[1] Indeed it is possible that the European name for this
Sirenian--manati--derived from the West Indies, is the corruption of
a West African word _manti_, applied very naturally to the animal by
the West African slaves, who at once recognized it as similar to the
creature found on the West African coast in their own rivers, and
also on the Upper Niger.
[2] On the ruins of the old Melle dominions arose five smaller
kingdoms, representing different sections of the Mandingo peoples.
MANDLA, a town and district of British India, in the Jubbulpore division
of the Central Provinces. The town is on the river Nerbudda, 1787 ft.
above the sea. It has a manufacture of bell-metal vessels. Pop. (1901),
5054. The district of Mandla, among the Satpura hills, has an area of
5054 sq. m. It consists of a wild highland region, broken up by the
valleys of numerous rivers and streams. The Nerbudda flows through the
centre of the district, receiving several tributaries which take their
rise in the Maikal hills, a range densely clothed with _sal_ forest, and
forming part of the great watershed between eastern and western India.
The loftiest mountain is Chauradadar, about 3400 ft. high. Tigers
abound, and the proportion of deaths caused by wild animals is greater
than in any other district of the Central Provinces. The magnificent
_sal_ forests which formerly clothed the highlands have suffered greatly
from the nomadic system of cultivation practised by the hill tribes, who
burned the wood and sowed their crops in the ashes; but measures have
been taken to prevent further damage. The population in 1901 was
318,400, showing a decrease of 6.5% in the decade, due to famine. The
aboriginal or hill tribes are more numerous in Mandla than in any other
district of the Central Provinces, particularly the Gonds. The principal
crops are rice, wheat, other food grains, pulse and oilseeds. There is a
little manufacture of country cloth. A branch of the Bengal-Nagpur
railway touches the south-western border of the district. Mandla
suffered most severely from the famine of 1896-1897, partly owing to its
inaccessibility, and partly from the shy habits of the aboriginal
tribes. The registered death-rate in 1907 was as high as 96 per
thousand.
MANDOLINE (Fr. _mandoline_; Ger. _Mandoline_; It. _mandolina_), the
treble member of the lute family, and therefore a stringed instrument of
great antiquity. The mandoline is classified amongst the stringed
instruments having a vaulted back, which is more accentuated than even
that of the lute. The mandoline is strung with steel and brass wire
strings. There are two varieties of mandolines, both Italian: (1) the
_Neapolitan_, 2 ft. long, which is the best known, and has four courses
of pairs of unisons tuned like the violin in fifths; (2) the _Milanese_,
which is slightly larger and has five or six courses of pairs of
unisons. The neck is covered by a finger-board, on which are distributed
the twelve or more frets which form nuts at the correct points under the
strings on which the fingers must press to obtain the chromatic
semitones of the scale. The strings are twanged by means of a plectrum
or pick, held between the thumb and first finger of the right hand. In
order to strike a string the pick is given a gliding motion over the
string combined with a _down_ or an _up_ movement, respectively
indicated by signs over the notes. In order to sustain notes on the
mandoline the effect known as _tremolo_ is employed; it is produced by
means of a double movement of the pick up and down over a pair of
strings.
The mandoline is a derivative of the mandola or mandore, which was
smaller than the lute but larger than either of the mandolines
described above. It had from four to eight courses of strings, the
_chanterelle_ or melody string being single and the others in pairs of
unisons. The mandore is mentioned in Robert de Calenson (12th cent.),
and elsewhere; it may be identified with the pandura.
The Neapolitan mandoline was scored for by Mozart as an accompaniment
to the celebrated serenade in _Don Juan_. Beethoven wrote for it a
_Sonatina per il mandolino_, dedicated to his friend Krumpholz. Grétry
and Paisiello also introduced it into their operas as an accompaniment
to serenades.
The earliest method for the mandoline was published by Fouchette in
Paris in 1770. The earliest mention of the instrument in England, in
1707, is quoted in Ashton's _Social Life in the Reign of Queen Anne_:
"Signior Conti will play ... on the mandoline, an instrument not known
yet." (K. S.)
