Page:Imperialdictiona03eadi Brandeis Vol3a.pdf/382

MAT  amor de mulcibre fecit Apellem."—His son,, by his first wife, was also a painter; he was admitted into the Antwerp guild in 1531, and was still living in 1569.—(See the Catalogue du Musée d'Anvers, 1857.)—R. N. W.  MATTATHIAS. See .  MATTEI, , author of works theological, poetical, and legal, born at Montepavone in Calabria Ultra, 19th October, 1742; died in Naples, 31st August, 1795. His early education was not only superintended, but in a great measure imparted, by his father. He held a professorship of Oriental languages in Naples, practised law, wrote theatrical pieces, accepted various public posts, corresponded on literary and biblical topics with noted men, both compatriots and aliens; and produced a large number of works, amongst them—"I libri poetici della Bibbia tradotti dall' Ebraico originale ed adattati al gusto della poesia Italiana, colle note ed osservazioni critiche, poetiche, e morali, e colle dissertazioni su' luoghi piu difficili, e contrastato del senso letterale e spirituale." This book was much admired by some, much controverted by others; and "L'Apologetico Cristiano," published afterwards, is the learned and talented self-defence of its author.—C. G. R.  MATTEIS,, a celebrated painter of the Neapolitan school, was born at Cilento in 1662. He was the best of the scholars of Luca Giordano, whom he equalled in celerity, though not in ability. He was also a pupil of Morandi. Matteis made Naples his home, but was much engaged in decorating the churches and public buildings of other cities. He spent three years in France, where he obtained considerable celebrity. At Rome, whither he was invited by Pope Benedict XIII., he painted the Minerva and the church of Ara Cœli. At Genoa he painted two pictures for the church of S. Girolamo. But his chief works were executed in Naples: that on which he most prided himself being the decoration, in ten days, of the large cupola of the Gesù Nuovo (since destroyed) with frescoes in the manner of Lanfranco. His paintings in the Matalona gallery and in the church of the Pii Operai are in a better style. Matteis, Lanzi thinks, may vie with any painter of his age. He is, however, one of the able men who are chiefly memorable as prominent amongst those who helped forward the decline of art in Italy. He died in 1729. Matteis wrote a folio volume of instructions in design, "Il Libre d'Insegnamento del Disegno."—J. T—e.  MATTHAEI,, an eminent scholar and critic of the last century, was born in Thuringia in 1744. After occupying the chair of belles-lettres in the university of Moscow, he was for some time professor of philosophy at Wittemberg; and thence he returned to Moscow, where he held latterly the professorship of classical literature and the dignity of Aulic councillor. Besides his edition of the New Testament he published a number of works, chiefly editions of ancient authors, among which were Euripides, Socrates, Gregory Nazianzen, and Gregory of Thessalonica. He died in 1811.—W. B.  MATTHÆI,, German painter, was born at Meissen, March 4, 1777. His father, Johann Gottlob Matthäi—born at Meissen in 1753; died at Dresden in 1832—a sculptor of some ability and keeper of the Mengs gallery of casts at Dresden, was his earliest instructor in art. After leaving the Dresden academy, Friedrich Matthäi studied in Paris under Casanova; in Vienna under Füger; then proceeded to Italy, and in 1809 won the prize for painting at Florence. The pictures sent by him from Italy to the Dresden exhibition excited much interest. He was, in 1809, nominated professor of painting in the Dresden academy. For a long series of years Matthäi was one of the leaders of the Dresden school of painting, and many eminent living painters of Germany were his pupils. He painted historical and religious subjects, and portraits. His works are admired for correct drawing, careful finish, and a warm tone of colour, which reminds the observer of that of the Florentine school. He died at Vienna whilst on a journey, in October, 1845.—His brother, —born in 1779; died March, 1842—was a sculptor of some reputation. His works were chiefly from the ancient mythology. He was teacher of modelling in the Dresden academy, and succeeded his father as keeper of the Mengs collection.—J. T—e.  