Chapter XVII: Part 17

MANSFIELD, RICHARD (1857-1907), American actor, was born on the 24th of May 1857, in Berlin, his mother being Madame [Erminia] Rudersdorff (1822-1882), the singer, and his father, Maurice Mansfield (d. 1861), a London wine merchant. He first appeared on the stage at St George's Hall, London, and then drifted into light opera, playing the Major-General in _The Pirates of Penzance_, and the Lord High Executioner in _The Mikado_, both in the English provinces and in America. In 1883 he joined A. M. Palmer's Union Square theatre company in New York, and made a great hit as Baron Chevrial in _A Parisian Romance_. He appeared successfully in several plays adapted from well-known stories, and his rendering (1887) of the doubled title-parts in R. L. Stevenson's _Strange Case of Dr Jekyll and Mr Hyde_ created a profound impression. It was with this play that he made his London reputation during a season (1888) at the Lyceum theatre, by invitation of Henry Irving. He produced Richard III. the next year at the Globe. Among his other chief successes were _Prince Karl_, _Cyrano de Bergerac_ and _Monsieur Beaucaire_. He was one of the earliest to produce G. Bernard Shaw's plays in America, appearing in 1894 as Bluntschli in _Arms and the Man_, and as Dick Dudgeon in _The Devil's Disciple_ in 1897. As a manager and producer of plays Mansfield was remarkable for his lavish staging. He died in New London, Connecticut, on the 30th of August 1907.

See the lives by Paul Wilstach (1908) and William Winter (1910).

MANSFIELD, WILLIAM MURRAY, 1ST EARL OF (1705-1793), English judge, was born at Scone in Perthshire, on the 2nd of March 1705. He was a younger son of David Murray, 5th Viscount Stormont (c. 1665-1731), the dignity having been granted in 1621 by James I. to his friend and helper, Sir David Murray (d. 1631), a Scottish politician of some note. Lord Stormont's family was Jacobite in its politics, and his second son James (c. 1690-1728), being apparently mixed up in some of the plots of the time, joined the court of the exiled Stuarts and in 1721 was created earl of Dunbar by James Edward, the Old Pretender.

William Murray was educated at Perth grammar school and Westminster School, of which he was a king's scholar. Entering Christ Church, Oxford, he graduated in 1727. A friend of the family, Lord Foley, provided the funds for his legal training, and he became a member of Lincoln's Inn on his departure from Oxford, being called to the bar in 1730. He was a good scholar and mixed with the best literary society, being an intimate friend of Alexander Pope. His appearance in some important Scottish appeal cases brought him into notice, and in Scotland at least he acquired an immense reputation by his appearance for the city of Edinburgh when it was threatened with disfranchisement for the affair of the Porteous mob. His English practice had as yet been scanty, but in 1737 a single speech in a jury trial of note placed him at the head of the bar, and from this time he had all he could attend to. In 1738 he married Lady Elizabeth Finch, daughter of the earl of Winchelsea. His political career began in 1742 with his appointment as solicitor-general. During the next fourteen years he was one of the most conspicuous figures in the parliamentary history of the time. By birth a Jacobite, by association a Tory, he was nevertheless a Moderate, and his politics were really dominated by his legal interests. Although holding an office of subordinate rank, he was the chief defender of the government in the House of Commons, and during the time that Pitt was in opposition had to bear the brunt of his attacks. In 1754 he became attorney-general, and for the next two years acted as leader of the House of Commons under the administration of the duke of Newcastle. But in 1756, when the government was evidently approaching its fall, an unexpected vacancy occurred in the chief justiceship of the king's bench, and he claimed the office, being at the same time raised to the peerage as Baron Mansfield.

From this time the chief interest of his career lies in his judicial work, but he did not wholly dissever himself from politics. He became by a singular arrangement, only repeated in the case of Lord Ellenborough, a member of the cabinet, and remained in that position through various changes of administration for nearly fifteen years, and, although he persistently refused the chancellorship, he acted as Speaker of the House of Lords while the Great Seal was in commission. During the time of Pitt's ascendancy he took but little part in politics, but while Lord Bute was in power his influence was very considerable, and seems mostly to have been exerted in favour of a more moderate line of policy. He was on the whole a supporter of the prerogative, but within definite limits. Macaulay terms him, justly enough, "the father of modern Toryism, of Toryism modified to suit an order of things in which the House of Commons is the most powerful body in the state." During the stormy session of 1770 he came into violent collision with Chatham and Camden in the questions that arose out of the Middlesex election and the trials for political libel; and in the subsequent years he was made the subject of the bitter attacks of Junius, in which his early Jacobite connexions, and his apparent leanings to arbitrary power, were used against him with extraordinary ability and virulence. In 1776 he was created earl of Mansfield. In 1783, although he declined to re-enter the cabinet, he acted as Speaker of the House of Lords during the coalition ministry, and with this his political career may be said to have closed. He continued to act as chief justice until his resignation in June 1788, and after five years spent in retirement died on the 20th of March 1793. He left no family, but his title had been re-granted in 1792 with a direct remainder to his nephew David Murray, 7th Viscount Stormont (1727-1796). The 2nd earl was ambassador to Vienna and then to Paris; he was secretary of state for the southern department from 1779 to 1782, and lord president of the council in 1783, and again from 1794 until his death. In 1906 his descendant Alan David Murray (b. 1864) became 6th earl of Mansfield.

