The mitre is a round cap, pointed, and cleft at top, with two pendants hanging down on the shoulders, and fringed at both ends. The bishop's is only surrounded with a fillet of gold, set with precious stones; the archbishop's issues out of a ducal coronet. These are never used otherwise than on their coats of arms. Abbots wear the mitre turned in profile, and bear the crosier inwards, to shew that they have no spiritual jurisdiction without their own cloisters. The pope has also granted to some canons of cathedrals the privilege of wearing the mitre. The counts of Lyons are also said to have assisted at church in mitres. In Germany several great families bear the mitre for their crest; to shew that they are advocates, or feudatories, of ancient abbeys, or officers of bishops, &c. The pope has four mitres, which are more or less rich, according to the solemnity of the feast-days they are to be worn on. The mitre was originally the women's head-dress, as the hat was that of the men. This appears from Remulus in Virgil, who reproaches the Trojans, that they were dressed like women, and wore mitres. Et tunica manicas et habent redimicula mitræ. The cardinals anciently wore mitres, before the hat, which was first granted them by the council of Lyons, in 1243. Authors make no mention of the mitre as an episcopal ornament before the year 1000. MITRE, in architecture, is the workmen's term for an angle that is just 45 degrees, or half a right one. If the angle be a quarter of a right angle, they call it a half-mitre. MITRE is used by the writers of the Irish history for a sort of base money, which was very common there about the year 1270, and for 30 years before, and as many after. There were beside the mitre several other pieces called according to the figures impressed upon them, rosaries, lionades, eagles, and by the like names. They were imported from France and other countries, and were so much below the proper currency of the kingdom, that they were not worth so much as a halfpenny each. They were at length decried in the year 1300, and good coins struck in their place. MITRED. a. (mitré, French, from mitre.) Adorned with a mitre (Prior). MITTAU, the capital of the duchy of Courland. It is strongly fortified; but was taken by the Swedes in 1701, and by the Muscovites in 1706. Lon. 23. 51 E. Lat. 56, 44 N. MITTENT. a. (mittens, Latin.) Sending forth; emitting (Wiseman). MITTENS. s. (mitains, French.) 1. Coarse gloves for the winter (Peacham). 2. Gloves that cover the arms without covering the fingers. MITTIMUS, as generally used, hath two ignifications. 1. It signifies a writ for removing or transferring of records from one court to another. 2. It signifies a precept, or command in writing, under the hand and seal of a justice of the peace, directed to the gaoler or keeper of some prison, for the receiving and safe keeping of an offender charged with any crime until he be delivered by due course of law. MITYLENE, or MYTELENE (anc. geog.), a celebrated, powerful, and affluent city, capital of the island of Lesbos. It receives its name from Mitylene, thedaughter of Macareus, a king of the country. It is greatly commended by the ancients for the stateliness of its buildings and the fruitfulness of its soil, but more particularly for the great men it produced. Pittacus, Alcæus, Sappho, Terpander, Theophanes, Hellanicus, &c. were all natives of Mitylene. It was long a seat of learning; and with Rhodes and Athens it had the honour of having educated many of the great men of Rome and Greece. In the Peloponnesian war, the Mityleneans suffered greatly for their revolt from the power of Athens; and in the Mithridatic wars they had the boldness to resist the Romans, and disdain the treaties which had been made betwen Mithridates and Sylla. To MIX. v. a. (misceo, Latin.) 1. To unite to something else (Hosea). 2. To unite various ingredients into one mass (Esdras). 3. To form of different substances (Bacon) To join; to mingle (Shakspeare). 4. To Mix. v. n. To be united into one mass by mutual intromission of parts (Milton). MIXEN. s. (mixen, Saxon.) A dunghill; a laystall. MIXO-LYDIAN. (Greek.) The name of one of the modes in the ancient music, called also hyper-dorian. The mixo-lydian mode was the most acute of the seven to which Ptolemy reduced the Greek music. MIXTION. s. (mixtion, French.) Mixture; confusion of one thing with another (Digby). MIXTLY. ad. (from mix.) With coalition of different parts into one. MIXTURE, s. (mixtura, Latin.) 1. The act of mixing; the state of being mixed (Arbuthnot). 2. A mass formed by mingled ingredients. 