MANDRAKE (_Mandragora officinarum_), a plant of the potato family, order
Solanaceae, a native of the Mediterranean region. It has a short stem
bearing a tuft of ovate leaves, with a thick fleshy and often forked
root. The flowers are solitary, with a purple bell-shaped corolla; the
fruit is a fleshy orange-coloured berry. The mandrake has been long
known for its poisonous properties and supposed virtues. It acts as an
emetic, purgative and narcotic, and was much esteemed in old times; but,
except in Africa and the East, where it is used as a narcotic and
anti-spasmodic, it has fallen into well-earned disrepute. In ancient
times, according to Isidorus and Serapion, it was used as a narcotic to
diminish sensibility under surgical operations, and the same use is
mentioned by Kazwini, i. 297, s.v. "Luffah" Shakespeare more than once
alludes to this plant, as in _Antony and Cleopatra_: "Give me to drink
mandragora." The notion that the plant shrieked when touched is alluded
to in _Romeo and Juliet_: "And shrieks like mandrakes torn out of the
earth, that living mortals, hearing them, run mad." The mandrake, often
growing like the lower limbs of a man, was supposed to have other
virtues, and was much used for love philtres, while the fruit was
supposed, and in the East is still supposed, to facilitate pregnancy
(Aug., _C. Faust_. xxii. 56; cf. Gen. xxx. 14, where the Hebrew [Hebrew:
dadarom] is undoubtedly the mandrake). Like the mallow, the mandrake was
potent in all kinds of enchantment (see Maimonides in Chwolson,
_Ssabier_, ii. 459). Dioscorides identifies it with the [Greek:
kirkaia], the root named after the enchantress Circe. To it appears to
apply the fable of the magical herb Baaras, which cured demoniacs, and
was procured at great risk or by the death of a dog employed to drag it
up, in Josephus (_B. J._ vii. 6, § 3). The German name of the plant
(_Alraune_; O. H. G. _Alrûna_) indicates the prophetic power supposed to
be in little images (homunculi, Goldmännchen, Galgenmännchen) made of
this root which were cherished as oracles. The possession of such roots
was thought to ensure prosperity. (See Du Cange, s.vv. "Mandragora" and
Littré.)
Gerard in 1597 (_Herball_, p. 280) described male and female
mandrakes, and Dioscorides also recognizes two such plants
corresponding to the spring and autumn species (_M. vernalis_ and _M.
officinarum_ respectively), differing in the colour of the foliage and
shape of fruit.
MANDRILL (a name formed by the prefix "man" to the word "drill," which
was used in ancient literature to denote an ape, and is probably of West
African origin), the common title of the most hideous and most
brilliantly coloured of all the African monkeys collectively denominated
baboons and constituting the genus _Papio_. Together with the _drill_
(q.v.), the mandrill, _Papio maimon_, constitutes the subgenus _Maimon_,
which is exclusively West African in distribution, and characterized,
among other peculiarities, by the extreme shortness of the tail, and the
great development of the longitudinal bony swellings, covered during
life with naked skin, on the sides of the muzzle. As a whole, the
mandrill is characterized by heaviness of body, stoutness and strength
of limb, and exceeding shortness of tail, which is a mere stump, not 2
in. long, and usually carried erect. It is, moreover, remarkable for the
prominence of its brow-ridges, beneath which the small and closely
approximated eyes are deeply sunk; the immense size of the canine teeth;
and more especially for the extraordinarily vivid colouring of some
parts of the skin. The body generally is covered with soft hair--light
olive-brown above and silvery grey beneath--and the chin is furnished
underneath with a small pointed yellow beard. The hair of the forehead
and temples is directed upwards so as to meet in a point on the crown,
which gives the head a triangular appearance. The ears are naked, and
bluish black. The hands and feet are naked, and black. A large space
around the greatly developed callosities on the buttocks, as well as the
upper part of the insides of the thighs, is naked and of a crimson
colour, shading off on the sides to lilac or blue, which, depending upon
injection of the superficial blood-vessels, varies in intensity
according to the condition of the animal--increasing under excitement,
fading during sickness, and disappearing after death. It is, however, in
the face that the most remarkable disposition of vivid hues occurs, more
resembling those of a brilliantly coloured flower than what might be
expected in a mammal. The cheek-prominences are of an intense blue, the
effect of which is heightened by deeply sunk longitudinal furrows of a
darker tint, while the central line and termination of the nose are
bright scarlet. It is only to fully adult males that this description
applies. The female is of much smaller size, and more slender; and,
though the general tone of the hairy parts of the body is the same, the
prominences, furrows, and colouring of the face are much less marked.
The young males have black faces.
