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MAR MARTIN, a learned prelate of the Romish church and an ecclesiastical writer, a native of Pannonia in Hungary, flourished in the sixth century. At an early age he quitted his native country for the purpose of visiting Jerusalem. From Palestine he went to Spain, where he is said to have converted great numbers of the Suevi, who then peopled Galicia. He was subsequently a appointed archbishop of Braga in Portugal. He was present at the second and presided at the third council held at that place in 563 and 572. Baronius says he died in 583, but others say in 580. His most important work is his "Collectio Canonum Orientalium," consisting of eighty-five canons of the Greek church, translated into Latin. He was also the author of "Formula Honestæ Vitæ," and "Sententiæ Patrum Ægyptiorum," translated from the Greek.—J. T.  MARTIN or MARTINUS POLONUS, a learned monk of the dominican order, lived in the thirteenth century. After officiating for some time as apostolical chaplain at Rome, he was appointed by Pope Nicholas III. to the archiepiscopal see of Gnesna in Poland, but died in the course of the same year, 1278. He wrote a history of the emperors and popes from the commencement of the christian era to the accession of Nicholas III. It is known as the "Chronicon Martinianum," and some of the earlier editions of it contain the doubtful story of the female Pope Joan.—W. B.  MARTIN,, an industrious British writer on physical science, was born in 1704, and died in London on the 9th of February, 1782. He was an optician and globe-maker, and the author of a series of scientific text-books of great merit. He edited for many years a scientific magazine.—W. J. M. R.  * MARTIN,, historian, was born at Saint Quentin, 1810, where his father was judge of the civic tribunal. He was originally intended for the law; but in 1830 adopted the profession of letters, and with Felix Davin published several historical romances. His relations with Paul Lacroix, however, led him more directly to French history. The original plan of his work, which necessitated the assistance of several collaborateurs, was afterwards abandoned; and with some aid from Lacroix he published (1833-36) his "Histoire de France," the great work of his life. No sooner was the first edition completed, than M. Martin set himself to its revision and enlargement. This task, undertaken on a vast scale, occupied him seventeen years, during which nineteen volumes issued from the press, many of them procuring him the highest honours of the Academie Française. Uniting accuracy of detail with a high tone of philosophic sentiment, it is one of the greatest works of the age. In 1848 M. Martin became professor of modern history at the Sorbonne.—W. J. P.  MARTIN,, was born at Lyons in 1732. His father, who was a cooper, could only give him a very limited education; but the intelligence of the youth enabled him to overcome all obstacles, and he made himself master of mathematics and design. Afterwards enlisting as a private soldier, he went with the Count de Lally to India, and was soon distinguished for his valour. Lally, however, was a severe general; his sway was often very hard to bear; and Claude Martin was but one of many French soldiers who deserted to the ranks of the English enemy. At Calcutta he rose to the brevet-rank of captain, and was sent in this capacity to survey the neighbourhood of Lucknow. The nawaub of Oude was delighted with his talents, and appointed him inspector-general of the artillery. Soon installed as first favourite, the adventurer rapidly amassed a large fortune. When the war broke out between Tippoo Saib and the English, Martin was made a colonel by the latter; and although he took no active part in the war he obtained the rank of major-general in 1796. He died in 1800. In the disposal of his enormous fortune he did not forget his native town, but devoted large sums to the establishment of charitable houses there and elsewhere, each of which was to bear the name of "La Martinière." His will—which was that of a vain man, vulgarly anxious about the verdict of posterity—was printed by order of the municipal council of Lyons in 1803.—W. J. P.  MARTIN,, a learned protestant divine, born at Revel in Languedoc in 1639, settled at Utrecht after the revocation of the edict of Nantes. He was the author of a history of the Old and New Testament, now generally known as Mortier's Bible. Died in 1721.—D. W. R.  