3. That which is added and mixed (Addison). MIXTURE, a compound or assemblage of several different bodies in the same mass. Simple mixture consists only in the simple apposition of parts of different bodies to each other. Thus, when powders of different kinds are rubbed together the mixture is only simple, and each of the powders retains its particular character. In like manner, when oil and water are mixed together, though the parts of both are confounded, so that the liquor may appear to be homogeneous, we cannot say that there is any more than a simple apposition of the parts, as the oil and water may very easily be again separated from each other. But the case is very different when bodies are chemically mixed; for then one or both bodies assume new properties, and can by no means be discovered in their proper form without a particular chemical process adapted to this purpose. Hence chemical mixture is attended with many phenomena which are never observed in simple mixtures; such as heat, effervescence, &c. MIZEN. See MISEN. MIZZY. s. A bog; a quagmire (Ains.). MNASIUM, in botany, a genus of the class hexandria, order monogynia. Spathe twovalved, many flowered: calyx three-parted; corol one-petalled, three-toothed, with a very short tube; anthers terminated by a leaflet; stigmas three, spirally twisted. One species only, an aquatic plant of Guiana, with involucred, panicled, yellow flowers. MNEMO'NICKS. s. (parnoviun.) The art of memory. MNEMOSYNE (fab. hist.), a daughter of Coelus and Terra. She married Jupiter, by whom she had the nine Muses. The word Mnemosyne signifies" memory;" and therefore the poets have rightly called Memory the mother of the Muses, because it is to that mental endowment that mankind are indebted for their progress in science. MNIARUM, in botany, a genus of the class monandria, order digynia. Calyx four-parted, superior; corolless; seed one. One species only; a New Zealand herb, with subsessile flowers terminating in pairs. MNIUM. Marsh-moss. In botany, a genus of the cryptogamia musci class and order. Natural order of mosses. Generic character: capsule with a lid; calyptre smooth; bristle from a terminating tubercle: male flowers headed, or discoid. Twenty species are enumerated, among which M. hygrometricum is the most remarkable. If the fruit stalk be moistened at the bottom, the head makes three or four turns; and if the head be moistened it turns the contrary way. By some authors this is ranged with the Bryums; and Hedwig makes it a Koelreuteria. MO a. (ma, Saxon.) Making greater number: more: obsolete. (Spenser). MO. ad. Further; longer: obsolete. (Shaks.) MOAB (anc, geog.), a country of Arabia Petræa; so called from Moab the son of Lot, to whose posterity this country was allotted by divine appointment, Deut. xi. 9. It was originally occupied by the Emim, a race of giants extirpated by the Moabites, ibid. Moab anciently lay to the south of Ammon, before Sihon the Amorite stripped both nations of a part of their territory, afterwards occupied by the Israelites, Numb. xxi. ; and then Moab was bounded by the river Arnon to the north, the Lacus Asphaltites to the west, the brook Zared to the south, and the mountains Abarim to the east. To MOAN. v..a. (from mænan, Saxon, to grieve.) To lament; to deplore. To MOAN, v. n. To grieve, to make la mentation (Thomson).. MOAN. S. Lamentation; audible sorrow (Shakspeare). MOAT. s. (motle, French.) A canal of water round a house or castle for defence(Sid.). To MOAT. v. a. (motter, French.) surround with canals by way of defence (Dry.). To MOAT, or DITCH, in fortification, a deep trench dug round the rampart of a fortified place to prevent surprises. The brink of the moat, next the rampart, is called the scarp; and the opposite one, the counterscarp. A dry moat round a large place, with a strong garrison, is preferable to one full of water; because the passage may be disputed inch by inch, and the besiegers, when lodged in it, are continually exposed to the bombs, granades, and other fire-works, which are thrown in incessantly from the rampart into their works. In the middle of dry moats there is sometimes another small one called cunette, which is generally dug so deep till they find water to fill it. The deepest and broadest noats are accounted the best, but a deep one is preferable to a broad one: the ordinary breadth is about twenty fathoms, and the depth about sixteen. To drain a moat that is full of water, they dig a trench deeper than the level of the water to let it run off, and then throw hurdles upon the mud and slime, covering them with earth or bundles of rushes, to make a sure and firm passage. MOB. s. (from moble.) A kind of female undress for the head. MOB. s. (contracted from mobile, Latin.) MO'BBISH. a. (from