Old males are remarkable for the ferocity of their disposition, as well
as for other disagreeable qualities; but when young they can easily be
tamed. Like baboons, mandrills appear to be indiscriminate eaters,
feeding on fruit, roots, reptiles, insects, scorpions, &c., and inhabit
open rocky ground rather than forests. Not much is known of the
mandrill's habits in the wild state, nor of the exact limits of its
geographical distribution; the specimens brought to Europe coming from
the west coast of tropical Africa, from Guinea to the Gaboon. (See also
PRIMATES.) (W. H. F.; R. L.*)
MANDU, or MANDOGARH, a ruined city in the Dhar state of Central India,
the ancient capital of the Mahommedan kingdom of Malwa. The city is
situated at an elevation of 2079 ft. and extends for 8 m. along the
crest of the Vindhyan mountains. It reached its greatest splendour in
the 15th century under Hoshang Shah (1405-1434). The circuit of the
battlemented wall is nearly 23 m., enclosing a large number of palaces,
mosques and other buildings. The oldest mosque dates from 1405; the
finest is the Jama Masjid or great mosque, a notable example of Pathan
architecture, founded by Hoshang Shah. The marble-domed tomb of this
ruler is also magnificent.
For a description and history of Mandu, see Sir James Campbell's
_Gazetteer of Bombay_, vol. i. part ii. (1896), and _Journal of the
Bombay Asiatic Society_ (vol. xxi.).
MANDURIA, a city of Apulia, Italy, in the province of Lecce, from which
it is 27 m. W. by road (22 m. E. of Taranto), 270 ft. above sea-level,
and 8 m. N. of the coast. Pop. (1901), 12,199 (town); 13,190 (commune).
It is close to the site of the ancient Manduria, considerable remains of
the defences of which can still be seen; they consisted of a double line
of wall built of rectangular blocks of stone, without mortar, and with a
broad ditch in front. Some tombs with gold ornaments were found in 1886
(L. Viola in _Notizie degli Scavi_, 1886, 100). It was an important
stronghold of the Messapii against Tarentum, and Archidamus III., king
of Sparta, fell beneath its walls in 338 B.C., while leading the army of
the latter (Plut., _Agis_, 3, calls the place Mandonion: see s.v.
ARCHIDAMUS). It revolted to Hannibal, but was stormed by the Romans in
209 B.C. Pliny mentions a spring here which never changed its level, and
may still be seen. The town was destroyed by the Saracens in the 10th
century; the inhabitants settled themselves on the site of the present
town, at first called Casalnuovo, which resumed the old name in 1700.
(T. As.)
MANDVI, a seaport of India, in the native state of Cutch, within the
Gujarat province of Bombay, 36 m. from Bhuj, and 182 m. by sea from
Karachi. Pop. (1901), 24,683. It is a weekly port of call for steamers
of the British India line, vessels of 70 tons cannot come nearer than
500 yards. The pilots and sailors of Mandvi have a high reputation.
MANES, in Roman mythology, the disembodied and immortal spirits of the
dead. The word is an old adjective--_manis_, _manus_, meaning "good,"
the opposite of which is _immanis_; hence the Manes, clearly a
euphemistic term, are the "good people." They were looked upon as gods;
hence the dedication, of great antiquity and frequent occurrence,
_Divis_ or _Dis Manibus_ in sepulchral inscriptions, used even in
Christian times. When a body was consumed on the funeral pyre, relations
and friends invoked the deceased as a divinity, and the law of the
Twelve Tables prescribed that the rights of the divine Manes should be
respected, and that each man should regard the dead members of his
family as gods. Their home was in the bowels of the earth, from which
they only emerged at certain times. It was an old Italian
custom--especially at the foundation of cities--to dig a pit in the form
of an inverted sky (hence called _mundus_), the lower part of which was
supposed to be sacred to the gods of the underworld, including the
Manes. Such a pit existed on the Palatine at Rome. It was covered by a
stone called _lapis manalis_, representing the entrance to the lower
world, which was removed three times in the year (Aug. 24, Oct. 5, Nov.
8). The Manes were then believed to issue forth, and these days were
regarded as _religiosi_--that is, all important business in public and
private life was suspended. Offerings were made to propitiate the dead:
libations of water, wine, warm milk, honey, oil, and the blood of
sacrificial victims--black sheep, pigs and oxen (_suovetaurilia_)--was
poured upon the graves; ointment and incense were offered, lamps were
lighted, and the grave was adorned with garlands of flowers, especially
roses and violets. Beans, eggs, lentils, salt, bread and wine, placed on
the grave, formed the chief part of a meal partaken of by the mourners.