Lord Mansfield's great reputation rests chiefly on his judicial career. The political trials over which he presided, although they gave rise to numerous accusations against him, were conducted with singular fairness and propriety. He was accused with especial bitterness of favouring arbitrary power by the law which he laid down in the trials for libel which arose out of the publications of Junius and Horne Tooke, and which at a later time he reaffirmed in the case of the dean of St Asaph (see LIBEL). But we must remember that his view of the law was concurred in by the great majority of the judges and lawyers of that time, and was supported by undoubted precedents. In other instances, when the government was equally concerned, he was wholly free from suspicion. He supported Lord Camden's decision against general warrants, and reversed the outlawry of Wilkes. He was always ready to protect the rights of conscience, whether they were claimed by Dissenters or Catholics, and the popular fury which led to the destruction of his house during the Gordon riots was mainly due to the fact that a Catholic priest, who was accused of saying Mass, had escaped the penal laws by his charge to the jury. His chief celebrity, however, is founded upon the consummate ability with which he discharged the civil duties of his office. He has always been recognized as the founder of English mercantile law. The common law as it existed before his time was wholly inadequate to cope with the new cases and customs which arose with the increasing development of commerce. The facts were left to the jury to decide as best they might, and no principle was ever extracted from them which might serve as a guide in subsequent cases. Mansfield found the law in this chaotic state, and left it in a form that was almost equivalent to a code. He defined almost every principle that governed commercial transactions in such a manner that his successors had only to apply the rules he had laid down. His knowledge of Roman and foreign law, and the general width of his education, freed him from the danger of relying too exclusively upon narrow precedents, and afforded him a storehouse of principles and illustrations, while the grasp and acuteness of his intellect enabled him to put his judgments in a form which almost always commanded assent. A similar influence was exerted by him in other branches of the common law; and although, after his retirement, a reaction took place, and he was regarded for a while as one who had corrupted the ancient principles of English law, these prejudices passed rapidly away, and the value of his work in bringing the older law into harmony with the needs of modern society has long been fully recognized.

See Holliday's _Life_ (1797); Campbell's _Chief Justices_; Foss's
_Judges_; Greville's _Memoirs, passim_; Horace Walpole's _Letters_;
and other memoirs and works on the period.

MANSFIELD, a market town and municipal borough in the Mansfield parliamentary division of Nottinghamshire, England, on the small river Mann or Maun; the junction of several branches of the Midland railway, by which it is 142 m. N.N.W. from London. Pop. (1891), 13,094; (1901), 15,250. Area, 7068 acres. The church of St Peter is partly Early Norman, and partly Perpendicular. There is a grammar school founded by Queen Elizabeth in 1561, occupying modern buildings. Twelve almshouses were founded by Elizabeth Heath in 1693, and to these six were afterwards added. There are a number of other charities. The industries are the manufacture of lace, thread, boots and machinery, iron-founding and brewing. In the neighbourhood, as at Mansfield Woodhouse to the north, there are quarries of limestone, sandstone and freestone. The town is governed by a mayor, 6 aldermen and 18 councillors. During the heptarchy Mansfield was occasionally the residence of the Mercian kings, and it was afterwards a favourite resort of Norman sovereigns, lying as it does on the western outskirts of Sherwood Forest. By Henry VIII. the manor was granted to the earl of Surrey. Afterwards it went by exchange to the duke of Newcastle, and thence to the Portland family. The town obtained a fair from Richard II. in 1377. It became a municipal borough in 1891.

MANSFIELD, a city and the county-seat of Richland county, Ohio, U.S.A., about 65 m. S.W. of Cleveland. Pop. (1890), 13,473; (1900), 17,640, of whom 1781 were foreign-born; (1910 census), 20,768. It is served by the Pennsylvania (Pittsburg, Ft Wayne & Chicago division), the Erie, and the Baltimore & Ohio railways. It is built on an eminence (1150 ft.), and has two public parks, a substantial court-house, a soldiers' and sailors' memorial building, a public library, a hospital and many fine residences. It is the seat of the Ohio state reformatory. Mansfield has an extensive trade with the surrounding agricultural country, but its largest interests are in manufactures. The total factory product in 1905 was valued at $7,353,578. There are natural gas wells in the vicinity. The waterworks and the sewage disposal plant are owned and operated by the municipality. Mansfield was laid out in 1808, and was named in honour of Lieut.-Colonel Jared Mansfield (1759-1830), United States surveyor of Ohio and the North-west Territory in 1803-1812, and professor of natural and experimental philosophy at West Point from 1812 to 1828. Mansfield was incorporated as a village in 1828 and was first chartered as a city in 1857. It was the home of John Sherman from 1840 until his death.

MANSION (through O. Fr. _mansion_, mod. _maison_, from Lat. _mansio_, dwelling-place, stage on a journey; _manere_, to remain), a term applied in early English use to the principal house of the lord of a manor. By the Settled Land Act 1890, § 10, subsec. 2, repealing § 15 of the act of 1882, "the principal mansion house ... on any settled land shall not be sold or exchanged or leased by the tenant for life without the consent of the trustees of the settlement or an order of the court." The principles guiding an English court of law for making or refusing such an order are laid down in _In re the Marquess of Ailesbury's Settled Estate_ (1892), 1 Ch. 506, 546; A.C. 356. In general usage, the term "mansion" is given to any large and important house in town or country; and "mansion house" to the official residence, when provided, of the mayor of a borough, particularly to that of the lord mayors of London and Dublin. From the general meaning of a conspicuously large dwelling-place comes the modern employment of the term "mansions," in London and elsewhere, for large buildings composed of "flats."

MANSLAUGHTER (O. Eng., _mannslaeht_, from _mann_, man, and _slaeht_, act of slaying, _sleán_, to slay, properly to smite; cf. Ger. _schlagen_, _Schlacht_, battle), a term in English law signifying "unlawful homicide without malice aforethought" (Stephen, _Digest of the Criminal Law_, Art. 223). The distinction between manslaughter and murder and other forms of homicide is treated under HOMICIDE.