mob.) Mean; done after the manner of the mob. MO'BBY. s. An American drink made of potatoes. MOBILE. s. (mobile, French.) The populace; the rout; the mob (L'Estrange). MOBILE, moveable, any thing susceptible of motion, or that is disposed to be moved either by itself or by some other prior mobile, or mover. MOBILE (Primum), in the ancient astronomy, was a ninth heaven, or sphere, imagined above those of the planets and fixed stars. This was supposed to be the first mover, and to carry all the lower spheres round along with it; by its rapidity communicating to them a motion whereby they revolved in twenty-four hours. But the diurnal revolution of the planets is now accounted for, without the assistance of any such primum mobile. MOBILES, in the ancient music, was an appellation given to the two intermediate chords of a tetrachord; because their variations produced the different genera and species of music. They were called by the Greeks la, or vauto MOBILITY. s. (mobilité, Fr. mobilitas; Latin.) 1. The power of being moved (Locke). 2. Nimbleness; activity (Blackmore). 3. (In cant language.) The populace (Dryden). 4. Fickleness; inconstancy (Ainsworth). To MO'BEL.v. a. To dress grossly or inelegantly (Shakspeare). MOCHLICA, a term given by some authors to drastic purges. MOCHA-STONE, in mineralogy. See CHALCEDONIUS. The term is a corruption from the German moch-stein, or moss-stone. MOCHA, or MOKA, a considerable town of Arabia Felix, surrounded by walls. It carries on a great trade, especially in coffee; and the inhabitants are computed at 10,000, without including the poor Armenians, or the Jews, who inhabit the suburbs. The women, except a small number of the common sort, never appear in the streets in the day time, but visit each other in the evening. When they meet any men in the way, they stand up cluse against the wall to let them pass. Their dress is much like other women of the East, and over all they wear a large veil of painted calico, so thin that they can see through it without being seen. They have also little bus kins of Morocco leather. The English at present engrosss almost exclusively the trade of this place: the Portuguese having long since ceased to send any ships hither, and the Dutch rarely sending any. Mocha is seated in a sandy country, near the straits of Babelmaudel, 240 miles S.S.W. of Sanaa, and 560 S.S.E. of Mecca. Lon. 44. 25 E. Lat. 14. 0 N. To MOCK. v. a. (mocquer, French.) To deride; to laugh at ; toʻridicule (Job). 2. To deride by imitation; to mimic in contempt Shakspeare). 3. To defeat; to elude (Shaks). 4. To fool; to tantalize; to play on contemptuously (Milton). 1. To Mock. v. n. To make contemptuous sport (Job). Mock. s. (from the verb.) 1. Ridicule; act of contempt; sneer; gibe; flirt (Tillotson). 2. Imitation; mimickry (Crashaw). Моск a. False; counterfeit; not real (Druden). MOCK-ORANGE, in botany. See PHILA DELPHUS. MOCK-PRIVET. See PHILLYNEAS. MOCKABLE. a. Exposed to derision (Shakspeare). MOCKEL. a (the same with mickle.) Much, many (Spenser). MOCKER. s. (from mock.) 1. One who mecks; a scorner; a scoffer (Shakspeare). 2. A deceiver; and elusory impostor. 1. MOCKERY. s. (mocquerie, French.) Der sion; scorn; sportive insult (Watts). 2. Ridicule; contemptuous merriment (Hook). 3. Sport; subject of laughter (Shakspeare). 4. Vanity of attempt; vain effort (Shaks.). 5. Imitation; counterfeit appearance; vain show (Shakspeare). stocky. See In MOCKING-BIRD, in ornithology. ORIOLUS and TURDUS. MOCKINGLY, ad. (from mockery). contempt; petulantly; with insult. MOCKING-STOCK. s. (mocking and A butt for merriment. MOʻDAL. a (modale, French.) Relating to the form or mode, not the essence (Glan.). MODAʼLITY. s. (from modal.) Accidental difference; modal accident (Holder). MODBURY, a town in Devonshire, with a market on Thursday. It is seated in a bottom, between two hills, 36 miles S.S.W. of Exeter, and 208 W.S.W. of London. Lon. 3. 54 W. Lat. 50. 23 N. MODE. s. (mode, French; modus, Latin.) 1. External variety; accidental discrimination; accident (Watts). 2. Gradation; degree (Pope). 3. Manner; method; form; fashion (Taylor). 4. State; quality (Shakspeare). 