MARTIN,, author of the Roman catholic English version of the New Testament published at Rheims in 1582, and of the Old Testament published at Douay, 1609-10, was born at Maxfield in Sussex, and was educated at St. John's college, Oxford. Having become a Roman catholic, he was ordained a priest at Douay in 1570. He was professor of Hebrew and sacred literature, first there, and afterwards at Rheims, where he died in 1582—D. W. R.  MARTIN,, a learned benedictine of the congregation of St. Maur, born at Fanjaux in Upper Languedoc in 1684. He is the author of a treatise on the religion of the ancient Gauls, which is much esteemed, and of other works. He died at Paris in 1751. <section end="362H" /> <section begin="362Zcontin" />MARTIN,, was born on the 19th of July, 1789, at Eastland-ends, Haydon Bridge, near Hexham. He was apprenticed to a coach-builder at Newcastle, to learn herald-painting; but having quarreled with his master, the indentures were cancelled at the end of a year, and he was placed with an Italian painter in Newcastle, named Boniface Musso, the father of Charles Muss, a well-known enamel painter. The business of the son was more flourishing than that of the father; and in September, 1806, Musso joined his son in London, taking his young pupil with him. During the remaining years of his apprenticeship Martin worked all day for his masters, painting on glass and china; his evenings, and commonly his nights also, being given to those auxiliary studies, a knowledge of which he felt to be necessary to success as an artist; and it was thus, he says (in an autobiographical sketch published in the Athenæum, 1854, p. 246), "that I obtained that knowledge of perspective and architecture which has since been so valuable to me." At nineteen he married; and, it becoming necessary to turn his evenings to more immediately profitable account, he made water-colour drawings, gave lessons, and the like. His first picture was painted in 1812. Though a large and ambitious work, "Sadak in Search of the Waters of Oblivion," he had painted it in a month, and it was nearly as incomprehensible as some of his later productions:—"You may easily guess my anxiety, when I overheard the men who were to place it in the frame disputing as to which was the top of the picture!" However, it was well hung in the Academy Exhibition; was purchased for fifty guineas by a bank director; and the artist was made happy. After a few more moderate ventures Martin sent to the Academy in 1816 a large painting, "Joshua commanding the sun to stand still." To his intense mortification it was hung in the anteroom, where his "Clytie," a less important picture, had been put the year before. He sent it to the following spring exhibition of the British Institution, where not only was it well placed, but it was awarded the premium of one hundred pounds. So deeply did Martin resent what he considered to be the unfair treatment of his pictures by the Academy, that he removed his name from the academy books as a candidate for the associateship, forfeiting thereby all chance of academic rank, the only kind of professional distinction which falls to the lot of the British artist. In 1819 he exhibited his "Fall of Babylon," the first of his paintings which really caught the public attention. It was followed by "Macbeth" in 1820; and by "Belshazzar's Feast" in 1821. To this his greatest work he had devoted a whole year. Its success was prodigious. The directors of the British Institution awarded it their first premium of £200; the public regarded it as a new revelation of the sublime in painting; and the engraving diffused the enthusiasm all over the kingdom. For some half dozen years more the painter continued to put forth his annual picture, dealing on a scale of equal magnitude with some equally grand theme, sometimes indeed with a theme too awful for human pencil—"The Destruction of Herculaneum;" "The Seventh Plague;" "The Creation;" "The Deluge;" and "The Fall of Nineveh"—with scarce any diminution of popularity. But as all his pictures were engraved, and as he had become his own engraver, and spent no little time in trying new processes; and as he further was occupying himself on various engineering projects—his pencil was now for some time neglected, and when resumed, was employed in a more mechanical and perfunctory manner than of old. The consequence was that his new pictures were coldly received by the general public, and roughly handled by the critics. During the later years of his life Martin made strenuous efforts to retrieve his position as a painter; but the failure was palpable. He kept on in the old track, selecting the same sublime themes and treating them after the old fashion; but in each succeeding picture, his mannerism became more and more exaggerated. He died on the 9th of February, 1854; at <section end="362Zcontin" />