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ment he was twice arrested as a spy; and, in the popular cantons, was frequently forced to work by moonlight, in order to avoid the jealousy of the peasants, who imagined that their liberty would be endangered should such a plan of their country be taken. Being often obliged to remain on the tops of some of the Alps, where no provisions could be procured, he took along with him a few milch goats. When any part was finished he sent for the people residing near the spot, and desired them to examine each mountain with accuracy, to see whether it corresponded, as far as the smallness of the scale would admit, with its natural appearance; and then, by frequently retouching, he corrected the leficiencies. Even after the model was finished he continued his Alpine expeditions with the same ardor as ever, and with a degree of vigor that would fatigue a much younger person. All his elevations were taken from the level of the lake of Lucerne which, according to Saussure, is 1408 feet above the level of the Mediterranean.

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 it is customary for the students who have acquired a tolerable use of the pencil to be introduced to this kind of study, and urged to exertion and emulation in it. By this means the details and proportions 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. The term model is, however, at the same time extended to the great masters and to their admirable performances, and it is clear that the enlarged meaning we first applied to it fully warrants such an extension.

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 grows quite facetious in alluding to the facility with which this person's form and features might be recognised, in every variety of subject or of expression, in all the paintings of the students of that period.

MODENA, a duchy of Italy, extending between the Po and the Appennines, which bound it north and south; or from long. 9° 54′ to 11° 20' E., and from lat. 44° 6' to 44° 55' N. It is bounded east by the states of the church, and west by Parma, and is an inland tract of country, eightyfour miles in length, with a medium breadth of twenty-five. The territory, strictly speaking, consists only of the six districts of Modena, Reggio, Mirandola, Correggio, Carpi, and Navellara; but the principality of Massa and Carrara will by law revert, on the death of its present sovereign, to the house of Modena. The extent and population of the six districts of Modena Proper is 1740 square miles, with 332,000 inhabitants; Massa and Carrara is 320 square miles, with 38,000 inhabitants. Total 2060

square miles, and 370,000 inhabitants. The chief towns are Modena, having 20,000 inhabitants; Reggio 13,300; Massa 10,000; Mirandola 8200; Navellara 4100; Correggio 3500.

The country is one gently undulating plain, rising into considerable elevations, but not mountainous, except in the southern provinces, where it is traversed by the Appennines. Its rivers are the Po, the Crostolo, the Panaro, and the Secchia, and a number of small tributary streams and rivulets. The climate is beautifully mild and clear, and the soil rich and fruitful, except in the higher districts, in corn, wine, olives, mulberrytrees, hemp, and pasturage, but the corn raised is not equal to the consumption. Cattle are reared in large numbers; bees likewise are objects of attention; but the chief article of culture and manufacture is silk. The other manu factures consist of canvas, leather, paper, and glass. The best marble of Italy is found at Carrara, and a kind of mineral oil (olio di fossa) in various subterraneous cavities; also amber and petroleum.

This duchy forms a small independent state, possessed in full sovereignty by the archduke of Este. The revenue is £140,000 sterling, and the regular troops 1500 men. The family is one of the most ancient in Europe. In 1796 the duke was expelled by the French, and soon after resigned his claims in favor of his son-inlaw the archduke Ferdinand of Austria. In the treaty of Campo Formio, the Modenese possessions were incorporated with the Cisalpine republic, and the archduke received as an indemnity the Brisgall and Ortenall in Suabia. In 1814 the congress of Vienna restored to the archduke Francis of Este the territory of Modena, with the limits which it had before the peace of Campo Formio; and gave to his mother, the archduchess Maria Beatrix, the duchy of Massa and principality of Carrara, to revert, on the death of the archduchess, to her son.

