Page:Encyclopædia Britannica, Ninth Edition, v. 15.djvu/613

Rh M A R M A R 11, 1722. Continuing his studies in the theory and practice of music with great zeal, he in 1725, though only nineteen years of age, received the appointment of chapel- master in the Franciscan church at Bologna, where his compositions soon attracted much attention. At the invitation of amateurs and professional friends he now opened a school of musical composition at which in the course of his long life several celebrated musicians were trained, including Paolucci, Sabbatini, Ruttini, Zanotti, Sarti, Ottani, and Stanislas Mattei ; as a teacher he con sistently declared his preference for the traditions of the old Roman school of musical composition (see Music). Padre Martini was a zealous and indefatigable collector of musical literature, and is alleged to have been the possessor of the most extensive musical library ever formed. After a lingering illness he died at Bologna on August 4, 1784. His Elogio was published by Pietro clella Valle at Bologna in the same year. The greater number of Martini s sacred compositions remain im printed. The Liceo of Bologna possesses the MSS. of two oratorios ; and a requiem, with some other pieces of church music, are now in Vienna. Litanise atque antiphonse finales B. V. Marias were pub lished at Bologna iii 1734, as also twelve Sonate d intavolatura ; six Sonate per I organo cd il cembalo in 1747 ; and Ductti da Camera in 1763. Martini s most important works are his Storia della Musica (Bologna, 1757-81) and his Saggio di Contrapunto (Bologna, 1774-75). The former, of which the three published volumes relate wholly to ancient music, and thus represent a mere fragment of the author s vast plan, exhibits immense reading and industry, but it is written in a dry and unattractive style, and is overloaded with matter which cannot be regarded as historical. At the beginning and end of each chapter occur puzzle-canons, some of which are exceedingly difficult ; Cherubini solved the whole of them. The f&amp;gt; aggio is a very learned and valuable work, containing an import ant collection of examples from the best masters of the old Italian and Spanish schools, with excellent explanatory notes. It treats chiefly of the tonalities of the plain chant, and of counterpoints constructed upon them. Besides being the author of several con troversial works, Martini drew up a Dictionary of Ancient Musical Terms, which appeared in the second volume of G. B. Doni s Works ; he also published a treatise on The Theory of Numbers as applied to Music. MARTINI, SIMONE (1283-1344), called also Simone di Martino, and more commonly, but not correctly, Simon Memmi, 1 was born in 1283. He followed the manner of painting proper to his native Siena, as improved by Duccio, which is essentially different from the style of Giotto and his school, and the idea that Simone was himself a pupil of Giotto is therefore wide of the mark. The Sienese style is less natural, dignified, and reserved than the Florentine ; it has less unity of impression, has more tendency to pietism, and is marked by exaggerations which are partly related to the obsolescent Byzantine manner, and partly seem to forebode certain peculiarities of the fully developed art which we find prevalent in Michelangelo. Simone, in especial, tended to an excessive and rather affected tenderness in his female figures ; he was more successful in single figures and in portraits than in large compositions of incident. He finished with scrupulous minuteness, and was elaborate in decorations of patterning, gilding, &c. The first known fresco of Simone is the vast one which he executed in the hall of the Palazzo Pubblico in Siena, the Madonna Enthroned, with the Infant, and a number of angels and saints ; its date is 1315, at which early period of his life he was already an artist of repute throughout Italy. In S. Lorenzo Maggiore of Naples he painted a life-sized picture of King Robert crowned by his brother, 1 The ordinary account of this celebrated early Sienese painter is that given by Vasari, and since repeated in a variety of forms. Modern research shows that it is far from correct, the incidents being erroneous, and the paintings attributed to Simone in various principal instances not his. We follow the authority of Messrs Crowe and Cavalcaselle, Lewis, bishop of Toulouse ; this also is ox ant, but much damaged. In 1320 he painted for the high altar of the church of St Catharine in Pisa the Virgin and Child between six saints ; above are archangels, apostles, and other figures. The compartmented portions of this work are now dispersed, some of them being in the academy of Siena. Towards 1321 he executed for the church of St Dominic in Orvieto a picture of the bishop of Savona kneeling before the Madonna attended by saints, now in the Fabricceria of the cathedral. Certain frescos in Assisi in the chapel of St Martin, representing the life of that saint, ascribed by Vasari to Puccio Capanna, are now, upon strong internal evidence, assigned to Simone. He painted also, in the south transept of the lower church of the same edifice, figures of the Virgin and eight saints. In 1 328 he produced for the Sala del Consilio in Siena a work of a very different character a striking equestrian portrait of the victorious general Guidoriccio Fogliani de Ricci. Simone had married in 1324 Giovanna, the daughter of Memmo (Guglielmo) di Filippuccio. Her brother, named Lippo Memmi, was also a painter, and was frequently associated with Simone in his work ; and this is the only reason why Simone has come down to us with the family- name Memmi. &quot;They painted together in 1333 the Annunciation which is now in the Uffizi gallery. Simone kept a bottega (or shop), undertaking any ornamental work commissioned of him, and his gains were large. In 1339 he settled at the papal court in Avignon, where he made the acquaintance of Petrarch and Laura ; and he painted for the poet a portrait of his lady, which has not come down to us ; it gave occasion for two of Petrarch s sonnets, in which Simone is highly eulogized. He also illuminated for the poet a copy of the Comment of Servius upon Virgil, now preserved in the Ambrosian library of Milan. He was largely employed in the decorations of the papal buildings in Avignon, and several of his works still remain in the cathedral, in the hall of the consistory, and, in the two chapels of the palace, the stories of the Baptist, and of Stephen and other saints. One of his latest pro ductions (1342) is the picture of Christ Found by his Parents in the Temple, now in the Liverpool Gallery. Simone died in Avignon in July 1344. From this account of Simone s principal works it will be perceived that those with which his name and fame are most generally identified are no longer regarded as his. These are the compositions, in the Campo Santo of Pisa, from the legend of S. Ranieri, and the Assumption of the Virgin ; and the great frescos in the Cappellone degli Spagnuoli, in S. Maria Novella, Florence, representing the Triumph of Religion through the work of the Dominican order, &c. Some of the works in question can be proved to have been done many years after Simone s death, and the others belong to a different school and style of art. MARTINIQUE, one of the West India islands, belonging to the chain of the Lesser Antilles, and consti tuting a French colony, lies 33 miles south of Dominica and 22 north of Saint Lucia, between 14 23 and 14 52 N. lat. and 63 6 and 63 31 W. long. The greatest length is 43 miles, the mean width 19; and the surface comprises 244,090 acres, or 380 square miles. A cluster of volcanic mountains in the north, a similar group in the south, and a line of lower heights between them, form the backbone of the island, which culminates in the north-west in Mont Pelee (4430 feet), and has altogether a much more irregular and strongly marked relief than it presents to the eye, the deep ravines and precipitous escarpments with which it abounds being reduced in appearance to gentle undulations by the drapery of the forests. Of the numerous streams which traverse the few miles of country between the watershed and the sea, about seventy or eighty XV. 74