MANSON, GEORGE (1850-1876), Scottish water-colour painter, was born in Edinburgh on the 3rd of December 1850. When about fifteen he was apprenticed as a woodcutter with W. & R. Chambers, with whom he remained for over five years, diligently employing all his spare time in the study and practice of art, and producing in his morning and evening hours water-colours of much delicacy and beauty. In 1871 he devoted himself exclusively to painting. His subjects were derived from humble Scottish life--especially child-life, varied occasionally by portraiture, by landscape, and by views of picturesque architecture. In 1873 he visited Normandy, Belgium and Holland; in the following year he spent several months in Sark; and in 1875 he resided at St Lô, and in Paris, where he mastered the processes of etching. Meanwhile in his water-colour work he had been adding more of breadth and power to the tenderness and richness of colour which distinguished his early pictures, and he was planning more complex and important subjects. But his health had been gradually failing, and he was ordered to Lympstone in Devonshire, where he died on the 27th of February 1876.

A volume of photographs from his water-colours and sketches, with a
memoir by J. M. Gray, was published in 1880. For an account of
Manson's technical method as a wood engraver see P. G. Hamerton's
_Graphic Arts_, p. 311.

MANSUR (Arab. "victorious"), a surname (_laqab_) assumed by a large number of Mahommedan princes. The best known are: (1) ABU JA'FAR IBN MAHOMMED, second caliph of the Abbasid house, who reigned A.D. 754-775 (see CALIPHATE: § C, §2); (2) ABU TAHIR ISMA'IL IBN AL-QAIM, the third Fatimite caliph of Africa (946-953) (see FATIMITES); (3) ABU YUSUF YA 'QUB IBN YUSUF, often described as Jacob Almanzor, of the Moorish dynasty of the Almohades, conqueror of Alfonso III. in the battle of Alarcos (1195); (4) IBN ABI 'AMIR MAHOMMED, commonly called Almanzor by European writers, of an ancient but not illustrious Arab family, which had its seat at Torrox near Algeciras. The last-named was born A.D. 939, and began life as a lawyer at Cordova. In 967 he obtained a place at the court of Hakam II., the Andalusian caliph, and by an unusual combination of the talents of a courtier with administrative ability rapidly rose to distinction, enjoying the powerful support of Subh, the favourite of the caliph and mother of his heir Hisham. The death of Hakam (976) and the accession of a minor gave fresh scope to his genius, and in 978 he became chief minister. The weak young caliph was absorbed in exercises of piety, but at first Mansur had to share the power with his father-in-law Ghalib, the best general of Andalusia, and with the mother of Hisham. At last a rupture took place between the two ministers. Ghalib professed himself the champion of the caliph and called in the aid of the Christians of Leon; but Mansur, anticipating the struggle, had long before remodelled the army and secured its support. Ghalib fell in battle (981); a victorious campaign chastised the Leonese; and on his return to Cordova the victor assumed his regal surname of _al-Mansur billah_, and became practically sovereign of Andalusia. The caliph was a mere prisoner of state, and Mansur ultimately assumed the title as well as the prerogatives of king (996). Unscrupulous in the means by which he rose to power, he wielded the sovereignty nobly. His strict justice and enlightened administration were not less notable than the military prowess by which he is best known. His arms were the terror of the Christians, and raised the Moslem power in Spain to a pitch it had never before attained. In Africa his armies were for a time hard pressed by the revolt of Ziri, viceroy of Mauretania, but before his death this enemy had also fallen. Mansur died at Medinaceli on the 10th of August 1002, and was succeeded by his son Mozaffar.

MANSURA, the capital of the province of Dakahlia, Lower Egypt, near the west side of Lake Menzala, and on the Cairo-Damietta railway. Pop. (1907), 40,279. It dates from 1221, and is famous as the scene of the battle of Mansura, fought on the 8th of February 1250, between the crusaders commanded by the king of France, St Louis, and the Egyptians. The battle was drawn, but it led to the retreat of the crusaders on Damietta, and to the surrender of St Louis. Mansura has several cotton-ginning, cotton, linen and sail-cloth factories.

MANT, RICHARD (1776-1848), English divine, was born at Southampton on the 12th of February 1776, and was educated at Winchester and Trinity College, Oxford. He was elected fellow of Oriel in 1798, and after taking orders held a curacy at Southampton (1802), and then the vicarage of Coggeshall, Essex (1810). In 1811 he was Bampton lecturer, in 1816 was made rector of St Botolph's, and in 1820 bishop of Killaloe and Kilfenoragh (Ireland). In 1823 he was translated to Down and Connor, to which Dromore was added in 1842. In connexion with the Rev. George D'Oyly he wrote a commentary on the whole Bible. Other works by him were the _Psalms in an English Metrical Version_ (1842) and a _History of the Church of Ireland_ (1839-1841; 2 vols.).

MANTEGAZZA, PAOLO (1831-1910), Italian physiologist and anthropologist, was born at Monza on the 31st of October 1831. After spending his student-days at the universities of Pisa and Milan, he gained his M.D. degree at Pavia in 1854. After travelling in Europe, India and America, he practised as a doctor in the Argentine Republic and Paraguay. Returning to Italy in 1858 he was appointed surgeon at Milan Hospital and professor of general pathology at Pavia. In 1870 he was nominated professor of anthropology at the Instituto di Studii Superiori, Florence. Here he founded the first Museum of Anthropology and Ethnology in Italy, and later the Italian Anthropological Society. From 1865 to 1876 he was deputy for Monza in the Italian parliament, subsequently being elected to the senate. He became the object of bitter attacks on the ground of the extent to which he carried the practice of vivisection. His published works include _Fisiologia del dolore_ (1880); _Fisiologia dell' amore_ (1896); _Elementi d' igiene_ (1875); _Fisonomia e mimica_ (1883); _Le Estasi umane_ (1887).

