Page:EB1911 - Volume 17.djvu/769

 flowers appear in profusion, while if architectural forms occur they are generally in the shape of ruins amid landscape. The greater portion of the examples in England are importations, either from Holland (in which country very fine work was produced during the latter half of the 16th and 17th centuries) or from France. The reputation of the Dutch marqueteurs was so great that Colbert engaged two, named Pierre Gole and Vordt, for the Gobelins at the beginning of the 17th century. Jean Macé of Blois, the first Frenchman known to have practised the art, who was at work in Paris from 1644 (when he was lodged in the Louvre), or earlier, till 1672, as a sculptor and painter, learnt it in the Netherlands. His title was “menuisier et faiseur de cabinets et tableaux en marqueterie de bois”; but as early as 1576 a certain Hans Kraus had been called “marqueteur du roi.” Jean Macé’s daughter married Pierre Boulle, and the greatest of the family, (q.v.), succeeded to his lodging in the Louvre on his death in 1672. The members of this family are perhaps the best known of the French marqueteurs. Their greatest triumphs were gained in the marquetry of metal and tortoise-shell combined with beautifully chiselled ormulu mountings; but many foreign workmen found employment in France from the time of Colbert, and some of them rose to the highest eminence. The names of Roentgen, under whom the later German marquetry perhaps reached its highest point, Riesener and Oeben, testify to their nationality. A good deal of marquetry was executed in England in the later Stuart period, mainly upon long-case clocks, cabinets and chests of drawers, and it is often of real excellence. Marquetry in a shallower form was also extensively used in the latter part of the 18th century. The most beautiful examples of the art in Italy are mainly panels of choir stalls or sacristy cupboards, though marriage coffers were also often sumptuously decorated in this manner. With the increase in luxury and display in the 17th and 18th centuries in France and Germany cabinets and escritoires became objects upon which extraordinary talent and expenditure were lavished. In South Germany musical instruments, weapons and bride chests were often lavishly decorated with marquetry. The cabinets are of elaborate architectural design with inlays of ebony and ivory or with veneers of black and white, the design counterchanging so that one cutting produced several repeats of the same pattern in one colour or the other. In modern practice as many as four or even six thicknesses are put together and so cut. When all the parts have been cut and fitted together face downwards paper is glued over them to keep them in place and the ground and the veneer are carefully levelled and toothed so as to obtain a freshly worked surface. The ground is then well wetted with glue at a high temperature and the surfaces squeezed tightly together between frames called “cauls” till the glue is hard. There are several modes of ensuring the accurate fitting of the various parts, which is a matter of the first importance.

 MARQUETTE, JACQUES (1637–1675), French Jesuit missionary and explorer, re-discoverer (with Louis Joliet) of the Mississippi. He was born at Laon, went to Canada in 1666, and was sent in 1668 to the upper lakes of the St Lawrence. Here he worked at Sault Ste Marie, St Esprit (near the western extremity of Lake Superior) and St Ignace (near Michilimackinac or Mackinaw, on the strait between Huron and Michigan). In 1673 he was chosen with Joliet for the exploration of the Mississippi, of which the French had begun to gain knowledge from Indians of the central prairies. The route taken lay up the north-west side of Lake Michigan, up Green Bay and Fox river, across Lake Winnebago, over the portage to the Wisconsin river, and down the latter into the Mississippi, which was descended to within 700 m. of the sea, at the confluence of the Arkansas river. Entering the Mississippi on the 17th of May, Joliet and his companion turned back on the 17th of July, and returned to Green Bay and Michigan (by way of the Illinois river) at the end of September 1673. On the journey Marquette fell ill of dysentery; and a fresh excursion which he undertook to plant a mission among the Indians of the Illinois river in the winter of 1674–1675 proved fatal. He died on his way home to St Ignace on the banks of a small stream (the lesser and older Marquette River) which enters the east side of Lake Michigan in Marquette Bay (May 18, 1675). His name is now borne by a larger watercourse which flows some distance from the scene of his death.