5. Fashion; custom (Addison). MODE, in grammar. See GRAMMAR, MODE, or MOOD, (modus), in philosophy, a manner of being, or a quality or attribute of a substance, or subject, which we conceive as necessarily depending on the subject, and incapable of subsisting without it. Mr. Locke defines modes to be those ideas (he should have said things) which do not imply any supposition of subsisting by themselves, but of substances. areconsidered as mere dependences, and affections Our ideas of things may be reduced to two kinds: the one of things, which we conceive separately, and by themselves, called substances; and the other of things which we conceive as existing in others, in such manner as that we cannot allow them existing without them, and these we call modes or accidents. Thus what gives us to know, that thought is not a mode of extended substance, or matter, is, that extension, and the other properties of matter, may be divided from thought, without ceasing to conceive thought all the while. We always consider things as clothed with certain modes, except we reflect on them in the abstract, or general: and it is the variety of modes, and the relations, that occasions the great variety of denominations of the same thing. They are the various modes of matter, e. g. that make all the diversity of bodies, or corporeal beings, in nature. There are various divisions and kinds of modes: as, 1. Essential or accidental. An essential mode, or attribute, is that which belongs to the very nature or essence of the subject wherein it is: and the subject can never have the same nature without it, as roundness in a bowl, solidity in matter, thinking in a spirit, &c. and this is primary, when it is the first or chief thing that constitutes any being in its particular essence or nature, and makes it to be that which it is, and distinguishes it from all other beings, as roundness in a bowl; or secondary, which is any other attribute of a thing, that is not volubility in a bowl. of primary consideration, called a property; as An accidental mode, or accident, is such a mode as is not necessary to the being of a thing; for the subject may be without it, and yet remain of the same nature which it had before; or it is that mode, which may be separated from its subject; as, blackness or whiteness in a bowl, learning in a man, &c. 2. Modes are absolute and relative. An absolute mode is that which belongs to its subject, without respect to any other beings whatsoever. A relative mode is derived from the regard which one being has to others: thus, roundness and smoothness are the absolute modes of a bowl; but greatness and smallness are relative. See RE LATION. 3. Modes are intrinsical or extrinsical. The former are conceived to be in the subject or substance; as when we say a globe is round, &c. The latter mode is a manner of being which some substances attain by reason of something that is external or foreign to the subject, and is called external denomination; as, this globe lies within two yards of the wall, &c. 4. Modes are also inherent or adherent, i. e. proper or improper. Adherent modes arise from the joining of some accidental substance to the chief subject, which yet may be separated from it; as when a bowl is wet, &c. Inherent modes have a sort of in-being in the substance itself; as, the bowl is swift or round, &c. 5. Action and passion, using the terms in a philosophical sense, are modes which belong to substances; as, when a smith with a hammer strikes a piece of iron, the smith and hammer are agents or subjects of action, and the iron is the patient or subject of passion. 6. Modes may be divided into natural, civil, mora!, and supernatural, all which pertain to the apostle Paul, who was a little man, a Roman by the privilege of his birth, a man of virtue or honesty, and an inspired apostle. 7. Modes belong either to body, or to spirit, or to both. Modes of body belong only to matter, or to corporeal beings; such are figure, rest, motion, &c. These are primary, when they belong to bodies, considered in themselves, whe ther there were any man to take notice of them or no, as shape, size, &c. or secondary, which are such ideas as we ascribe to bodies on account of the various impressions that are made on the senses of men by them, called secondary qualities; such are all colours, sounds, tastes, smells, and all tactile qualities. (See 2UALITY.) Modes of spirit belong only to minds, such are knowledge, will, &c. Modes belonging to body and spirit are called mixed or human modes, because they are found in human nature, such are sensation, imagination, passion, &c. in which there is a concurrence of the operation of animal and intellectual nature. 