MODENA, the capital of the above duchy, is situated in a delightful valley between the Panaro and Secchia. It has a citadel, and is surrounded with ramparts, which together however have little strength. The houses are well built, and the streets clean and regular. The finest is the Strada Maestra, but almost all of them are bordered with arcades. The population is about 20,000. The best public building is the ducal palace, situated in a large square. The cathedral is a mean Gothic building, only remarkable for its marble tower, said to be one of the highest in Italy. The other churches claim little attention, with the exception of those of St. Vicenzo and St. Agostino. The college is spacious and handsome; its library containing about 80,000 volumes, among which are many rare editions of the fifteenth century, and several valuable MSS. The traveller finds here better inns and baths than in most other places in Italy. The trade is not considerable. It is twenty-two miles W. N. W. of Bologna, and thirty E. S. E. of Parma.

MODERATE, adj. & v. a. Fr. moderé;
MOD'ERATELY, adv.
Ital. moderato;
MOD'ERATENESS, n. s.
Lat. moderatus.
MOD'ERATOR.
Temperate; so-

ber; qualified; reasonable; mild; not in an extreme: hence to regulate; restrain; pacify; qualify; repress: the adv. & n. s. corresponding: a moderator is a person who acts with a view to calm or restrain others; and particularly one who presides with this view at a disputation or discussion.

Sound sleep cometh of moderate eating, but pangs of the belly are with an insatiable man.

Ecclus. xxxi. 20. With equal measure she did moderate The strong extremities of their rage. Spenser. Was it the purpose of these churches, which abolished all popish ceremonies, to come back again to the middle point of evenness and moderation?

Hooker.

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By moderation either state to bear, Prosperous or adverse. Milton's Paradise Lost. Angling was, after tedious study, a calmer of unquiet thoughts, a moderator of passions, and a proWalton. curer of contentedness.

How does Philopolis seasonably commit the opponent with the respondent, like a long-practised moderator? More.

Each nymph but moderately fair,
Commands with no less rigor here. Waller.

corruption of hodiernus, 'vel potius ab adverbio
modò, modernus, ut à die diurnus.' Late; re-
cent; arising in late time: Shakspeare uses it
for vulgar, common: as a substantive it is chiefly
used in the plural, for those who live or have
lived in recent times: to modernise is to adapt
something ancient to modern form or usage: a
modernism is something unduly modern or un-
classical, being itself a modernism' of Swift's:
modernness, lateness; novelty.

Trifles, such as we present modern friends withal.
Shakspeare.

The justice,

With eyes severe and beard of formal cut, Full of wise saws and modern instances. Id. Some of the ancient, and likewise divers of the modern writers, that have laboured in natural magic, have noted a sympathy between the sun and certain herbs.

Bacon.

There are moderns who, with a slight variation,
Boyle on Colours.
adopt the opinion of Plato.
The glorious parallels then downward bring
To modern wonders, and to Britain's king.
Prior.

Some by old words to fame have made pretence;
Antients in phrase, mere moderns in their sense!

Pope.

Scribblers send us over their trash in prose and verse, with abominable curtailings and quaint modernisms. Swift.

In this part of our work, where caprice has long wantoned without control, and vanity sought praise by petty reformation, I have endeavoured to proceed with a scholar's reverence for antiquity. I have at

More moderate gifts might have prolonged his tempted a few alterations, and among these perhaps

date,

Too early fitted for a better state.

Dryden.

These are tenets which the moderatest of the Romanists will not venture to affirm.

Smalridge.

Ye swarthy nations of the torrid zone, How well to you is this great bounty known! For frequent gales from the wide ocean rise To fan your air, and moderate your skies.

Blackmore.

A zeal in things pertaining to God, according to knowledge, and yet duly tempered with candour and prudence, is the true notion of that much talked of, much misunderstood virtue, moderation.

Atterbury.

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the greatest part is from the modern to the ancient practice. Dr. Johnson's Preface to Dictionary.

MOD'EST, adj.
MOD'ESTLY, adv.
MOD'ESTY, n. s.
MODESTY-PIECE.

