not be effectuated without a false relation whilst the sixth note still remains minor; this occasions exceptions, of which in the course of the air or harmony care must be taken. But it is always necesary that the cleff, with its transpositions, should preserve all the intervals, as determined with relation to the tonic, according to the species of the mode.

As all the natural chords in the octave of ut give, with relation to that tonic, all the intervals prescribed for the major mode, and as the ease is the same with the octave of la for the minor mode, the preceding example, which is only given that we might have an opportunity of naming the notes, may likewise serve as a formula for the rule of the intervals in each mode.

This rule is not, as one might imagine, established upon principles that are merely arbitrary; it has its source in the generation of harmony: at least in a certain degree. If you give a perfect major chord to the tonic, to the dominant, and the sub-dominant, you will have all the sounds of the diatonic scale for the major mode: to obtain that of the minor, leaving still its third major to the dominant, give a third minor to the two other chords. Such is the analogy of the mode.

As this mixture of major and minor chords introduces into the minor mode a false relation between the sixth and the sensible note, to avoid this false relation they sometimes give the third major to the fourth note in ascent, or the third minor to the dominant in descending, chiefly by inverting the chords; but these in this case are licences.

There are properly no more than two modes, as we have seen: but there are twelve different sounds in the octave, which may be made fundamental sounds, and of consequence form as many keys or tones; and as each of these tones is susceptible of the major or minor mode, music may be composed in twenty-four modes or manners. Nay, in the manner of writing music, there are even thirty-four passable modes: but in practice ten are excluded; which when thoroughly examined are nothing else but a repetition of the other ten, under relations much more difficult, in which all the chords must change their names, and where it must cost any one some trouble to know what he is about. Such is the major mode upon a note raised above its natural pitch by a semitone, and the minor mode upon a note depressed by a semitone. Thus instead of composing upon sol sharp with a third major, it is much more eligible to operate upon la flat, which will give you an opportunity to employ the same tones; and instead of composing upon re flat with a third minor, you will find it more convenient to choose ut sharp for the same reason; viz. on one hand to avoid a fa with a double sharp, which would be equivalent to a sel natural; and on the other hand a si with a double flat, which would become a la natural.

The composer does not always continue in the same mode, nor in the same key, in which he has begun an air; but, whether to alter the expression or introduce variety, modes and keys are frequently changed, according to the analogy of harmony; yet always returning to those which have been first heard: this is called modulation.

From thence arises a new division of modes into such as are principal and such as are relative: the principal is that in which the piece begins and ends; the relative modes are such as the com

poser interweaves with the principal in the flow of the harmony. See MODULATION.

Others have proposed a third species, which they call a mixed mode, because it participates the modulation of both the others, or rather because it is composed of them; a mixture which they did not reckon an inconveniency, but rather an advantage, as it increases the variety, and gives the composer a greater latitude both in air and harmony. The mixed mode, however, is liable to serious objections; on which account we shall say no more respecting it in this place.

MODEL. s. (modele, Fr. modulus, Latin.) 1. A representation in little of something made or done (Addison). 2. A copy to be imitated (Hooker). 3. A mould; any thing which shows or gives the shape of that which it encloses (Shakspeare). 4. Standard; that by which any thing is measured (South).

To MODEL. v. a. (modeler, French.) To plan; to shape; to mould; to form; to delineate. (Addison).

MODEL, in a general sense, an original pattern, proposed for any one to copy or imitate. This word is particularly used in building for an artificial pattern made in wood, stone, plaster, or other matter, with all its parts and proportions, in order for the better conducting and executing some great work, and to give an idea of the effect it will have in large. In all great buildings it is much the surest way to make a model in relievo, and not to trust to a bare design or draught, There are also models for the building of ships, &c. and for extraordinary staircases, &c.

They also use models in painting and sculpture; whence, in the academies, they give the term model to a naked man or woman, disposed in several postures, to afford an opportunity to the scholars to design in various views and attitudes.

