Page:The New International Encyclopædia 1st ed. v. 14.djvu/134

* MULLIGAN LETTERS. 104 MULREADY. letters were freely iiseci in the Presidential cam- pai','iis of 1871) and 18S4 by the opponents of Bluiue, who took full advantage of the suspieioiis sound of several detached sentences. By the ad- herents of Blaine it was asserted, apparently with good reason, that the letters did not in any way prove corruption or even participation in dis- creditable business and political transactions on the part of Blaine. MULLINGAR, niul'lin .riir'. The capital of County csttiiiath. Ireland, on the Brosna, 50 miles west by north of Dublin, with which it is connected by rail and by the Koyal Canal (Map: Ireland, D 3). The most important horse and cattle fairs in Ireland are held here periodically. It has a cathedral and infantry barracks. Popu- lation, in lltOl, 4r,00. MTJLLINGER, niullin-ger, Jakes Bass (l.S:ii— ). .An Hufjlisli historian, born at Bisliop Stortford. He was educated at University Col- le{,'e, London, and at Saint .John's, Canibridjj;e, where he graduated with high honors. After lecturing at Bedford College, Ixjndon, he was made librarian and lecturer on history in Saint John's College, and for four years he was lecturer on ecclesiastical history in Trinity College ( 181)0- 94). He wrote: The Anciciil African Church (1869); The Schools of Charles the Great (1870); An Introdnelion to English Uislorij (with Gardiner. 1881) : The .If/c of Milton (with Mastennan. lSi)7) ; and a History of Saint John's Colli cic, Cumbridyc (1901). MULLION (corrupted from iniinnioii. from Fr. moifjnon. stump of an amputated limb, from OF. moit/n, from Lat. mancus, maimed; probably influenced by popular etymology with Eng. himZ- Ict, five-pointed star). The name for a vertical architectural member used to subdivide an open- ing, such as a window or the bay of a gallery, into two or more divisions within the main framework. It was [)ractically unknown to all ancient styles of architecture. In the early Christian (especially Syrian). Byzantine, and Romanesfpie styles it occurs with increasing fre- quency in the very simple form of a circular shaft or colonnette (sometimes a small pier), subdi- viding a window into two arched openings or the bay of a gallery into two arcades. It was in tiic Gotliic style that the nniUion received its true elaborate development through the use of tracery combined with the enormous increase in the size of windows and other o|)en- ings, necessitating the nuiltiplication of minor nu'nd>ers. The ortluxlox cathc<lral window has three mullions forming four suliordinate sections, and their profiles are varied and rich, being often a group of shafts and a composition of fillet and cavetto middings. These Gothic mullions are excpiisitely slender and far removed from the heavy pretJothie mullion-eolonnette, though the column, in more delicate form, was also a (iothic form of mullion. The Henaissanee architects abandoned tlu' mullion. returning to the antique idea of imdiviiled openings and eijually clivicled arcades and lolonnades. Only occa-ionally is a single eolomiclte used as a windowinullion, es- pcriiilly ill I M ily work. MttLLNER, mul'ner, .iioi.p (1774-1829). A German dramatist and critic, born at I.angendorf, near Weis^cnfels, Saxony. Tie studied law in l^-ipzig, and practiced it at Weissenfels until 1810. Encouraged by the success of several come- dies skillfully composed after French models, he produced in 1812 a one-act tragedy, Der neun- undzwanzigste Februar, in imitation of Werner's Der vierundzwanziyste I'cbniar (1810), the tirst of those "fate-dramas' with which the German stage was Hooded during the following decade. Surpassing its model in the accumulation of hor- rors, Miillner's play lacked the innate poetry wluch was the redeeming feature uf Werner's produc- tion. The same applies to his best-known work, Die Schiild, a four-act drama, based on the story of a young man. who, according to a prophecy, is destined to kill his brother. This typical 'fate- tragedy' was brought out in Vienna in 1813, and subseipiently on all the ])riucipal stages of Ger- many, retaining its popularity for many years, although its elTeetiveness was due mainly to clever technical construction. Consult : Huhne, Znr lliographie iind Chnrakteristik MUllners (Wohlau, 1875); and Minor, Die Schicksals- traqodie in ihren Bauptvertretern (Frankfort, 1883). MULOCK, mfi'lok, Di.VAn M.ria. An English autlior. Sec Craik, Dinah iLRiA. MULOCK, Sir William (1843—). A Cana- dian statc!-iiian. born in the Province of Ontario, anil educated at the University of Toronto. In 1882 he was elected a Liberal member of the Dominion House of Commons, and in 180C was made Postmaster-General in the Administration of Sir Wilfrid Laurier. The establishment of a penny postage rate between Canada and other portions of the Empire was mainly due to him, and he also advocated an all-British cable sys- tem, and the formation of better steamship facilities. MUL'READY, William (17SG-1863). An Irish genre painter. He was born at Ennis, County Clare. April 1. 1786. His father moved to London when ilulready was a child, and he early showed artistic powers which were encouraged by the scul|>tor Banks, through whose infiuence he gained ailmittance to the academy schools. His education and culture were obtained in England, for he never went abroad, and as a genre painter he ranks with Wilkie. His first painting of impnrtance. "Re- turning from the Ale House." appeared in 1800, while two later works, "Punch" and "Idle Boys," commanded very general attention. Mul- ready was elected an associate of the Royal .cad- einy in 1815. and the following year, on the merits of his picture entitled "The Fight Inter- rupted," he was made .Xcademician. From now on his works were e.agcrly awaited at the yearly exhibitions, their subjects being of the popular order, but painted with great carefulness and fidelity to detail. They were rather small in size, but rich in color, and closely resembled the Dutch school. His most important works arc in the South Kensington Museum and in the National Gallery. In the fonner are seventeen of his painting-, among them "Ilampstead Heath" (1806): "Giving a Bite" (1836) ; "Chfxising the Wedding Gown" (1846): "The Butt" (".Shooting a Cherry") (1848). In the latter arc si.v of his paintings, including a "Snow Scene" and "Crossing the Ford" (1842). "The Bathers" is in the National Gallery, Edinburgh, and his "Wolf and the Lamb" is in possession of the King. Mulrcady's paintings were before the public for