MATTHESON,, a celebrated musician and musical writer, was born at Hamburg on the 28th of September, 1681. In the seventh year of his age he was placed by his parents under the care of different masters, and instructed by them in the rudiments of learning and the principles of music, in which science he improved so fast that at the age of nine he was able to sing to the organ at Hamburg compositions of his own. His masters were Brunmuller, Prætorius, and Kœrner, and he played on the violin, the bass-viol, the flute, and the hautboy. In 1690 he commenced his literary studies, which included jurisprudence and a knowledge of the Italian and the English languages. During the years 1696-97 he resided at Keil, and sang the soprano parts in the operas performed there. He returned to Hamburg in 1699, and pursued his studies in counterpoint and composition with redoubled vigour. He now produced his first opera, "Les Pléiades," in which he appeared as the principal tenor singer, a post which he retained for several years. In 1703 he made the acquaintance of Handel, and they visited Lübeck together. The situation of organist to the cathedral was then vacant by the resignation of Dietrich Buxtehude, and Mattheson and his friend agreed to canvass for the vacancy. But they found rather a singular condition attached to the office, which was, that the successful candidate must marry the daughter of the retiring organist; and as this was not agreeable to either party, they speedily returned to Hamburg. The degree of friendship between the two young musicians at this period may be understood by the following passage in one of Mattheson's writings—"I introduced him (Handel) to the opera, and to many houses where he played music, which procured for him many pupils. He dined often with my father, whose table was open to him; he taught me then a little counterpoint, whilst I, on my side, was very useful to him in dramatic style." Thus they were bound together by a friendship which, at its commencement, was nearly coming to a tragical conclusion. On the 5th of December, 1704, was performed the opera of "Cleopatra," Mattheson's third opera, in which the composer himself performed the part of Antony. He was accustomed, after the death of Antony, to conduct the remainder of the performance himself, to which Kaiser had never made any objection. But Handel, who had succeeded the old maestro as conductor of the orchestra, was less accommodating, and refused to give up the harpsichord when the resuscitated Antony presented himself. Mattheson was naturally very much irritated at being deprived of his privilege as a maestro; and at the end of the representation he left the theatre with Handel, overwhelming him with reproaches. His complaints were not apparently received very graciously, for they had scarcely got out of the theatre when the enraged Mattheson administered to the offender a box on the ear; swords were immediately drawn, and they fought there and then in front of the theatre. Mattheson's weapon was shivered on a large metal button on the coat of his adversary, and this happy circumstance terminated the combat; whereupon Mattheson quotes from some great philosopher—"If you break your sword upon your friend, you do not injure him so much as if you spoke ill of him." And after this piece of naivete, he adds—"Thanks to a distinguished municipal councillor, and to a director of the theatre, we were reconciled." In 1705 he went to Brunswick and produced a French opera, "Le retour de l'àge d'or." Upon his return to Hamburg he was appointed governor to the son of the English resident of that city, and in that capacity made several visits to Leipsic, Dresden, Haarlem, &c. At Haarlem he was offered the post of principal organist, with a salary of fifteen hundred florins a year; but he declined it, choosing rather to return to his own country, where he became secretary to Sir Cyril Wych, resident at Hamburg for the English court. In the course of his employment in this office he was trusted with several important negotiations, and made frequent journeys to Leipsic, Bremen, and different parts of Saxony, from which he reaped considerable advantages. Upon the death of Sir Cyril in the year 1712, the care of the English affairs in the circle of Lower Saxony devolved upon Mattheson, and he occupied the office of resident till the son of the late minister received the appointment. Upon the accession of George I. to the crown of England he composed a memorable serenata; and in the year 1718 obtained the reversion of the office of chapel-master of the cathedral of Hamburg, with certain other appointments prefixed to it. During all this time he continued to act as secretary to the British resident; and upon many occasions of his absence he discharged in his own person the functions of the minister. Amidst that multiplicity of business which necessarily sprung from such a situation, Mattheson found means to prosecute his musical studies. He composed music for the church and for the theatre, and was ever present at the 