Models in imitation of any natural or artificial substance, are most usually made by means of moulds composed of plaster of Paris. For the purpose of making these moulds this kind of plaster is much more fit than any other substance, on account of the power it has of absorbing water, and soon condensing into an hard substance, even after it has been rendered so thin as to be of the consistence of cream. This happens in a shorter or longer time, as the plaster is of a better or worse quality; and its good or bad properties depend very much upon its age, to which, therefore, particular regard ought to be had. It is sold in the shops at very different prices; the finest being made use of for casts, and the middling sort for moulds. It may be very easily coloured by means of almost any kind of powder excepting what contains an alkaline salt; for this would chemically decompose the substance of it, and render it unfit for use, the gypsum or plaster being a sulphat of lime, which would be composed by the alkali precipitating the lime. A very considerable quantity of chalk would also render it soft and useless, but lime hardens it to a great degree. The addition of common size will likewise render it much harder than if mere water is made use of. In making either moulds or models, however, we must be careful not to make the mixture too thick at first; for if this is done, and more water added to thin it, the composition must always prove brittle, and of a bad quality.

The particular manner of making models depends on the form of the subject to be taken. The process is easy where the parts are elevated only in a slight degree, or where they form only a right or obtuse angle with the principal surface from which they project; but where the parts project in smaller angles, or form curves inclined towards the principal surface, the work is more difficult. This observation, however, holds good only with regard to hard and inflexible bodies; for such as are soit may often be freed from the mould, even though they have the shape last mentioned. But though this is the case with the soft original substance, it is not so with the inflexible model when once it is cast.

The moulds are to be male of various degrees of thickness, according to the size of the model to be cast; and may be from half an inch to an inch, or, if very large, an inch and a half. Where a number of models are to be taken from one mould, it will likewise be necessary to have it of a stronger contexture than where only a few are required, for very obvious reasotis.

It is much more easy to make a mould for any soft substance than a rigid one, as in any of the viscera of the animal body: for the fluidity of the mixture makes it easily accommodate itself to the projecting parts of the substance; and as it is necessary to inflate these substances, they may be very readily extracted again, by letting out the air which distended them.

When a model is to be taken, the surface of the original is first to be greased, in order to prevent the plaster from sticking to it; but if the substance itself is slippery, as is the case with the internal parts of the human body, this need not be de: when necessary, it may be laid over with linseed oil by means of a painter's brush. The onginal is then to be laid on a smooth table, previously greased, or covered with a cloth, to prevent the plaster sticking to it; then surround the original with a frame or ridge of glazier's putty, at such a distance from it as will admit the plaster to rest upon the table on all sides of the subject for about an inch, or as much as is sufficient to give the proper degree of strength to the inould, A sufficient quantity of plaster is then to be poured as uniformly as possible over the whole substance, unul it is every where covered to such a thickness as to give a proper substance to the mould, which may vary in proportion to the size. The whole must then be suffered to remain in this condition till the plaster has attained its hardness: when the frame is taken away, the mould may be inverted, and the subject removed from it; and when the plaster is thoroughly dry, let it be well sca

soned.

Having formed and seasoned the moulds, they must next be prepared for the casts by greasing the inside of them with a mixture of olive oil and lard in equal parts, and then filled with fine fluid plaster, and the plane of the mould formed by its resting on the surface of the table, covered to a sufficient thickness with coarse plaster, to form a strong basis or support for the cast, where this support is requisite, as is particularly the case where the thin and membranous parts of the body are to be represented. After the plaster is poured into the mould, it must be suffered to stand until it has acquired the greatest degree of hardness it will receive: after which the mould must be removed but this is attended with some difficulty when the shape of the subject is unfavourable; and

in some cases the mould must be separated by means of a small mallet and chisel. If by these instruments any parts of the model should be broken off, they may be cemented by making the two surfaces to be applied to each other quite wet; then interposing betwixt them a little liquid plaster; and lastly, the joint smoothed, after being thoroughly dry. Any small holes that may be made in the mould can be filled up with liquid plaster, after the sides of them have been thoroughly wetted and smoothed over with the edge of a knife.