MANTEGNA, ANDREA (1431-1506), one of the chief heroes in the advance of painting in Italy, was born in Vicenza, of very humble parentage. It is said that in his earliest boyhood Andrea was, like Giotto, put to shepherding or cattle-herding; this is not likely, and can at any rate have lasted only a very short while, as his natural genius for art developed with singular precocity, and excited the attention of Francesco Squarcione, who entered him in the gild of painters before he had completed his eleventh year.

Squarcione, whose original vocation was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a proportionate faculty for acting, with profit to himself and others, as a sort of artistic middleman; his own performances as a painter were merely mediocre. He travelled in Italy, and perhaps in Greece also, collecting antique statues, reliefs, vases, &c., forming the largest collection then extant of such works, making drawings from them himself, and throwing open his stores for others to study from, and then undertaking works on commission for which his pupils no less than himself were made available. As many as one hundred and thirty-seven painters and pictorial students passed through his school, established towards 1440, which became famous all over Italy. Mantegna was, as he deserved to be, Squarcione's favourite pupil. Squarcione adopted him as his son, and purposed making him the heir of his fortune. Andrea was only seventeen when he painted, in the church of S. Sofia in Padua, a Madonna picture of exceptional and recognized excellence. He was no doubt fully aware of having achieved no common feat, as he marked the work with his name and the date, and the years of his age. This painting was destroyed in the 17th century.

As the youth progressed in his studies, he came under the influence of Jacopo Bellini, a painter considerably superior to Squarcione, father of the celebrated painters Giovanni and Gentile, and of a daughter Nicolosia; and in 1454 Jacopo gave Nicolosia to Andrea in marriage. This connexion of Andrea with the pictorial rival of Squarcione is generally assigned as the reason why the latter became alienated from the son of his adoption, and always afterwards hostile to him. Another suggestion, which rests, however, merely on its own internal probability, is that Squarcione had at the outset used his pupil Andrea as the unavowed executant of certain commissions, but that after a while Andrea began painting on his own account, thus injuring the professional interests of his chief. The remarkably definite and original style formed by Mantegna may be traced out as founded on the study of the antique in Squarcione's atelier, followed by a diligent application of principles of work exemplified by Paolo Uccello and Donatello, with the practical guidance and example of Jacopo Bellini in the sequel.

Among the other early works of Mantegna are the fresco of two saints over the entrance porch of the church of S. Antonio in Padua, 1452, and an altar-piece of St Luke and other saints for the church of S. Giustina, now in the Brera Gallery in Milan, 1453. It's probable, however, that before this time some of the pupils of Squarcione, including Mantegna, had already begun that series of frescoes in the chapel of S. Cristoforo, in the church of S. Agostino degli Eremitani, by which the great painter's reputation was fully confirmed, and which remain to this day conspicuous among his finest achievements.[1] The now censorious Squarcione found much to carp at in the earlier works of this series, illustrating the life of St James; he said the figures were like men of stone, and had better have been coloured stone-colour at once. Andrea, conscious as he was of his own great faculty and mastery, seems nevertheless to have felt that there was something in his old preceptor's strictures; and the later subjects, from the legend of St Christopher, combine with his other excellences more of natural character and vivacity. Trained as he had been to the study of marbles and the severity of the antique, and openly avowing that he considered the antique superior to nature as being more eclectic in form, he now and always affected precision of outline, dignity of idea and of figure, and he thus tended towards rigidity, and to an austere wholeness rather than gracious sensitiveness of expression. His draperies are tight and closely folded, being studied (as it is said) from models draped in paper and woven fabrics gummed. Figures slim, muscular and bony, action impetuous but of arrested energy, tawny landscape, gritty with littering pebbles, mark the athletic hauteur of his style. He never changed, though he developed and perfected, the manner which he had adopted in Padua; his colouring, at first rather neutral and undecided, strengthened and matured. There is throughout his works more balancing of colour than fineness of tone. One of his great aims was optical illusion, carried out by a mastery of perspective which, though not always impeccably correct, nor absolutely superior in principle to the highest contemporary point of attainment, was worked out by himself with strenuous labour, and an effect of actuality astonishing in those times.

Successful and admired though he was in Padua, Mantegna left his native city at an early age, and never afterwards resettled there; the hostility of Squarcione has been assigned as the cause. The rest of his life was passed in Verona, Mantua and Rome--chiefly Mantua; Venice and Florence have also been named, but without confirmation.

It may have been in 1459 that he went to Verona; and he painted, though not on the spot, a grand altar-piece for the church of S. Zeno, a Madonna and angels, with four saints on each side. The Marquis Lodovico Gonzaga of Mantua had for some time been pressing Mantegna to enter his service; and the following year, 1460, was perhaps the one in which he actually established himself at the Mantuan court, residing at first from time to time at Goito, but, from December 1466 onwards, with his family in Mantua itself. His engagement was for a salary of 75 lire (about £30) a month, a sum so large for that period as to mark conspicuously the high regard in which his art was held. He was in fact the first painter of any eminence ever domiciled in Mantua. He built a stately house in the city, and adorned it with a multitude of paintings. The house remains, but the pictures have perished. Some of his early Mantuan works are in that apartment of the Castello which is termed the Camera degli Sposi--full compositions in fresco, including various portraits of the Gonzaga family, and some figures of genii, &c. In 1488 he went to Rome at the request of Pope Innocent VIII., to paint the frescoes in the chapel of the Belvedere in the Vatican; the marquis of Mantua (Federigo) created him a cavaliere before his departure. This series of frescoes, including a noted "Baptism of Christ," was ruthlessly destroyed by Pius VI. in laying out the Museo Pio-Clementino. The pope treated Mantegna with less liberality than he had been used to at the Mantuan court; but on the whole their connexion, which ceased in 1490, was not unsatisfactory to either party. Mantegna then returned to Mantua, and went on with a series of works--the nine tempera-pictures, each of them 9 ft. square, of the "Triumph of Caesar"--which he had probably begun before his leaving for Rome, and which are now in Hampton Court. These superbly invented and designed compositions, gorgeous with all splendour of subject-matter and accessory, and with the classical learning and enthusiasm of one of the master-spirits of the age, have always been accounted of the first rank among Mantegna's works. They were sold in 1628 along with the bulk of the Mantuan art treasures, and were not, as is commonly said, plundered in the sack of Mantua in 1630. They are now greatly damaged by patchy repaintings. Another work of Mantegna's later years was the so-called "Madonna della Vittoria," now in the Louvre. It was painted in tempera about 1495, in commemoration of the battle of Fornovo, which Gianfrancesco Gonzaga found it convenient to represent to his lieges as an Italian victory, though in fact it had been a French victory; the church which originally housed the picture was built from Mantegna's own design. The Madonna is here depicted with various saints, the archangel Michael and St Maurice holding her mantle, which is extended over the kneeling Gianfrancesco Gonzaga, amid a profusion of rich festooning and other accessory. Though not in all respects of his highest order of execution, this counts among the most obviously beautiful and attractive of Mantegna's works--from which the qualities of beauty and attraction are often excluded, in the stringent pursuit of those other excellences more germane to his severe genius, tense energy passing into haggard passion.

