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* METRIC SYSTEM. 395 METTEH.NICH. For a complete history of the metric system, with its present status, its oquivah-nts. the Inter- national Bureau of W'ciglits and ileasures, and the international abbreviations, consult Bigour- dan, Le systiiile inctrique drs poids ct mesures (Paris, 1901) ; Barnard, Metric tsystejii (3d ed., Boston, 1879) ; Fouvielle. Le mitre international dffinitif (Paris, 1875); Mendenhall, in Popular Science Monthly, vol. xlix. (1896); Potts, Jile- menlari/ Arillimetic (London, 1880); Basset, School of Mines Qnarterly (November, 1901). See Weights axd Measures. MET'BONOME (from Gk. /itrpov, metron, measure + i"'/;of, nonws, law). A small ma- chine for indicating the correct time or speed at which a musical composition should be played. It was invented in 1816, and consists of a pendulum, actuated by clockwork, which swings in front of a gi-aduated scale. To the upper part of the pendulum-rod is attached a movable weight which can be set at any figure indicated by the scale. The figure 60 means that when the weight is set there the pendulum swings 60 times a minute. Thus it beats exact seconds. When set at 120 it beats half seconds. The metronome indication appears always at the beginning of a composition. M. M. (Jlalzel's metronome, from its reputed inventor, Malzel) J = 80 means that the tempo must be taken so that 80 half notes fill the space of one minute. The indications differ with the tempo and time of each composi- tion. A work written as allegro in conunon time might be indicated: M. il. J ^^ 100; allegro in iilla breve: jM. M. J =100; adagio in |j M.M. J =60; scherzo (Presto %): M. M.J = 120. By means of the metronome the com- poser is enabled to give the minutest directions in respect to the tempo, for the old terras allegro, andante, presto, etc.. can only serve as approxi- mate indications, leaving much to the tempera- ment of the individual performer. The met- ronome is of the greatest value and is much used tn-day in training beginners to play strictly in time. METEOP'OLIS CITY. A city and the county seat of Massac County, 111., 40 miles east by north of Cairo; on the Oliio River and on the Illinois Central Railroad (Map: Illinois, D 6). It is built on a high bluff which slopes grad- ually toward the river; has two public parks, the R. W. JlcCartney Public Library, a sanato- rium, and fine Odd Fellows' Temple, public school, court-house, music hall, and city hall luiildings. There are potteries, saw and planing mills, flour mills, veneer, box. stave, heading, spoke, and basket factories, and large lumber interests. The poveniment is administered by a mayor, elected every two years, and a unicamei-al council. The city owns and operates the water-works and elec- I trie light plant. Metropolis City is built on the sit« of old Fort Massac, which was settled about I 1700 by French and Indians, but was not per-
 * manently inlialiited until 1838; five years later it

w.Ts incorporated. Population, in 1800. 3573; in 1900, 4009. ] METROPOLITAN' (Lat. metropolitanus,
 * MGk. fiTiTpoTrolTes, met ropolites, from iiryTpbno-
 * Xtt, nietrojioli^. a capital city, from lirirrip, nirter,

! mother -|- irAXit, polis. city). An ecclesiastical ', title, in modern times practically equivalent to archbishop (q.v.). It arose from the early cus- tom of giving precedence to the bishop of the Vol. XIII.— 26. chief city or metropolis of a province. In some of the English colonies where the title of arch- bishop is not used by the Anglican Church, that of metropolitan is api^lied to the chief bislioj) of a province. For the prerogatives of metropoli- tans in canon law, consult Owen, Institutes of Canon Law (London, 1884). METSir, met'si.i, or METZU, Oaiiriel (1030- 07). A Dutch genre painter, lie was born in Leyden in 1030, and was a inijiil of (Jerard Dou. In 1648 he entered the Painters' Ciuild of his na- tive place, and in 1650 settled in Amsterdam. He painted scenes from the life of the burgher classes, although occasionally, in his market scenes and kitchen-maids, he deals with humbler life. In refinement of drawing and grace of ex- pression he ranks among the best of the Dutch School. His pictures are characterized by deli- cate treatment and picturesque composition ; the heads are animated and express cheerfulness and good humor; the color is clear and harmonious. His principal works include: The "Lady at the Piano" and the "Amsterdam Market," in the Louvre ; "Music Lovers," at The Hague ; the "Duet," in the Xational Gallery, London ; the Music Lesson" (1659), in the Metropolitan Mu- seum, New York; "Feast of the King of Beans." in which there is a touch of .Jan Stocn's humor, in the Pinakothek at Munich: "Old Poultry Ped- dler" and the "Young Poultry Maid," l)oth in the Dresden Ciallery. METTERNICH, met'ter-niK, Clemens Wex- ZEL Nepomuk Lothar, Prince (1773-1859). An Austrian statesman. He was born at Coblenz. May 15, 1773, being the son of Franz Georg Karl, Count von Metternich, an Austrian diplomat and an associate of Kaunitz. Young Metternich was educated at the Univer- sity of Strassburg, and afterwards studied law at Mainz and traveled in England. In 1795 he married the granddaughter of Kaunitz, by whom he acquired large estates. His diplomatic career commenced at the Congress of Rastadt ( 1797-99), which he attended as representative of the West- phalian lordly houses. In 1801 he became Aus- trian Ambassador at Dresden, and two years later was appointed Ambassador to the Prussian Court, where he negotiated the treaty of alliance between Austria, Prussia, and Russia against France in 1805. In 1806 he went as Aud)assador to Paris. In 1809 he succeeded Count Stadion as Minister of Foreign Affairs, concluded tlic Treaty of Schonbrunn with France, and was instrument- al in bringing about the marriage of the Arch- duchess Maria Louisa to Xapolcon. He guided the course of Austria amid the difliculties of 1812-13. He maintained at first a temporizing policj' and a scheme of armed mediation by Aus- tria : but the arrogance of Xapoleon's denuinds and the personal humiliations to which he was subjected at his famous interview with the French Emperor in Dresden in .Time. 1813, led him to resolve upon the declaration of war by Austria against France, and he subsequently con- ducted with great ability the negotiations which ended in the completion of the Qiiadriiple .Alliance. He was afterwards employed in almost all the chief diplomatic affairs of that eventful time. With little concern for the cause of German national- ity, which animated so largely the Prussians during the Var of Liberation. Metternich during the last two years of Napoleon's power pursued a policy aiming at the advancement solely of