There was also a public state festival in honour of the dead, called
Parentalia, held from the 13th to the 21st of February, the last month
of the old Roman year, the last day of the festival being called
Feralia. During its continuance all the temples were shut, marriages
were forbidden, and the magistrates had to appear without the insignia
of their office.
There was considerable analogy between the Manes and the received idea
of "souls"--and there was a corresponding idea that they could be
conjured up and appear as ghosts. They were also supposed to have the
power of sending dreams. It is to be noticed that, unlike the Lares, the
Manes are never spoken of singly.
For authorities, see LARES and PENATES.
MANET, ÉDOUARD (1832-1883), French painter, regarded as the most
important master of Impressionism (q.v.), was born in Paris on the 23rd
of January 1832. After spending some time under the tuition of the Abbé
Poiloup, he entered the Collège Rollin, where his passion for drawing
led him to neglect all his other lessons. His studies finished in 1848,
he was placed on board the ship _Guadeloupe_, voyaging to Rio de
Janeiro. On his return he first studied in Couture's studio (1851),
where his independence often infuriated his master. For six years he was
an intermittent visitor to the studio, constantly taking leave to
travel, and going first to Cassel, Dresden, Vienna and Munich, and
afterwards to Florence, Rome and Venice, where he made some stay. Some
important drawings date from this period, and one picture, "A Nymph
Surprised." Then, after imitating Couture, more or less, in "The
Absinthe-drinker" (1866), and Courbet in "The Old Musician," he devoted
himself almost exclusively to the study of the Spanish masters in the
Louvre. A group was already gathering round him--Whistler, Legros, and
Fantin-Latour haunted his studio in the Rue Guyot. His "Spaniard playing
the Guitar," in the Salon of 1861, excited much animadversion. Delacroix
alone defended Manet, but, this notwithstanding, his "Fifer of the
Guard" and "Breakfast on the Grass" were refused by the jury. Then the
"Exhibition of the Rejected" was opened, and round Manet a group was
formed, including Bracquemond, Legros, Jongkind, Whistler, Harpignies
and Fantin-Latour, the writers Zola, Duranty and Duret, and Astruc the
sculptor. In 1863, when an amateur, M. Martinet, lent an exhibition-room
to Manet, the painter exhibited fourteen pictures; and then, in 1864,
contributed again to the Salon "The Angels at the Tomb" and "A
Bullfight." Of this picture he afterwards kept nothing but the toreador
in the foreground, and it is now known as "The Dead Man." In 1865 he
sent to the Salon "Christ reviled by the Soldiers" and the famous
"Olympia," which was hailed with mockery and laughter. It represents a
nude woman reclining on a couch, behind which is seen the head of a
negress who carries a bunch of flowers. A black cat at her feet
emphasizes the whiteness of the sheet on which the woman lies. This work
(now in the Louvre) was presented to the Luxembourg by a subscription
started by Claude Monet (1890). It was hung in 1897 among the
Caillebotte collection, which included the "Balcony," and a study of a
female head called "Angelina." This production, of a highly independent
individuality, secured Manet's exclusion from the Salon of 1866, so that
he determined to exhibit his pictures in a place apart during the Great
Exhibition of 1867. In a large gallery in the Avenue de l'Alma, half of
which was occupied by Courbet, he hung no fewer than fifty paintings.
Only one important picture was absent, "The Execution of the Emperor
Maximilian"; its exhibition was prohibited by the authorities. From that
time, in spite of the fierce hostility of some adversaries, Manet's
energy and that of his supporters began to gain the day. His "Young
Girl" (Salon of 1868) was justly appreciated, as well as the portrait of
Lola; but the "Balcony" and the "Breakfast" (1869) were as severely
handled as the "Olympia" had been. In 1870 he exhibited "The Music
Lesson" and a portrait of Mlle E. Gonzales. Not long before the
Franco-Prussian War, Manet, finding himself in the country with a
friend, for the first time discovered the true value of open air to the
effects of painting in his picture "The Garden," which gave rise to the
"open air" or _plein air_ school. After fighting as a gunner, he
returned to his family in the Pyrenees, where he painted "The Battle of
the _Kearsarge_ and the _Alabama_." His "Bon Bock" (1873) created a
_furore_. But in 1875, as in 1869, there was a fresh outburst of abuse,
this time of the "Railroad," "Polichinelle," and "Argenteuil," and the
jury excluded the artist, who for the second time arranged an exhibition
in his studio. In 1877 his "Hamlet" was admitted to the Salon, but
"Nana" was rejected. The following works were exhibited at the Salon of
1881: "In the Conservatory," "In a Boat," and the portraits of Rochefort
and Proust; and the Cross of the Legion of Honour was conferred on the
painter on the 31st of December in that year. Manet died in Paris on the
20th of April 1883. He left, besides his pictures, a number of pastels
and engravings. He illustrated _Les Chats_ by Champfleury, and Edgar
Allan Poe's _The Raven_.