Vasari eulogizes Mantegna for his courteous, distinguished and praiseworthy deportment, although there are indications of his having been not a little litigious in disposition. With his fellow-pupils at Padua he had been affectionate; and for two of them, Dario da Trevigi and Marco Zoppo, he retained a steady friendship. That he had a high opinion of himself was natural, for no artist of his epoch could produce more manifest vouchers of marked and progressive attainment. He became very expensive in his habits, fell at times into difficulties, and had to urge his valid claims upon the marquis's attention. After his return to Mantua from Rome his prosperity was at its height, until the death of his wife. He then formed some other connexion, and became at an advanced age the father of a natural son, Giovanni Andrea; and at the last, although he continued launching out into various expenses and schemes, he had serious tribulations, such as the banishment from Mantua of his son Francesco, who had incurred the marquis's displeasure. Perhaps the aged master and connoisseur regarded as barely less trying the hard necessity of parting with a beloved antique bust of Faustina. Very soon after this transaction he died in Mantua, on the 13th of September 1506. In 1517 a handsome monument was set up to him by his sons in the church of S. Andrea, where he had painted the altar-piece of the mortuary chapel.

Mantegna was no less eminent as an engraver, though his history in
that respect is somewhat obscure, partly because he never signed or
dated any of his plates, unless in one single disputed instance, 1472.
The account which has come down to us is that Mantegna began engraving
in Rome, prompted by the engravings produced by Baccio Baldini of
Florence after Sandro Botticelli; nor is there anything positive to
invalidate this account, except the consideration that it would
consign all the numerous and elaborate engravings made by Mantegna to
the last sixteen or seventeen years of his life, which seems a scanty
space for them, and besides the earlier engravings indicate an earlier
period of his artistic style. It has been suggested that he began
engraving while still in Padua, under the tuition of a distinguished
goldsmith, Niccolò. He engraved about fifty plates, according to the
usual reckoning; some thirty of them are mostly accounted
indisputable--often large, full of figures, and highly studied. Some
recent connoisseurs, however, ask us to restrict to seven the number
of his genuine extant engravings--which appears unreasonable. Among
the principal examples are "Roman Triumphs" (not the same compositions
as the Hampton Court pictures), "A Bacchanal Festival," "Hercules and
Antaeus," "Marine Gods," "Judith with the Head of Holophernes," the
"Deposition from the Cross," the "Entombment," the "Resurrection," the
"Man of Sorrows," the "Virgin in a Grotto." Mantegna has sometimes
been credited with the important invention of engraving with the burin
on copper. This claim cannot be sustained on a comparison of dates,
but at any rate he introduced the art into upper Italy. Several of his
engravings are supposed to be executed on some metal less hard than
copper. The technique of himself and his followers is characterized by
the strongly marked forms of the design, and by the oblique formal
hatchings of the shadows. The prints are frequently to be found in two
states, or editions. In the first state the prints have been taken off
with the roller, or even by hand-pressing, and they are weak in tint;
in the second state the printing press has been used, and the ink is
stronger.

The influence of Mantegna on the style and tendency of his age was
very marked, and extended not only to his own flourishing Mantuan
school, but over Italian art generally. His vigorous perspectives and
trenchant foreshortenings pioneered the way to other artists: in solid
antique taste, and the power of reviving the aspect of a remote age
with some approach to system and consistency, he distanced all
contemporary competition. He did not, however, leave behind him many
scholars of superior faculty. His two legitimate sons were painters of
only ordinary ability. His favourite pupil was known as Carlo del
Mantegna; Caroto of Verona was another pupil, Bonsignori an imitator.
Giovanni Bellini, in his earlier works, obviously followed the lead of
his brother-in-law Andrea.

The works painted by Mantegna, apart from his frescoes, are not
numerous; some thirty-five to forty are regarded as fully
authenticated. We may name, besides those already specified--in the
Naples Museum, "St Euphemia," a fine early work; in Casa Melzi, Milan,
the "Madonna and Child with Chanting Angels" (1461); in the Tribune of
the Uffizi, Florence, three pictures remarkable for scrupulous finish;
in the Berlin Museum, the "Dead Christ with two Angels"; in the
Louvre, the two celebrated pictures of mythic allegory--"Parnassus"
and "Minerva Triumphing over the Vices"; in the National Gallery,
London, the "Agony in the Garden," the "Virgin and Child Enthroned,
with the Baptist and the Magdalen," a late example; the monochrome of
"Vestals," brought from Hamilton Palace; the "Triumph of Scipio" (or
Phrygian Mother of the Gods received by the Roman Commonwealth), a
tempera in chiaroscuro, painted only a few months before the master's
death; in the Brera, Milan, the "Dead Christ, with the two Maries
weeping," a remarkable _tour de force_ in the way of foreshortening,
which, though it has a stunted appearance, is in correct technical
perspective as seen from all points of view. With all its exceptional
merit, this is an eminently ugly picture. It remained in Mantegna's
studio unsold at his death, and was disposed of to liquidate debts.