8. There are also modes of other modes, which, though they subsist in and by the substance, as the original subject of them, are properly and directly attributed to some mode of that substance; thus, swiftness and slowness are modes of motion, which is itself the mode of a body. MODE, in music, the particular order of the concinnous degrees of an octave, the fundamental note whereof may be called the key, as it signifies that principal note which regulates the rest. The proper difference, therefore, between a mode and a key is this, that an octave with all natural and concinnous degrees is called a mode, with respect to the constitution or manner of dividing it; and with respect to its place in the scale it is called a key. There is this difference between the mode and the tone, that the latter only determines the principal sound, and indicates the place which is most proper to be occupied by that system which ought to constitute the bass of the air; whereas the former regulates the thirds, and modifies the whole scale agreeably to its fundamental sounds. Sir Francis Haskins Eyles Styles, in an elaborate essay on the modes of the ancients, Phil. Trans, vol. li. 695, has undertaken to prove that the two doctrines on this subject, which he distinguishes by the epithets of harmonic and musical, and which have been advanced by different writers, are in reality the same. According to one of these, viz. the harmonic, the difference between one mode and another consisted in the tension or pitch of the system; and, according to the other, or musical, this difference consisted in the manner of dividing an octave, or in the different species of the diapason: but both these definitions of a musical mode perfectly coincide. This author observes, that, according to the harmonic doctrine, the numbers of the modes had been augmented to fifteen; but Ptolemy, who appears to have favoured the musical, reduces them to seven: of these seven, according to the direction furnished by Eacchius, p. 12. ed Meibom. it appears, that the Mixolydian was the most acute; the Lydian graver by a semitone; the Phrygian graver than the Lydian by a tone; the Dorian graver than the Phrygian by a tone; the Hypolydian graver than the Dorian by a semitone; the Hypophrygian graver than the Hypolydian by a tone; and the Hypodorian graver than the Hypophrygian by a tone. Now as the Guidonian scale, in use among the moderns, answers to the system of the ancients in its natural situation, which was in the Dorian mode, and our A la mi re, consequently, answers to the pitch of the Dorian mese: we have a plain direction for finding the absolute pitch of the meses for all the seven in our modern notes, and they will be found to stand thus: But to understand this doctrine as delivered by the ancients, it will be necessary also to examine how the meses of the seven modes were stationed upon the lyre. The lyre, after its last enlargements, consisted of fifteen strings, which took in the compass a dis-diapason, or double octave. These strings were called by the same names as the fifteen sounds of the system; and, when tuned for the Dorian mode, corresponded exactly with them. In this mode the mese of the system was placed in the mese of the lyre; but in every one of the rest, it was applied to a different string, and every sound of the system transposed accordingly. Hence arose the distinction between a sound in power and a sound in position; for when the system was transposed from the Dorian to any other mode, e. g. to the Phrygian, the mese of the lyre, though still mese in position, acquired in this case the power of the lichanos meson; and the paramese of the lyre, though still paramese in position, acquired the power of the mese. In these transpositions one or more of the strings always required new tunings, to preserve the relations of the system; but, notwithstanding this alteration of their pitch, they retained their old names, when spoken of, in respect to their positions only; for the name implied not any particular pitch of the string, but only its place upon the lyre, in the numerical order, reckoning the proslambanomenos for the first. The places of the mese for the seven modes upon the lyre are settled by Ptolemy as follow: Mixolydian Lydian Dorian Mese in string. Paranetediezeugmenon 11 Tritediezeugmenon 10 Paramese Mese Lichanos meson 9 8 7 6 5 Hypolydian Hypophrygian Parhypate meson Hypodorian Hypate meson On the other hand, the musical doctrine taught, that the difference between one mode and another consisted in the manner of dividing an octave, or in the different species of diapason. These were, as we have already observed, seven in number; and bad the denominations of Mixolydian, Lydian, Phrygian, Dorian, Hypolydian, Hypophrygian, and Hypodorian. See DIAPASON. These species, as they stand in the system, are with respect to acuteness and gravity in the inverted order of the seven modes as settled by the harmonic doctrine. According to the Guidonian scale, and preserving the natural notes, they will stand in the manner represented under diapason. The order of the intervals of which each species is composed, proceeding