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 in strong red or burnt sienna, or a rich brown. The outlines of limbs or the contours of faces should be made first with a green line, a little darker than the local tints, then a red line darker still, then a black or brown line. White draperies are capable of being treated with endless variety. Their shadows may be green, red, blue, grey or yellow. If the white drapery is to take a neutral tone when seen from a distance, all these tints should be employed, because when mixed those positive colours appear neutral when seen from afar.

Gold drapery has a fine effect. Bright gold expands to four times the width of the line, so that the lines of gold should be thin. It may be that the gold drapery is to appear greenish; when that is desirable the folds should be drawn in green outlined with red. All deep shades should be treated with red and hot browns. As gold expands so considerably, a larger interval should be left between the tesserae than between any other colour, even white. Each tessera should have a thin space of the ground colour round it. The tesserae should never be jammed: it is that which causes so many modern mosaics to look like oil-cloth or chromo-lithographs.

The Finished Cartoon.—The finished cartoon, having been coloured in lines, should look exactly like the finished mosaic as regards effect; and the master, in making his cartoon, should always bear in mind that he is designing for mosaic, and not making a finished picture. The cartoon, when complete, is taken off the wall and cut up in pieces. Each piece is then carefully traced. The space upon the wall corresponding to each section is then covered with cement, but only upon that portion of the space which can be worked in mosaic in a day. The mosaic worker then applies the portion of the tracing upon the wet cement, and with a sharp point he pricks through the paper upon the lines thereon drawn; on removing the tracing he will find indents within the surface of the cement, which give him his cue to all the forms. Setting up the coloured design by his side, he takes the tesserae, which exactly correspond in colour and tone with those on the drawing, and begins his work, commencing from the outline and working inwards towards the centre, the lightest portion being left to the last. Here comes in the real test whether the craftsman is capable or the reverse. This is soon judged by the master, who will put the work in and out until he is satisfied with the result. Unless the master has himself gone through the drudgery of laying the cubes he can be no teacher. He must be a craftsman as well as a designer, and must know by experience and practice in a very difficult craft what the material can do with ease and what it is not called upon to do by reason of its inherent limitations. If he has not so trained himself he is certain to pictorialize what he should conventionalize; and, moreover, he will set technical difficulties in the way which are impossible to overcome. He must aim at the greatest simplicity without dullness, at producing the greatest effect by the simplest means, and to do that he must know his material or fail.

MOSBY, JOHN SINGLETON (1833–), American soldier, was born in Edgemont, Powhatan county, Virginia, on the 6th of December 1833. He graduated at the university of Virginia in 1852, was admitted to the bar in 1855, and practised law in Bristol, Washington county, Virginia, until the beginning of the Civil War, when he joined the cause of the South. He enlisted as a private in the Washington Mounted Rifles, which became a part of General J. E. B. Stuart’s 1st Virginia Cavalry, and of which he was adjutant for a time. In June 1862, after having gone over the ground alone on scouting duty, he accompanied Stuart in his ride round McClellan’s entire army. Early in 1863 he secured Stuart’s permission to undertake a quasi-independent command. In Fairfax county and then in Fauquier and Loudoun counties (known as Mosby’s Confederacy), within the Federal lines, he raised, mounted, armed and equipped a force of irregulars. On the night of the 8th of March 1863, with about 30 men, he penetrated the Federal lines at Fairfax Court-House and took 33 prisoners, including Brigadier-General Edwin H. Stoughton, commanding the 2nd Vermont brigade; and he became famous for other such exploits. In the North he was regarded as a guerilla who disregarded the rules of war, and in the autumn of 1864, Sheridan, acting under orders from Grant, shot and hanged seven of Mosby’s men without trial; in November Mosby retaliated by hanging seven of Custer’s cavalrymen. Eventually, on the 21st of April 1865, twelve days after the surrender of General Lee, he disbanded his men and surrendered; and through the influence of General Grant, who later became his personal friend, he was paroled. He returned to his legal practice, joined the Republican party, canvassed Virginia in 1872 for General Grant, in 1878–1885 was United States consul at Hong-Kong, and after practising law in San Francisco, was assistant attorney in the Federal Department of Justice from 1904 to 1910. He wrote Mosby’s Reminiscences and Stuart’s Cavalry Campaigns (Boston, 1887), and—a defence of Stuart and of Lee—Stuart’s Cavalry in the Gettysburg Campaign (New York, 1908).

MOSCHELES, IGNAZ (1794–1870), Bohemian pianist, was born at Prague on the 30th of May 1794, and studied music at the Conservatorium under the direction of Dionys Weber. At the age of fourteen he made his first appearance before the public in a pianoforte concerto of his own composition with marked success. In 1814 he prepared, with Beethoven’s consent, the pianoforte arrangement of Fidelio, afterwards published by Messrs Artaria. In the following year he published his celebrated Variationen über den Alexandermarsch, a concert piece of great difficulty, which he played with so great effect that he was at once recognized as the most brilliant performer of the day. He then started on a tour, during the course of which he visited most of the great capitals of Europe, making his first appearance in London in 1822, and there securing the friendship of Muzio Clementi and John Cramer. For a concert given by the latter he wrote his famous Hommage à Händel, a duet for two pianofortes, which afterwards became a lasting favourite with the public. During a visit to Berlin in 1824 he first became acquainted with Mendelssohn, then a boy of fifteen; and a friendship sprang up between them which was severed only by Mendelssohn’s early death (see Briefe von Mendelssohn-Bartholdy an Ignaz und Charlotte Moscheles, 1888). In 1826 Moscheles married Charlotte Embden at Hamburg, and settled permanently in London. He was undoubtedly for some considerable time the greatest executant of his age; but, using his brilliant touch as a means and not as an end, he consistently devoted himself to the further development of the true classical school, interpreting the works of the great masters with conscientious fidelity, and in his extempore performances, which were of quite exceptional excellence, exhibiting a fertility of invention which never failed to please the most fastidious taste. In 1837 Moscheles conducted Beethoven’s Ninth Symphony at the Philharmonic Society’s concerts with extraordinary success, and by his skilful use of the baton contributed to the prosperity of this association. During the course of his long residence in London he laboured incessantly in the cause of art, until the year 1846, when, at Mendelssohn’s earnest solicitation, he removed to Leipzig to carry on a similar work at the Conservatorium, then recently founded. In this new sphere he worked with unabated zeal for many years, dying on the 10th of March 1870. Moscheles numbered works extend to 142, apart from minor pieces; his most important compositions are his Pianoforte Concertos, Sonatas and Studies (Études, op. 70; and Characteristische Studien, op. 95); Hommage à Händel; and his three Allegri di bravura.

MOSCHEROSCH, JOHANN MICHAEL (1601–1669), German satirist, was born at Willstädt, near Strassburg, on the 5th of March 1601. He received a careful early education at the