Not to speak of earlier periods, a great deal has been written
concerning Mantegna of late years. See the works by Maud Crutwell
(1901), Paul Kristeller (1901), H. Thode (1897), Paul Yriarte (1901),
Julia Cartwright, _Mantegna and Francia_ (1881). (W. M. R.)

FOOTNOTE:

[1] His fellow-workers were Bono of Ferrara, Ansuino of Forlì, and
Niccolò Pizzolo, to whom considerable sections of the
fresco-paintings are to be assigned. The acts of St James and St
Christopher are the leading subjects of the series. St James
Exorcizing may have been commenced by Pizzolo, and completed by
Mantegna. The Calling of St James to the Apostleship appears to be
Mantegna's design, partially carried out by Pizzolo; the subjects of
St James baptizing, his appearing before the judge, and going to
execution, and most of the legend of St Christopher, are entirely by
Mantegna.

MANTELL, GIDEON ALGERNON (1790-1852), English geologist and palaeontologist, was born in 1790 at Lewes, Sussex. Educated for the medical profession, he first practised in his native town, afterwards in 1835 in Brighton, and finally at Clapham, near London. He found time to prosecute researches on the palaeontology of the Secondary rocks, particularly in Sussex--a region which he made classical in the history of discovery. While he was still a country doctor at Lewes his eminence as a geological investigator was fully recognized on the publication of his work on _The Fossils of the South Downs_ (1822). His most remarkable discoveries were made in the Wealden formations. He demonstrated the fresh-water origin of the strata, and from them he brought to light and described the remarkable Dinosaurian reptiles known as _Iguanodon_, _Hylaeosaurus_, _Pelorosaurus_ and _Regnosaurus_. For these researches he was awarded the Wollaston medal by the Geological Society and a Royal medal by the Royal Society. He was elected F.R.S. in 1825. Among his other contributions to the literature of palaeontology was his description of the Triassic reptile _Telerpelon elginense_. Towards the end of his life Dr Mantell retired to London, where he died on the 10th of November 1852. His eldest son, WALTER BALDOCK DURRANT MANTELL (1820-1895), settled in New Zealand, and there attained high public positions, eventually being secretary for Crown-lands. He obtained remains of the _Notornis_, a recently extinct bird, and also brought forward evidence to show that the moas were contemporaries of man.

In addition to the works above mentioned Dr Mantell was author of
_Illustrations of the Geology of Sussex_ (4to, 1827); _Geology of the
South-east of England_ (1833); _The Wonders of Geology_, 2 vols.
(1838; ed. 7, 1857); _Geological Excursions round the Isle of Wight,
and along the Adjacent Coast of Dorsetshire_ (1847; ed. 3, 1854);
_Petrifactions and their Teachings_ (1851); _The Medals of Creation_
(2 vols., 1854).

MANTES-SUR-SEINE, a town of northern France, capital of an arrondissement in the department of Seine-et-Oise on the left bank of the Seine, 34 m. W.N.W. of Paris by rail. Pop. (1906), 8113. The chief building in Mantes is the celebrated church of Notre-Dame which dates in the main from the end of the 12th century. A previous edifice was burnt down by William the Conqueror together with the rest of the town, at the capture of which he lost his life in 1087; he is said to have bequeathed a large sum for the rebuilding of the church. The plan, which bears a marked resemblance to that of Notre-Dame at Paris, includes a nave, aisles and choir, but no transepts. Three portals open into the church on the west, the two northernmost, which date from the 12th century, being decorated with fine carving; that to the south is of the 14th century and still more ornate. A fine rose-window and an open gallery, above which rise the summits of the western towers, occupy the upper part of the façade. In the interior, chapels dating from the 13th and 14th centuries are of interest. The tower of St Maclou (14th century), relic of an old church and the hôtel de ville (15th to 17th centuries), are among the older buildings of the town, and there is a fountain of the Renaissance period. Modern bridges and a medieval bridge unite Mantes with the opposite bank of the Seine on which the town of Limay is built. The town has a sub-prefecture and a tribunal of first instance. Mantes was occupied by the English from 1346 to 1364, and from 1416 to 1449.