See Zola, _Manet_ (Paris, 1867); E. Bazire, _Manet_ (Paris, 1884); G.
Geffroy, _La Vie artistique_ (1893). (H. Fr.)
MANETENERIS, a tribe of South American Indians of the upper Purus river,
and between it and the Jurua, north-western Brazil. They manufacture
cotton cloth, and have iron axes and fish hooks. The men wear long
ponchos, the women sacks open at the bottom. The Maneteneris are
essentially a waterside people. Their cedarwood canoes are very long and
beautifully made.
MANETHO ([Greek: Manethôn] in an inscription of Carthage; [Greek:
Manethôs] in a papyrus), Egyptian priest and annalist, was a native of
Sebennytus in the Delta. The name which he bears has a good Egyptian
appearance, and has been found on a contemporary papyrus probably
referring to the man himself. The evidence of Plutarch and other
indications connect him with the reigns of Ptolemy I. and II. His most
important work was an Egyptian history in Greek, for which he translated
the native records. It is now only known by some fragments of narrative
in Josephus's treatise _Against Apion_, and by tables of dynasties and
kings with lengths of reigns, divided into three books, in the works of
Christian chronographers. The earliest and best of the latter is Julius
Africanus, besides whom Eusebius and some falsifying apologists offer
the same materials; the chief text is that preserved in the
_Chronographia_ of Georgius Syncellus. It is difficult to judge the
value of the original from these extracts: it is clear from the
different versions of the lists that they have been corrupted. Manetho's
work was probably based on native lists like that of the Turin Papyrus
of Kings: even his division into dynasties may have been derived from
such. The fragments of narrative give a very confused idea of Egyptian
history in the time of the Hyksos and the XVIIIth Dynasty. The royal
lists, too, are crowded with errors of detail, both in the names and
order of the kings, and in the lengths attributed to the reigns. The
brief notes attached to some of the names may be derived from Manetho's
narrative, but they are chiefly references to kings mentioned by
Herodotus or to marvels that were supposed to have occurred: they
certainly possess little historical value. A puzzling annotation to the
name of Bocchoris, "in whose time a lamb spake 990 years," has been well
explained by Krall's reading of a demotic story written in the
twenty-third year of Augustus. According to this a lamb prophesied that
after Bocchoris's reign Egypt should be in the hands of the oppressor
900 years; in Africanus's day it was necessary to lengthen the period in
order to keep up the spirits of the patriots after the stated term had
expired. This is evidently not from the pure text of Manetho.
Notwithstanding all their defects, the fragments of Manetho have
provided the accepted scheme of Egyptian dynasties and have been of
great service to scholars ever since the first months of Champollion's
decipherment.
See C. Müller, _Fragmenta historicorum graecorum_, ii. 511-616; A.
Wiedemann, _Aegyptische Geschichte_ (Gotha, 1884), pp. 121 et sqq.; J.
Krall in _Festgaben für Büdinger_ (Innsbruck, 1898); Grenfell and
Hunt, _El Hibeh Papyri_, i. 223; also the section on chronology in
EGYPT, and generally books on Egyptian history and chronology.
(F. Ll. G.)
MANFRED (c. 1232-1266), king of Sicily, was a natural son of the emperor
Frederick II. by Bianca Lancia, or Lanzia, who is reported on somewhat
slender evidence to have been married to the emperor just before his
death. Frederick himself appears to have regarded Manfred as legitimate,
and by his will named him as prince of Tarentum and appointed him as the
representative in Italy of his half-brother, the German king, Conrad IV.
Although only about eighteen years of age Manfred acted loyally and with
vigour in the execution of his trust, and when Conrad appeared in
southern Italy in 1252 his authority was quickly and generally
acknowledged. When in May 1254 the German king died, Manfred, after
refusing to surrender Sicily to Pope Innocent IV., accepted the regency
on behalf of Conradin, the infant son of Conrad. But the strength of the
papal party in the Sicilian kingdom rendered the position of the regent
so precarious that he decided to open negotiations with Innocent. By a
treaty made in September 1254, Apulia passed under the authority of the
pope, who was personally conducted by Manfred into his new possession.