See Marquette’s Journal, first published in Melchissédech Thévenot’s Recueil de Voyages (Paris, 1681), and fully given in Martin’s Relations inédites, and in Shea’s Discovery and Exploration of the Mississippi Valley (New York, 1852); cf. also Pierre Margry’s Découvertes des Français dans l’ouest et dans le sud de l’Amérique septentrionale (1614–1754); Mémoires et documents originaux (Paris, 1875), containing Joliet’s Détails and Relations; Francis Parkman, La Salle and the Discovery of the Great West (Boston 1869–1878), esp. pp. x., 20, 32-33, 49-72.

MARQUETTE, a city, a port of entry and the county seat of Marquette county, Michigan U.S.A., on the south shore of Lake Superior. Pop. (1900), 10,058 (3460 foreign-born); (1910), 11,503. It is served by the Duluth, South Shore & Atlantic, the Marquette & South-Eastern, the Chicago, Milwaukee & St Paul, the Chicago & North-Western, and the Lake Superior & Ishpeming railways. The city, which is situated on a bluff 100 ft. above the lake, in a region characterized by rounded hills and picturesque irregularities, has a delightful climate, and is a popular summer resort. Presque Isle park (400 acres), a headland north of the city, is one of its principal attractions. Marquette is the seat of the Northern State Normal School (established 1899) and of the state house of correction and branch prison (established 1885). A county-court-house, the Peter White library, and the Federal building are the most prominent public buildings. Marquette is the seat of Roman Catholic and Protestant Episcopal bishoprics. The city is best known as a shipping centre of one of the richest iron-ore districts in the world, and its large and well-equipped ore docks are among its most prominent features. Marquette is the port of entry of the customs district of Superior. In 1896 its imports were valued at $358,505 and its exports at $4,708,302; in 1908, imports $1,845,724 and exports $7,040,473. Foundries, railway machine-shops, lumber and planing-mills, brewery and bottling works, and quarries of brownish-red sandstone contribute largely to the city’s economic importance. The charcoal iron blast-furnaces of the city manufacture pig-iron, and, as by-products, wood alcohol and acetic acid, recovered from the smoke of the charcoal pits. The value of the city’s factory products increased from $1,585,083 in 1900 to $2,364,081 in 1905, or 49.1%. The first settlement was made about 1845, and in 1849 it was named Worcester; but “Marquette” was soon substituted in honour of Jacques Marquette. It was incorporated as a village in 1859, and chartered as a city in 1871.

MARR, CARL (1858–&emsp;&emsp;), American artist, was born at Milwaukee, Wisconsin, on the 14th of February 1858, the son of an engraver. He was a pupil of Henry Vianden in Milwaukee, of Schauss in Weimar, of Gussow in Berlin, and subsequently of Otto Seitz, Gabriel and Max Lindenschmitt in Munich. His first work, “Ahasuerus, the Wandering Jew,” received a medal in Munich. One of his pictures, “Episode of 1813,” is in the Royal Hanover Gallery, and his “Germany in 1806” received a gold medal in Munich and is in the Royal Academy of Koenigsberg. A large canvas “The Flagellants,” now in the Milwaukee public library, received a gold medal at the Munich Exposition in 1889. Another canvas, “Summer Afternoon,” in the Phoebe Hearst collection, received a gold medal in Berlin, in 1892. Marr became a professor in the Munich Academy in 1893, and in 1895 a member of the Berlin Academy of Arts.

MARRADI, GIOVANNI (1852–&emsp;&emsp;), Italian poet, was born at Leghorn, and educated at Pisa and Florence. At the latter place he started with others a short-lived review, the Nuovi Goliardi, which made some literary sensation. He became a teacher at various colleges, and eventually an educational inspector in Massa Carrara. He was much influenced by Carducci, and became known not only as a critic but as a charming descriptive poet, his principal volumes of verse being Canzone moderne (1870), Fantasie marnie (1881), Canzoni e fantasie (1853), Ricordi lirici (1884), Poesie (1887), Nuovi canti (1891) and Ballate moderne (1895).