In many cases it is altogether impracticable to prepare a mould of one piece for a whole subject; and therefore it must be considered how this can be done in such a manner as to divide the mould into the fewest pieces. This may be effected by making every piece cover as much of the pattern as possible, without surrounding such projecting parts, or running into such hollows as would not admit a separation of the mould. Where any internal pieces are required, they are first to be made; and then the outer pieces, after the former have become hard.

Besides the models which are taken from inanimate bodies, it has been frequently attempted to take the exact resemblance of people while living, by using their face as the original of a model whence to take a mould; and the operation, however disagreeable, has been submitted to by persons of the highest ranks in life. A considerable difficulty occurs in this, however, from the person's being apt to shrink and distort his features when the liquid is poured upon him; neither is he altogether without danger of suffocation, unless the operator well understands his busi

ness.

To avoid the former inconvenience, it will be proper to mix the plaster with warm instead of cold water, by which means the person will be under no temptation to shrink; and to prevent any danger of a fatal accident, the following method is to be practised, Having laid he person horizontally on his back, the head must be first raised by means of a pillow to the exact position in which it is naturally carried when the body is erect; then the parts to be represented must be very thinly covered over with fine oil of almonds, by means of a painter's brush: the face is then to be first covered with fine fluid plaster, beginning at the upper part of the forehead, and spreading it over the eyes, which are to be kept close, that the plaster may not come in contact with the globe; yet not closed so strongly as to cause any unnatural wrinkles. Cover then the nose and ears, plugging first up the meatus auditorii with cotton, and the nostrils with a small quantity of tow rolled up, of a proper size to exclude the plaster. During the time that the nose is thus stopped the person is to breathe through the mouth in this state the fluid plaster is to be brought down low enough to cover the upper lip, observing to leave the rolls of tow projecting out of the plaster. When the operation is thus far carried on, the plaster must be suffered to harden; after which the tow may be withdrawn, and the nostrils left free and open for breathing. The mouth is then to be closed in its natural position, and the plaster brought down to the extremity of the chin. Begin then to cover that part of the breast which is to be represented, and spread the plaster to the outsides of the arms and upwards, in such a manner as to meet and join that which is previously laid on the

in tedious liberty; the most amiable of all feelings would scarcely warm the human breast; its object would with difficulty be attained. That obstacle, which seems to remove this object to a distance, in fact brings it nearer. The veil of shame only makes the desires more attractive. Modesty kindles that flame which it endeavours to suppress: its fears, its evasions, its cautions, its timid avowals, its pleasing and affecting finesses, speak more plainly what it wishes to conceal than passion can do without it: it is modesty, in short, which enhances the value of a favour, and mitigates the pain of a refusal.

MODESTY-PIECE. S. A narrow lace which runs along the upper part of the stays before, being part of the tucker (Addison). MODICA, a town of Sicily, in Val-di-Noto, on a river of the same name, 25 miles S. W. of Syracuse. Lon. 15. 9 E Lat. 36. 48 N.

MO‘DICUM. s. (Latin.) Small portion; pittance (Dryden).

MODIFIABLE. a. (from modify.) That may be diversified by accidental differences (Locke).

MODIFICABLE. a. (from modify.) Diversifiable by various modes.

MODIFICATION. s. (modification, Fr.) The act of modifying any thing, or giving it new accidental differences of external qualities or mode (Newton).

To MODIFY. v. a. (modifier, French.) 1. To change the external qualities or accidents of any thing; to shape (Newton). 2. To soften; to moderate (Dryden).

To MO'DIFY.v.n. To extenuate (L'Estr.), MODILLON. s. (French.) Modillons, in architecture, are little brackets which are often set under the corinthian and composite orders, and serve to support the projecture of the larmier or drip. See ARCHITECTURE.

MÓDIOLUS. (modiolus, dim. of modius, a measure). In anatomy, the nucleus, as it were, of the cochlea of the ear is so termed. It ascends from the basis of the cochlea to the apex.

MODISH. a. (from mode.) Fashionable; formed according to the reigning custom (Addison).

MODİSHLY. ad. Fashionably (Locke). MO'DISHNESS. s. (from modish.) Affectation of the fashion.