Fr. modeste; Ital. Span. and Port. modesto; Lat. modestus, from modus. Strictly; in the perfect

mode or right manner: chaste; becoming; moderate; not forward, impudent, or presuming: modesty is opposed, therefore, both to arrogance and looseness, or licentiousness of behaviour: modesty-piece is defined in the extract.

They cannot with modesty think to have found out absolutely the best which the wit of man may devise. Hooker.

Resolve me with all modest haste, which way Thou mightest deserve, or they impose this usage. Shakspeare.

Mrs. Ford, the honest woman, the modest wife; the virtuous creature, that hath the jealous fool to her husband.

Bid the cheek be ready with a blush
Modest as morning, when she coldly eyes
The youthful Phoebus.

Id.

Id. Troilus and Cressida.
A lord will hear you play;
But I am doubtful of your modesties,
Lest over-eying of his odd behaviour,
You break into some merry passion.

Shakspeare.
True piety is modest, and stands not upon terms
of reputation, in the business of God.
Bp. Hall.

Poverty is like a girdle about our loins, it binds hard, but it is modest and useful. Jer. Taylor.

Her face, as in a nymph, displayed
A fair fierce boy, or in a boy betrayed
The blushing beauties of a modest maid.

Dryden.

During the last four years, by a modest computatation, there have been brought into Brest above six millions sterling in bullion. Addison. A narrow lace which runs along the upper part of the stays before, being a part of the tucker, is called the modesty-piece. Id. Tho' learned, well-bred; and tho' well-bred, sin

cere,

Modestly bold, and humanly severe.

First he modestly conjectures,

His pupil might be tired with lectures : Which helped to mortify his pride, Yet gave him not the heart to chide. Of boasting more than of a tomb afraid; A soldier should be modest as a maid.

Pope.

Swift.

Young.

Talk not to a lady in a way that modesty will not permit her to answer.

Clarissa.

MODICA, a district and town of southern Sicily, in the Val di Noto: the district, about thirty miles in length and ten in breadth, contains five other good towns, and about 80,000 inhabitants. It has an independent court of justice. The town is situated on the river Scieli, and surrounded by some of the most imposing scenery of this beautiful island; where the fruits of almost all climates mingle, and the corn, wine, and oil are abundant. Its manufactures are chiefly domestic, and the inhabitants are largely connected with agriculture. They are said to amount to upwards of 20,000. It is thirty miles W.S W. of Syncum, and forty-five S. S. W. of Catania.

MOD'ICUM. Lat. modicum. A small portion or pittance.

What modicums of wit he utters: his evasions have ears thus long. Shakspeare. Troilus and Cressida. Though hard their fate,

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A cruise of water, and an ear of corn,

Cowper.

Yet still they grudged that modicum. Dryden. Though nature weigh our talents, and dispense To every man his modicum of sense, And conversation in its better part May be esteemed a gift, and not an art, Yet much depends, as in the tiller's toil, Ön culture and the sowing of the soil. MODIFY, v. a. & v. n.“ Fr. modifier, of MODIFI'ABLE, Or Lat. modo and facere. MODIFICABLE, adj. To change the mode, MODIFICATION, n. s. external shape, or qualities of a thing: hence to soften; to moderate; and, as a neuter verb, to extenuate: the adjective and noun substantive follow these sig

nifications.

Yet there is that property in all letters, of aptness to be conjoined in syllables and words through the voluble motions of the organs, that they modify and discriminate the voice without appearing to discon

tinue it.

Holder.

The chief of all signs is human voice, and the several modifications thereof by the organs of speech, the letters of the alphabet, formed by the motions of the mouth. Id.

Dryden.

Of his grace He modifies his first severe decree, The keener edge of battle to rebate. After all this descanting and modifying upon the matter, there is hazard on the yielding side.

L'Estrange.

It appears to be more difficult to conceive a distinct, visible image in the uniform, invariable essence of God, than in variously modifiable matter; but the manner how I see either still escapes my comprehension.