But Manfred's suspicions being aroused by the demeanour of the papal
retinue, he fled to the Saracens at Lucera. Aided by Saracen allies, he
defeated the papal troops at Foggia on the 2nd of December 1254, and
soon established his authority over Sicily and the Sicilian possessions
on the mainland.
Taking advantage in 1258 of a rumour that Conradin was dead, Manfred was
crowned king of Sicily at Palermo on the 10th of August in that year.
The falsehood of this report was soon manifest; but the new king,
supported by the popular voice, declined to abdicate, and pointed out to
Conradin's envoys the necessity for a strong native ruler. But the pope,
to whom the Saracen alliance was a serious offence, declared Manfred's
coronation void and pronounced sentence of excommunication. Undeterred
by this sentence Manfred sought to obtain power in central and northern
Italy, and in conjunction with the Ghibellines his forces defeated the
Guelphs at Monte Aperto on the 4th of September 1260. He was then
recognized as protector of Tuscany by the citizens of Florence, who did
homage to his representative, and he was chosen senator of the Romans by
a faction in the city. Terrified by these proceedings, Pope Urban IV.
implored aid from France, and persuaded Charles count of Anjou, a
brother of King Louis IX., to accept the investiture of the kingdom of
Sicily at his hands. Hearing of the approach of Charles, Manfred issued
a manifesto to the Romans, in which he not only defended his rule over
Italy but even claimed the imperial crown. The rival armies met near
Benevento on the 26th of February 1266, where, although the Germans
fought with undaunted courage, the cowardice of the Italians quickly
brought destruction on Manfred's army. The king himself, refusing to
fly, rushed into the midst of his enemies and was killed. Over his body,
which was buried on the battlefield, a huge heap of stones was placed,
but afterwards with the consent of the pope the remains were unearthed,
cast out of the papal territory, and interred on the banks of the Liris.
Manfred was twice married. His first wife was Beatrice, daughter of
Amadeus IV. count of Savoy, by whom he had a daughter, Constance, who
became the wife of Peter III. king of Aragon; and his second wife, who
died in prison in 1271, was Helena, daughter of Michael II. despot of
Epirus. Contemporaries praise the noble and magnanimous character of
Manfred, who was renowned for his physical beauty and intellectual
attainments.
Manfred forms the subject of dramas by E. B. S. Raupach, O. Marbach
and F. W. Roggee. Three letters written by Manfred are published by J.
B. Carusius in _Bibliotheca historica regni Siciliae_ (Palermo, 1732).
See Cesare, _Storia di Manfredi_ (Naples, 1837); Münch, _König
Manfred_ (Stuttgart, 1840); Riccio, _Alcuni studii storici intorno a
Manfredi e Conradino_ (Naples, 1850); F. W. Schirrmacher, _Die letzten
Hohenstaufen_ (Göttingen, 1871); Capesso, _Historia diplomatica regni
Siciliae_ (Naples, 1874); A. Karst, _Geschichte Manfreds vom Tode
Friedrichs II. bis zu seiner Krönung_ (Berlin, 1897); and K. Hampe,
_Urban IV. und Manfred_ (Heidelberg, 1905).
MANFREDONIA, a town and archiepiscopal see (with Viesti) of Apulia,
Italy, in the province of Foggia, from which it is 22½ m. N.E. by rail,
situated on the coast, facing E., 13 ft. above sea-level, to the south
of Monte Gargano, and giving its name to the gulf to the east of it.
Pop. (1901), 11,549. It was founded by Manfred in 1263, and destroyed by
the Turks in 1620; but the medieval castle of the Angevins and parts of
the town walls are well preserved. In the church of S. Domenico, the
chapel of the Maddalena contains old paintings of the 14th century. Two
miles to the south-west is the fine cathedral of S. Maria Maggiore di
Siponto, built in 1117 in the Romanesque style, with a dome and crypt.
S. Leonardo, nearer Foggia, belonging to the Teutonic order, is of the
same date. This marks the site of the ancient Sipontum, the harbour of
Arpi, which became a Roman colony in 194 B.C., and was not deserted in
favour of Manfredonia until the 13th century, having become unhealthy
owing to the stagnation of the water in the lagoons.