MODON, a strong town of the Morea, with a safe harbour, and a bishop's see. It is seated en a promontory, projecting into the sea of Sapienza, 15 miles E. of Coron, and 95 S.W. of Napoli-di-Romania. Lon. 21. 35 E. Lat. 36. 56 N.

MODREVIUS (Andreas Frichius), secretary to Sigismund Augustus king of Poland, acquired considerable reputation by his learning and works. He broke off from the Romish church, favoured the Lutherans and Antitrinitarians, and took great pains in order to unite all Christian societies under the same communion. Grotius has placed him in the class of the reconcilers of the different schemes

of religion. His principal work is entitled, De republica emendanda.

To MO'DULATE. v. a. (modulor, Lat.) To form sound to a certain key, or to certain notes (Grew).

MODULATION. s. (from modulate.) 1. The act of forming any thing to certain proportion (Woodward). 2. Sound modulated; harmony (Thomson).

MODULATION, in music, the art of conducting harmony, in composition, or extemporary performance, through those keys and modes which have a due relation to the fundamental, or original key. Though every piece, as is well known, has its principal or governing key, yet, for the sake of contrast and relief, it is not only allowable but necessary to pass from key to key, and from mode to mode; to assume different sharps or flats, and lead the ear through those transitions of tone and harmony which interest the feelings and delight the ear. But though in grand compositions there is no quality of greater importance than that of a masterly modulation, it is not easy to lay down rules for its accomplishment. Sometimes a gradual and almost insensible evolution of harmony is requisite to the composer's object; at other times a bold and sudden change can alone produce the necessary effect.

MODULATOR. s. (from modulate.) He who forms sounds to a certain key; a tuner (Derham).

MODULE. s. (modulus, Latin.) An empty representation; a model (Shakspeare)..

MODULE, in architecture, a certain measure, or bigness, taken at pleasure, for regulating the proportions of columns, and the symmetry or disposition of the whole building. Architects generally choose the semidiameter of the bottom of the column for their module, and this they subdivide into parts or minutes.

MODULUS OF A LOGARITHM. See LOGARITHMS.

MODUS. s. (Latin.) Something paid as a compensation for tithes on the supposition of being a moderate equivalent (Swift).

MODZIR, a town of Lithuania, capital of a district of the same name. It is seated on the river Prypce, in a fertile country, 85 miles S.E. of Sluczk. Lon. 29. 10 E. Lat. 52. 5 N.

MOE. a. (ma, Saxon. See Mo.) More; a greater number (Hooker).

MOEBIUS, (Godfrey), professor of physic at Iena, was born at Lauch in Thuringia in 1611. He became first physician to Frederic William elector of Brandenburg, to Augustus duke of Saxony, and to William duke of SaxeWeimar. He wrote several medical works, which are esteemed; and died at Halle, in Saxony, in 1664.

MOENIUS (Caius), a celebrated Roman consul, conqueror of the ancient Latins, 338 B.C. He was the first who hung up the prows, &c. of the galleys he had taken at the naval engagement of Actium, upon the place where the tribunes harangued the people; from whence it was called the rostra.

MOEHRINGIA. Mossy chickweed. In botany, a genus of the class octandria, order digynia. Calyx four-leaved; petals four; capsule one-celled, four-valved. One species only, an Alpine annual herb with white axillary flowers, erect, on slender one-flowered peduncles.

MOERIS, a steward of the shepherd Menalcas, in Virgil's Ecl. 9. 2. A king of Egypt, the last of the 300 kings from Menes to Sesostris, and reigned 63 years. 3. A celebrated lake in Egypt, supposed to have been dug by the king of the same name. It is about 220 miles in circumference, and intended as a reservoir for the waters during the inundation of the Nile. There were two pyramids in it, 600 feet high, half of which lay under the water, and the other appeared on the surface.

MOESIA, or MYSIA, (anc. geog.) a country of Europe, extending from the confluence of the Savus and the Danube to the shores of the Euxine. It was divided into Upper and Lower Moesia. Lower Moesia was on the borders of the Euxine, and comprehended that tract of country which received the name of Pontus from its vicinity to the sea. Upper Moesia lay beyond the other, in the inland country.