Locke.

which fell upon the paper, did, without any confine The middle parts of the broad beam of white light of shadow to modify it, become coloured all over with one uniform colour, the color being always the same in the middle of the paper as at the edges. Newton.

tion, are neither inherent in a matter as such, nor If these powers of cogitation, volition and sensaacquirable to matter by any motion and modification of it, it necessarily follows that they proceed from some cogitative substance, some incorporeal inhabitant within us, which we call spirit. Bentley.

As the generality of meat-roasting, with its several modifications, as to beef, mutton, pullets, &c., does not inhere in any one part of the jack; so neither tion, intellection, volition, &c., inhere in any one, does consciousness, with its several modes of sensathe whole animal. but is the result from the mechanical composition of Pope.

MODIL'LON. Fr. modillon; Lat. modiolus. A kind of bracket.

The modillons or dentelli make a noble shew by their graceful projections. are often set under the corinthian and composite Spectator. Modillons, in architecture, are little brackets which orders, and serve to support the projecture of the larmier or drip this part must be distinguished from the great model, which is the diameter of the pillar; for, as the proportion of an edifice in general depends on the diameter of the pillar, so the size and number of the modillons, as also the interval between them, ought to have due relation to the whole fabrick.

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Hypocrisy, at the fashionable end of the town, is very different from hypocrisy in the city; the modish hypocrite endeavours to appear more vitious than he really is, the other kind of hypocrite more virtuous. Addison's Spectator.

MODREVIUS (Andrew Frichius), secretary to Sigismund Augustus king of Poland, who acquired considerable reputation by his learning ing the Lutherans and Antitrinitarians, and and works. He left the Romish church, favorunder the same communion. Grotius has placed took great pains to unite all Christian societies him among the reconcilers of the different schemes of religion. His principal work is entitled De Republicâ Emendendâ ; printed in

1554.

MOD'ULATE, v.a. MODULATION, n. s. MOD'ULATOR.

Lat. modulor. To form sounds to a given key, or into concord: modulation is the act of doing this, or the harmony affected; a modulator he who modulates.

The nose, lips, teeth, palate, jaw, tongue, weasand, lungs, muscles of the chest, diaphragm, and muscles of the body, all serve to make or modulate the sound. Grew's Cosmologia.

The speech, as it is a sound resulting from the but, as it is uttered by the tongue, has immediate cogmodulation of the air, has most affinity to the spirit, nation with the body, and so is the fittest instrument

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Anon.

Echo propagates around Each charm of modulated sound. MODULATION, in reading. See READING. MODULATION, in music, is susceptible of several different significations. It frequently means no more than an air, or a number of musical sounds properly connected and arranged. Thus it answers to what Mr. Malcolm understands by the word tune when he does not expressly treat concerning the tuning of instruments. Thus likewise it expresses the French word chant; for which reason, in music, the one word is often expressed by the other. But the precise and technical acceptation to which it ought to be confined is the art of composing melody or harmony agreeably to the laws prescribed by any particular key, that of changing the key, or of regularly and legitimately passing from one key

to another.

Modulation, says Rousseau, is properly the manner of ascertaining and managing the modes; but at this time the word most frequently signifies the art of conducting the harmony and the air successively through several modes, in a manner agreeable to the ear, and conformed to rules. If the different modes be produced by harmony, thence likewise must spring the laws of modulation. These are simple in conception, but difficult in practice. To modulate properly in the same tone it is necessary, 1. To run through all the sounds of it in an agreeable air, frequently repeating the sounds most essential to it, and dwelling upon these with the most remarkable emphasis; that is to say, that the chord containing the sensible notes, and that of the tonic, should frequently be heard in it, but under different appearances, and obtained by different procedures to prevent monotony. 2. That reposes or cadences should only be established upon these two chords: the greatest liberty, however, which ought to be taken with this rule is, that a cadence or repose may be established on the chord of the subdominant. 3. In short that none of the sounds of the mode ought ever to be altered; for without quitting it we cannot introduce a sharp or a flat which does not belong to it, nór abstract any one which in reality does belong to it. But, passing from one mode to another, we must consult analogy, we must consider the relations which a key bears to the other notes in the series, and to the number of sounds common to both the modes, that from which