in each from grave to acute, will be as follows: Mixolydian. Semitone, tone, tone, semitone, tone, tone, tone. Lydiau. Tone, tone, semitone, tone, tone, tone, semitone. Phrygian. Tone, semitone, tone, tone, tone, semitone, tone. Dorian. Semitone, tone, tone, tone, semitone, tone, tone. Hypolydian. Tone, tone, tone, semitone, tone, tone, semitone. Hypophrygian. Tone, tone, semitone, tone, tone, semitone, tone. Hypodorian. Tone, semitone, tone, tone, semitone, tone, tone. The ancients had another method of explaining the species of diapason by the position of the diazeuctic tone, or interval from mese to paramese. In the Mixolydian species, the diazeuctic tone was the first interval, reckoning from acute to grave; in the Lydian it was the second; in the Phrygian the third; in the Dorian the fourth; in the Hypolydian the fifth; in the Hypophrygian the sixth; and in the Hypodorian the last. The ancient modes, besides their general division into authentic and plagal, had also their respective names from the several Greek provinces where they are supposed to have been invented. Originally indeed there were but three, viz. Dorie, Lydian, and Phrygian; which were particularly called tones, because at a tone's distance from one another. The rest were added afterwards, and were some of thein named from the relations they bore to the former, particularly the Hypo-doric, as being below the Doric. See the preceding part of this article. The Doric mode was a mixture of gravity and mirth, invented by Thamyras of Thrace. The Phrygian mode was adapted to the kindiing of rage; and was invented by Marsyas the Phrygian. The Lydian mode was proper for amorous or funeral songs; and was invented, according to Pliny, by Amphion. The Mixolydian was invented by Sappho. The Eolie, lonic, and Hypo-dorian by Philoxenus. And the Hypolydian by Polymnestes. See DORIC, &c. Besides these modes of tune, old authors have also introduced modes of time, or measures of notes. These at first were distinguished into greater and less, and each of these again into perfect and imperfect. But afterwards they reduced ali into our four modes, which included the whole business of time. These modes are now disused. Our modes are not, like those of the ancients, characterised by any sentiment which they tend to excite, but result from our system of harmony alone. The sounds essential to the mode are in number three, and form together one perfect chord. 1. The tonic or key, which is the fundamental note both of the tone and of the mode. (See ToNs and TONIC.) 2. The dominant, which is a fifth from the tonic. (See DOMINANT.) 3. The mediant, which properly constitutes the mode, and which is a third from the same tonic. As this third may be of two kinds, there are of consequence two different modes. When the mediant forms a greater third with the tonic, the mode is major; when the third is lesser, it is minor. The major mode is immediately generated by the resonance of sounding bodies, which exhibit the third major of the fundamental sound: but the minor mode is not the product of nature; it is only found by analogy and inversion. This is equally true upon the system of Sig. Tartini, as upon that of M. Rameau. When the mode is once determined, every note in the scale assumes a name expressive of its relation to the fundamental sound, and peculiar to the place which it occupies in that particular mode. We subjoin the names of all the notes significant of their relative values and places in each particular mode, taking the octave of ut as an example of the major mode, and of le as an example of the minor. It is necessary to remark, that when the seventh note is only a semitone distant from the highest in the octave, that is to say, when it forms a third major with the dominant, as si natural in the major mode, or sol sharp in the minor, that seventh sound is then called a sensible note, because it discovers the tonic and renders the tone appreciable. Nor does each gradation only assume that name which is suitable to it; but the nature of each interval is determined according to its relation to the mode. The rules established for this are as follow : 1. The second note must form a second major above the tonic, the fourth note and the dominant should form a fourth and fifth exactly true; and this equally in both modes. 2. In the major mode, the mediant or third, the sixth and the seventh from the tonic, should always be major; for by this the mode is characterised. For the same reason these three intervals ought always to be minor in the minor mode: nevertheless, as it is necessary that the sensible note should likewise there be perceived, which can |