of changes in the modulation only as means of expression, and, perhaps, for the necessary variety, such are the real difficulties of the art; while to leave immediately a key which has hardly been perceived, to ramble about without reason or object; to leap about because the composer does not know how to sustain himself; in one word, to modulate in order to modulate, is to miss the true aim of the art, and to affect a richness of invention in order to hide the want of it. MODULATION, in music, is, in its most extensive meaning, the diversified and proper change of tones in conducting the melody, or the progression of tones in general, and the sequences of concords. In its narrower sense, modulation signifies that succession of tones by which a musical passage proceeds from one key into another. In quite short pieces, also in long compositions, in which the composition remains for some time in the principal tone before it passes to another, good modulation consists only in continuing for some time melody and harmony in the assumed tone, with proper changes and variety, and at last concluding in that tone. For this it is requisite that, at the very beginning, the concord should become distinctly perceptible by the sound of its essential tones, the octave, fifth, and third; and further, that the melody, as well as harmony, should be carried through the tones of the assumed scale, and that no tones foreign to it should be heard, either in the melody or in the harmony. A variety of concords, nevertheless, is necessary, that the ear may enjoy the necessary variety. The composer ought not, after the fashion of some contracted harmonists, to dwell always on two or three concords, or repeat them in transpositions, much less to return and conclude in the principal tone before the piece or the first strain is finished. The rule to let only those tones be heard which belong to the assumed scale is to be understood thus,-that a tone foreign to the scale ought to be used merely in passing, and to be left again immediately; thus, for instance, in the scale C sharp, one could certainly go through G sharp into A flat, and through F sharp to the dominant, and from this back again to the principal tone, MOLLENDORF, RICHARD JOACHIM HENRY, without violating, by these two tones, foreign to the count von, a Prussian general, born in 1724, was fundamental tone, Csharp, the effect of this scale, educated at Brandenburg, and, in 1740, admitted or destroying it. It is only necessary to avoid tones among the pages of Frederic II., whom he accomtotally foreign to the scale of C sharp; as, for in-panied in the first Silesian war, and was at the batstance, C sharp or D sharp. The second kind of modulation, or that which is so called, in a more restricted sense, requires more knowledge of harmony, and is subject to greater difficulty. It consists in the art of giving to longer pieces the necessary variety, MODULE; an architectural measure; the lower diameter of a column being divided into two parts, one is a module; and each module is divided into thirty minutes; thus neither is a determinate, but a proportionate measure. The term is also sometimes used with reference to the different sizes of medals. tles of Molwitz and Chotusitz. His behaviour procured him promotion, and, in 1746, he obtained a company in the guards. He served at the siege of Prague, in 1757, and at the battle of Rossbach and that of Leuthen; for his conduct on which last occa |