MOESKIRCH, a town of Suabia, belonging to the princes of Furstenburg, 18 miles N. of Constance, and 52 S. of Stutgard. Lon. 9. 11 E. Lat. 47. 56 N.

MOFFAT, a village of Scotland, in the shire of Annandale, 50 miles south-west of Edinburgh; famous for its sulphureous well, which has been in just estimation for above 150 years as a remedy in all cutaneous and scrophulous complaints; and for its chalybeate spring, perhaps the strongest in Britain, which was discovered about 50 years ago, and is of a very bracing quality. The place is chiefly supported by the company who resort thither for the benefit of its waters and air; but it has also a manufacture of coarse woollen stuffs. It is a well-built clean village; and contains many good and even elegant lodgings, a tolerable assembly-room, a bowling-green and walks, and one of the best inns between London and Edinburgh.

MOFFAT HILLS, the highest mountains in the S. of Scotland. They occupy the N. part of Annandale; and from these descend in different directions the Tweed, Clyde, and Annan, whose sources are but little distant from each other.

MOFFAT WATER, a cold sulphureous water, of a very simple composition. It is exhibited in cutaneous eruptions of every kind, scrophula, ill-conditioned and irritable sores, and in bilious and calculous complaints.

MOGADOR, an island and castle of Africa, in the kingdom of Morocco, near Cape Ozem. There are mines of gold and silver in one of the mountains. Lon. 9. 55 W. Lat. 31. 38 N. MOGULS (Country of the), or WESTERN CHINESE TARTARY, is bounded on the N. by Siberia, on the E. by Eastern Tartary, on the S. by the great Wall and Leao-tong, and on the W. by Independent Tartary. The Mogul

Tartars have neither towns, villages, nor houses; they are wandering hordes, and live under tents, which they remove from one place to another, according as the temperature of the different seasons or the wants of their flocks require: they pass the suminer on the banks of their rivers, and the winter at the foot of some mountain, or hill, which shelters them from the cutting north wind. They are naturally clownish, and dirty in their dress, as well as in their tents, where they live amid the dung of their flocks, which when dried they use for fuel instead of wood. Enemies to labour, they choose rather 'to be satisfied with the food with which their flocks supply them than take the trouble of cultivating the earth: it even appears that they neglect agriculture from pride. During the summer they live only on milk, which they obtain from their flocks, using without distinction that of the cow, mare, ewe, goat, and camel. Their ordinary drink is warm water, in which a little coarse tea has been infused; with this they mix cream, milk, or butter, according to their circumstances. They have also a method of making a kind of spirituous liquor of sour milk, especially of that of the mare. The Moguls are free, open, and sincere. They pride themselves chiefly on their dexterity in handling the bow and arrow, mounting on horseback, and hunting wild beasts. Polygamy is permitted among them; but they generally have only one wife. They burn the bodies of their dead, and carry the ashes to eminences, where they inter them, and cover the grave with a heap of stones, over which they plant a great number of small standards. They are unacquainted with the use of money, and trade only by barter. Although the Moguls might appropriate to themselves the spoils of a great number of animals, the skins which they use for clothing are generally those of their sheep. They wear the wool inmost, and the skin on the outside. The religion of the Mogul Tartars is confined to the worship of Fo. They have the most superstitious veneration for their lamas, who are clownish, ignorant, and licentious priests, to whom they attribute the power of calling down hail or rain; to these lamas they give the most valuable of their effects in return for prayers, which they go about reciting from tent to tent. These people are very devout, and continually wear hanging at their necks a kind of chaplet, over which they say their prayers. All the Moguls are governed by khans, or particular princes, independent of each other; but all subject to the emperor of China, whom they consider as the grand khan of the Tartars. When the Mantchews subdued China, they conferred on the most powerful of the Mogul princes the title of vang, peilé, peizé, and cong, which answer to our titles of king, duke, count, and marquis; each of them had a revenue assigned him, but far inferior to the appoinments of the Mantchew lords at Pekin: the emperor settled the limits. of their respective territories, and appointed. them laws, according to which they are at present governed. All the Mogul nations under