MANTEUFFEL, EDWIN, FREIHERR VON (1809-1885), Prussian general field marshal, son of the president of the superior court of Magdeburg, was born at Dresden on the 24th of February 1809. He was brought up with his cousin, Otto von Manteuffel (1805-1882), the Prussian statesman, entered the guard cavalry at Berlin in 1827, and became an officer in 1828. After attending the War Academy for two years, and serving successively as aide-de-camp to General von Müffling and to Prince Albert of Prussia, he was promoted captain in 1843 and major in 1848, when he became aide-de-camp to Frederick William IV., whose confidence he had gained during the revolutionary movement in Berlin. Promoted lieutenant-colonel in 1852, and colonel to command the 5th Uhlans in 1853, he was sent on important diplomatic missions to Vienna and St Petersburg. In 1857 he became major-general and chief of the military cabinet. He gave hearty support to the prince regent's plans for the reorganization of the army. In 1861 he was violently attacked in a pamphlet by Karl Twesten (1820-1870), a Liberal leader, whom he wounded in a duel. He served as lieutenant-general (to which rank he was promoted on the coronation of William I., Oct. 18, 1861) in the Danish war of 1864, and at its conclusion was appointed civil and military governor of Schleswig. In the Austrian War of 1866 he first occupied Holstein and afterwards commanded a division under Vogel von Falkenstein in the Hanoverian campaign, and succeeded him, in July, in command of the Army of the Main (see SEVEN WEEKS' WAR). His successful operations ended with the occupation of Würzburg, and he received the order _pour le mérite_. He was, however, on account of his monarchist political views and almost bigoted Roman Catholicism, regarded by the parliament as a reactionary, and, unlike the other army commanders, he was not granted a money reward for his services. He then went on a diplomatic mission to St Petersburg, where he was _persona grata_, and succeeded in gaining Russia's assent to the new position in north Germany. On returning he was gazetted to the colonelcy of the 5th Dragoons. He was appointed to the command of the IX. (Schleswig-Holstein) army corps in 1866. But having formerly exercised both civil and military control in the Elbe duchies he was unwilling to be a purely military commander under one of his late civil subordinates, and retired from the army for a year. In 1868, however, he returned to active service. In the Franco-German War of 1870-71 he commanded the I. corps under Steinmetz, distinguishing himself in the battle of Colombey-Neuilly, and in the repulse of Bazaine at Noisseville (see FRANCO-GERMAN WAR; and METZ). He succeeded Steinmetz in October in the command of the I. army, won the battle of Amiens against General Farre, and occupied Rouen, but was less fortunate against Faidherbe at Pont Noyelles and Bapaume. In January 1871 he commanded the newly formed Army of the South, which he led, in spite of hard frost, through the Côte d'Or and over the plateau of Langres, cut off Bourbaki's army of the east (80,000 men), and, after the action of Pontarlier, compelled it to cross the Swiss frontier, where it was disarmed. His immediate reward was the Grand Cross of the order of the Iron Cross, and at the conclusion of peace he received the Black Eagle. When the Southern Army was disbanded Manteuffel commanded first the II. army, and, from June 1871 until 1873, the army of occupation left in France, showing great tact in a difficult position. On leaving France at the close of the occupation, the emperor promoted Manteuffel to the rank of general field marshal and awarded him a large grant in money, and about the same time Alexander II. of Russia gave him the order of St Andrew. After this he was employed on several diplomatic missions, was for a time governor of Berlin, and in 1879, perhaps, as was commonly reported, because he was considered by Bismarck as a formidable rival, he was appointed governor-general of Alsace-Lorraine; and this office he exercised--more in the spirit, some said, of a Prussian than of a German official--until his death at Carlsbad, Bohemia, on the 17th of June 1885.

See lives by v. Collas (Berlin, 1874), and K. H. Keck (Bielefeld and
Leipzig, 1890).

MANTINEIA, or MANTINEA, an ancient city of Arcadia, Greece, situated in the long narrow plain running north and south, which is now called after the chief town Tripolitsa. Tegea was in the same valley, about 10 m. S. of Mantineia, and the two cities continually disputed the supremacy of the district. In every great war we find them ranged on opposite sides, except when superior force constrained both. The worship and mysteries of Cora at Mantineia were famous. The valley in which the city lies has no opening to the coast, and the water finds its way, often only with much care and artificial aid, through underground passages (_katavothra_) to the sea. It is bounded on the west by Mount Maenalus, on the east by Mount Artemision.

Mantineia is mentioned in the Homeric catalogue of ships, but in early Greek times existed only as a cluster of villages inhabited by a purely agricultural community. In the 6th century it was still insignificant as compared with the neighbouring city of Tegea, and submitted more readily to Spartan overlordship. The political history of Mantineia begins soon after the Persian wars, when its five constituent villages, at the suggestion of Argos, were merged into one city, whose military strength forthwith secured it a leading position in the Peloponnesus. Its policy was henceforth guided by three main considerations. Its democratic constitution, which seems to have been entirely congenial to the population of small freeholders, and its ambition to gain control over the Alpheus watershed and both the Arcadian high roads to the isthmus, frequently estranged Mantineia from Sparta and threw it into the arms of Argos. But the chronic frontier disputes with Tegea, which turned the two cities into bitter enemies, contributed most of all to determine their several policies. About 469 B.C. Mantineia alone of Arcadian townships refused to join the league of Tegea and Argos against Sparta. Though formally enrolled on the same side during the Peloponnesian War the two cities used the truce of 423 to wage a fierce but indecisive war with each other. In the time following the peace of Nicias the Mantineians, whose attempts at expansion beyond Mount Maenalus were being foiled by Sparta, formed a powerful alliance with Argos, Elis and Athens (420), which the Spartans, assisted by Tegea, broke up after a pitched battle in the city's territory (418). In the subsequent years Mantineia still found opportunity to give the Athenians covert help, and during the Corinthian War (394-387) scarcely disguised its sympathy with the anti-Spartan league. In 385 the Spartans seized a pretext to besiege and dismantle Mantineia and to scatter its inhabitants among four villages. The city was reconstituted after the battle of Leuctra and under its statesman Lycomedes played a prominent part in organizing the Arcadian League (370). But the long-standing jealousy against Tegea, and a recent one against the new foundation of Megalopolis, created dissensions which resulted in Mantineia passing over to the Spartan side. In the following campaign of 362 Mantineia, after narrowly escaping capture by the Theban general Epaminondas, became the scene of a decisive conflict in which the latter achieved a notable victory but lost his own life. After the withdrawal of the Thebans from Arcadia Mantineia failed to recover its pre-eminence from Megalopolis, with which city it had frequent disputes. In contrast with the Macedonian sympathies of Megalopolis Mantineia joined the leagues against Antipater (322) and Antigonus Gonatas (266). A change of constitution, imposed perhaps by the Macedonians, was nullified (about 250) by a revolution through which democracy was restored. About 235 B.C. Mantineia entered the Achaean League, from which it had obtained protection against Spartan encroachments, but soon passed in turn to the Aetolians and to Cleomenes III. of Sparta. A renewed defection, inspired apparently by aversion to the aristocratic government of the Achaeans and jealousy of Megalopolis, was punished in 222 by a thorough devastation of the city, which was now reconstituted as a dependency of Argos and renamed Antigoneia in honour of the Achaeans' ally Antigonus Doson. Mantineia regained its autonomous position in the Achaean League in 192, and its original name during a visit of the emperor Hadrian in A.D. 133. Under the later Roman Empire the city dwindled into a mere village, which since the 6th century bore the Slavonic name of Goritza. It finally became a prey to the malaria which arose when the plain fell out of cultivation, and under Turkish rule disappeared altogether. (M. O. B. C.)