we pass, and that into which we enter. If we pass from a mode major, whether we consider the fifth from the key as having the most simple relation with it except that of the octave, or whether we consider it as the first sound which enters into the harmonics of the same key, we' shall always find that this fifth, which is the dominant of the mode, is the chord upon which we may establish the modulation most analogous to that of the principal key. This dominant, which constituted one of the harmonics of the first key, makes also one of its own peculiar key, of which it is the fundamental sound. There is then a connexion between these two chords. Besides, that same dominant carrying, as well as the tonic, a perfect chord major upon the principle of resonance, these two chords are only different one from the other by the dissonance, which, passing from the key to the dominant, is the sixth superadded, and when reascending from the dominant to the key is the seventh. Now these two chords, thus distinguished by the dissonance which is suitable to each, by the sounds which compose them when arranged in order, form precisely the octave, or the diatonic scale, which we call a gammut, which determines the mode. This series of the key, altered only by a sharp, forms the scale belonging to the mode of the dominant; which shows how striking the analogy is between these two tones, and gives the easiest opportunity of passing from one to the other by means of one single alteration alone. The mode then of the dominant is the first which presents itself after that of the key in the order of modulations. The same simplicity of relations which we find between a tonic and its dominant is likewise found between the same tonic and its subdominant: for that fifth, in ascending, which is formed by the dominant with the tonic, is likewise formed by the sub-dominant in descending: but that subdominant does not form a fifth with the tonic, except by inversion; it is directly a fourth if we take that tonic below, as it ought to be; and which fixes the degree of their relations: for in this sense the fourth, whose ratio is as 3 to 4, immediately follows the fifth, whose ratio is as 2 to 3. So that, if that subdominant does not enter into the chord of the tonic, in return the tonic enters into its perfect chord. For let ut mi sol be the chord of the tonic, that of the sub-dominant shall be fa la ut: thus it is the ut which here forms the connexion, and the two other sounds of this new chord, are exactly the two dissonances of the preceding. Besides we need not alter more sounds for this new mode than for that of the dominant; they are both in the one and the other quite the Same chords of the principal mode, except one. Add a flat to the sensible note si or B, and all the notes in the mode of ut or C will serve for that of fa or F. The mode of the sub-dominant then is scarcely less analogous to the principal mode than that of the dominant. After having made use of the first modulation in order to pass from a principal mode ut or C, to that of the dominant sol or G, we are obliged to make use of the second to return to the principal mode: for, if sol or G be the dominant in the mode of ut or C, ut is the subdominant in the mode of sol:

thus one of these modulations is no less necessary than the other. The third sound which enters into the chord of the tonic is that of the third formed by its mediant; and after the preceding it is likewise the most simple of relations, . Here then is a new modulation which presents itself, and which is so much the more analogous, because two of the sounds of the principal tonic enter likewise into the minor chord of its mediant for, the former chord being ut mi sol, the latter must be mi sol si, where it may be perceived that mi and sol are common. But what renders this modulation a little more remote is the number of sounds which are necessary to be altered, even for the minor mode, which is most

suitable to this mi.