The site was excavated by M. Fougères, of the French School at Athens, in 1888. The plan of the agora and adjacent buildings has been recovered, and the walls have been completely investigated. The town was situated in an unusual position for a Greek city, on a flat marshy plain, and its walls form a regular ellipse about 2½ m. in circumference. When the town was first formed in 470 B.C. by the "synoecism" of the neighbouring villages, the river Ophis flowed through the midst of it, and the Spartan king Agesipolis dammed it up below the town and so flooded out the Mantineians and sapped their walls, which were of unbaked brick. Accordingly, when the city was rebuilt in 370 B.C., the river Ophis was divided into two branches, which between them encircled the walls; and the walls themselves were constructed to a height of about 3 to 6 feet of stone, the rest being of unbaked brick. These are the walls of which the remains are still extant. There are towers about every 80 ft.; and the gates are so arranged that the passage inwards usually runs from right to left, and so an attacking force would have to expose its right or shieldless side. Within the walls the most conspicuous landmark is the theatre, which, unlike the majority of Greek theatres, consists entirely of an artificial mound standing up from the level plain. Only about a quarter of its original height remains. Its _scena_ is of rather irregular shape, and borders one of the narrow ends of the agora. Close to it are the foundations of several temples, one of them sacred to the hero Podaros. The agora is of unsymmetrical form; its sides are bordered by porticoes, interrupted by streets, like the primitive agora of Elis as described by Pausanias, and unlike the regular agoras of Ionic type. Most of these porticoes were of Roman period--the finest of them were erected, as we learn from inscriptions, by a lady named Epigone: one, which faced south, had a double colonnade, and was called the [Greek: Baitê]: close to it was a large exedra. The foundations of a square market-hall of earlier date were found beneath this. On the opposite side of the agora was an extensive Bouleuterion or senate-house. Traces remain of paved roads both within the agora and leading out of it; but the whole site is now a deserted and feverish swamp. The site is interesting for comparison with Megalopolis; the nature of its plan seems to imply that its main features must survive from the earlier "synoecism" a century before the time of Epaminondas.

See Strabo viii. 337; Pausanias viii. 8; Thucyd. iv. 134, v.;
Xenophon, _Hellenica_, iv.-vii.; Diodorus xv. 85-87; Polybius ii. 57
sqq., vi. 43; D. Worenka, _Mantineia_ (1905); B. V. Head, _Historia
numorum_ (Oxford, 1887), pp. 376-377; G. Fougères in _Bulletin de
correspondance hellénique_ (1890), id. _Mantinée et l'Arcadie
orientale_ (Paris, 1898). Consult also TEGEA; ARCADIA.

Five battles are recorded to have been fought near Mantineia; 418, 362
(see above), 295 (Demetrius Poliorcetes defeats Archidamus of Sparta),
242 (Aratus beats Agis of Sparta), 207 (Philopoemen beats Machanidas
of Sparta). The battles of 362 and 207 are discussed at length by J.
Kromayer, _Antike Schtachtfelder in Griechenland_ (Berlin, 1903),
27-123, 281-314; _Wiener Studien_ (1905), pp. 1-16. (E. Gr.)

MANTIS, an insect belonging to the order _Orthoptera_. Probably no other insect has been the subject of so many and widespread legends and superstitions as the common "praying mantis," _Mantis religiosa_, L. The ancient Greeks endowed it with supernatural powers ([Greek: mantis], a diviner); the Turks and Arabs hold that it prays constantly with its face turned towards Mecca; the Provençals call it _Prega-Diou_ (_Prie-Dieu_); and numerous more or less similar names--preacher, saint, nun, mendicant, soothsayer, &c.--are widely diffused throughout southern Europe. In Nubia it is held in great esteem, and the Hottentots, if not indeed worshipping the local species (_M. fausta_), as one traveller has alleged, at least appear to regard its alighting upon any person both as a token of saintliness and an omen of good fortune.

Yet these are "not the saints but the tigers of the insect world." The front pair of limbs are very peculiarly modified--the coxa being greatly elongated, while the strong third joint or femur bears on its curved underside a channel armed on each edge by strong movable spines. Into this groove the stout tibia is capable of closing like the blade of a pen-knife, its sharp, serrated edge being adapted to cut and hold. Thus armed, with head raised upon the much-elongated and semi-erect prothorax, and with the half-opened fore-limbs held outwards in the characteristic devotional attitude, it rests motionless upon the four posterior limbs waiting for prey, or occasionally stalks it with slow and silent movements, finally seizing it with its knife-blades and devouring it. Although apparently not daring to attack ants, these insects destroy great numbers of flies, grasshoppers and caterpillars, and the larger South-American species even attack small frogs, lizards and birds. They are very pugnacious, fencing with their sword-like limbs "like hussars with sabres," the larger frequently devouring the smaller, and the females the males. The Chinese keep them in bamboo cages, and match them like fighting-cocks.

The common species fixes its somewhat nut-like egg capsules on the stems of plants in September. The young are hatched in early summer, and resemble the adults, but are without wings.