Rousseau, in his Musical Dictionary, has given the formula of a scale both for the major and minor; now, by applying this formula to the minor mode, we find nothing in reality but the fourth sound fa heightened by a sharp in ascending; but in rising we find two others which are altered, viz. the principal tonic ut, and its second re, which here becomes a sensible note: it is certain that the alteration of so many sounds, and particularly of the tonic, must remove the mode and weaken the analogy. If we should invert the third as we have inverted the fifth, and take that third below the tonic on the sixth note la which ought here to be called a sub-mediant, or the mediant below, we shall form upon this note la a modulation more analogous to the principal tone than that of mi; for, as the perfect chord of this sub-mediant is la ut mi, there once more we find, as in that of the mediant, two of the sounds which enter into the chord of the tonic, viz. ut and mi: and moreover, since the scale of this new key is composed, at least in descending, of the same sounds with that of the principal key; and since it has only two sounds altered in ascending, i. e. one fewer than the series of the mediant, it follows that the modulation of this sixth note is preferable to that of the mediant; and by so much the more that there the principal tonic forms one of the sounds essential to the mode; which is more proper for approximating the idea of the modulation. The mi may afterwards follow. Here then are four sounds, mi fa sol la, upon each of which we may modulate in passing from the major mode of ut. Re and si remain, which are the two harmonics of the dominant. This last, as being a sensible note, cannot become a tonic by any proper modulation, at least it cannot immediately become one: this would be an abrupt application of ideas too much opposed to the same sounds, and would likewise be to give it a harmony too remote from the principal sound. As to the second note, re, we may likewise, by favor of a consonant procedure in the fundamental base, modulate upon it in a third minor; but this must only be continued for an instant, that the audience may not have time to forget the modulation of ut, which is itself altered in that place; otherwise, instead of returning immediately to ut, we must pass through intermediate modes, where we must run great hazard of deviation. By following the same analogies we may modulate in the following order, to make our exit VOL XV

from a minor mode: first upon the mediant, afterwards the dominant, next the sub-dominant, then the sub-mediant, or sixth note. The mode of each of these accessory keys is determined by its mediant taken from the principal sound. For instance, issuing from the major mode of ut to modulate upon its mediant, we render the mode of that mediant minor; because sol, the dominant of the principal sound, forms a third minor with that mediant, which is mi. On the contrary, in our egress from the minor mode of la, we modulate upon its mediant ut in the major mode; because mi, the dominant of the tone whence we issue, forms a third major with the key of that into which we enter, &c. These rules, comprehended in one general formula, import, that the modes of the dominant and of the sub-dominant are like that of the tonic, and that the mediant and the sixth note require a mode opposed. We must, however, remark, that by the right which we have of passing from the major to the minor, and vice versâ, upon the same key, we may likewise change the order of modes from one key to another: but, whilst we thus remove from the natural modulation, we must presently think of our return; for it is a general rule that every piece of music ought to terminate in that key with which it began. In his Musical Dictionary, plate B, figs. 6 and 7, Rousseau has collected, in two examples, which are very short, all the modes to which we may immediately pass; the first in passing from the major mode, and the second from the minor. Each note indicates a particular modulation; and the value of the notes in each example likewise shows the relative duration suitable to each of these modes, according to its relation with the principal mode. These immediate transitions from one mode to another furnish us with the means of passing by the same rules to modes still more remote, and from thence to return to the principal mode, of which we should never lose sight. But it is not sufficient to know what course we ought to pursue; we must likewise be acquainted with the method of entering into it. A summary, therefore, of the precepts given in this department shall immediately follow. In melody, to discover and introduce the modulation which we have chosen, nothing is necessary but to render perceptible the alterations which it causes in the sounds of that mode whence we issue, to make them proper for the mode into which we enter. Are we now in the major mode of ut? there needs no more than to sound the note fa sharp that we may discover the mode of the dominant; or a si flat, that we may show the mode of the sub-dominant. Afterwards we may run over the sounds essential to the mode in which we enter; if it be well chosen our modulation will always be just. In harmony the difficulty is a little increased; for, as it is necessary that the change of modes should be made at the same time through all the parts, care must be taken of the harmony, and of the air, that we may avoid pursuing different modulations at the same time. Huygens remarks, that the prohibition of two fifths in immediate succession proceeds upon this rule as its principal: in reality between two parts it is scarcely possible to form

C

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