[1] _Types of Ethical Theory_, i. 8.
[2] _Essays, Reviews and Addresses_, iv. 54.
[3] Ibid. i. 397.
[4] _Essays, Reviews and Addresses_, i. 419.
[5] Martineau's "Letter to the Dissenting Congregation of Eustace
Street" (Dublin).
[6] _Types of Ethical Theory_, i. pp. vii.-ix.
[7] Ibid. p. xiii.
[8] _Rationale_, 2nd ed., pref., p. vii.
[9] Ibid. p. 133.
[10] They stand as Lectures ii., v., vi., xi., xii. in the volume
_Unitarianism Defended_, 1839.
[11] Essays, _Reviews and Addresses_, ii. 10.
[12] Ibid. i. 46.
[13] Ibid. i. 258, 262.
[14] Ibid. ii. 285.
[15] Ibid. i. 233.
[16] _Essays, Reviews and Addresses_, i., iii.
[17] Ibid, iii., pref., p. vi.
MARTINET, a military term (more generally used in a disparaging than in
a complimentary sense) implying a strict disciplinarian or drill-master.
The term originated in the French army about the middle of Louis XIV.'s
reign, and was derived from Jean Martinet (d. 1672), who as
lieutenant-colonel of the King's regiment of foot and inspector-general
of infantry drilled and trained that arm in the model regular army
created by Louis and Louvois between 1660 and 1670. Martinet seems also
to have introduced the copper pontoons with which Louis bridged the
Rhine in 1672. He was killed, as a _maréchal de camp_, at the siege of
Duisburg in the same year, being accidentally shot by bis own artillery
while leading the infantry assault. His death, and that of the Swiss
captain Soury by the same discharge gave rise to a _bon mot_, typical of
the polite ingratitude of the age, that Duisburg had only cost the king
a martin and a mouse. The "martin" as a matter of fact shares with
Vauban and other professional soldiers of Louis XIV. the glory of having
made the French army the first and best regular army in Europe. Great
nobles, such as Turenne, Condé and Luxemburg, led this army and inspired
it, but their fame has obscured that of the men who made it manageable
and efficient. It was about this time that the soldier of fortune, who
joined a regiment with his own arms and equipment and had learned his
trade by varied experience, began to give place to the soldier regularly
enlisted as a recruit in permanent regiments and trained by his own
officers. The consequence of this was the introduction of a uniform, or
nearly uniform system of drill and training, which in all essentials has
endured to the present day. Thus Martinet was the forerunner of Leopold
of Dessau and Frederick William, just as Jean Jacques de Fourilles, the
organizer of the cavalry, who was forced into an untimely charge at
Seneffe (1674) by a brutal taunt of Condé, and there met his death, was
the forerunner of Zieten and Seydlitz. These men, while differing from
the creators of the Prussian army in that they contributed nothing to
the tactics of their arms, at least made tactics possible by the
thorough drilling and organization they imparted to the formerly
heterogeneous and hardly coherent elements of an army.
MARTÍNEZ DE LA ROSA, FRANCISCO DE PAULA (1789-1862), Spanish statesman
and dramatist, was born on the 10th of March 1789 at Granada, and
educated at the university there. He won popularity with a series of
epigrams on local celebrities published under the title of _El
Cementerio de momo_. During the struggle against Napoleon he took the
patriotic side, was elected deputy, and at Cadiz produced his first
play, _Lo que puede un empleo_, a prose comedy in the manner of the
younger Moratin. _La Viuda de Padilla_ (1814), a tragedy modelled upon
Alfieri, was less acceptable to the Spanish public. Meanwhile the author
became more and more engulfed in politics, and in 1814 was banished to
Africa, where he remained till 1820, when he was suddenly recalled and
appointed prime minister. During the next three years he was the most
unpopular man in Spain; denounced as a revolutionist by the
Conservatives and as a reactionary by the Liberals, he alienated the
sympathies of all parties, and his rhetoric earned for him the
contemptuous nickname of _Rosita la Pastelera_. Exiled in 1823, he took
refuge in Paris, where he issued his _Obras literarias_ (1827),
including his _Arte poética_, in which he exaggerated the literary
theories already promulgated by Luzán. Returning to Spain in 1831, he
became prime minister on the death of Ferdinand VII., but proved
incapable of coping with the insurrectionary movement and resigned in
1834. He was ambassador at Paris in 1839-1840 and at Rome in 1842-1843,
joined the Conservative party, held many important offices, and was
president of congress and director of the Spanish academy at the time of
his death, which took place at Madrid on the 7th of February 1862. As a
statesman, Martínez de la Rosa never rose above mediocrity. It was his
misfortune to be in place without real power, to struggle against a
turbulent pseudo-democratic movement promoted by unscrupulous soldiers,
and to contend with the intrigues of the king, the court camarilla and
the clergy. But circumstances which hampered him in politics favoured
his career in literature. He was not a great natural force; his early
plays and poems are influenced by Moratin or by Meléndez Valdés; his
_Espirítu del siglo_ (1835) is an elegant summary of all the
commonplaces concerning the philosophy of history; his _Doña Isabel de
Solís_ (1837-1846) is a weak imitation of Walter Scott's historical
novels. Still his place in the history of Spanish literature is secure,
if not eminent. Through the happy accident of his exile at Paris he was
thrown into relations with the leaders of the French romantic movement,
and was so far impressed with the innovations of the new school as to
write in French a romantic piece entitled _Aben-Humeya_ (1830), which
was played at the Porte Saint-Martin. The experiment was not
unsuccessful, and on his return to Madrid Martínez de la Rosa produced
_La Conjuratión de Venecia_ (April 23, 1834), which entitles him to be
called the pioneer of the romantic drama in Spain. The play is more
reminiscent of Casimir Delavigne than of Victor Hugo; but it was
unquestionably effective, and smoothed the way for the bolder essays of
Rivas, Garcia Gutiérrez and Hartzenbusch.
MARTINI, GIOVANNI BATTISTA (1706-1784), Italian musician, was born at
Bologna on the 24th of April 1706. His father, Antonio Maria Martini, a
violinist, taught him the elements of music and the violin; later he
learned singing and harpsichord playing from Padre Pradieri, and
counterpoint from Antonio Riccieri. Having received his education in
classics from the fathers of the oratory of San Filippo Neri, he
afterwards entered upon a noviciate at the Franciscan monastery at Lago,
at the close of which he was received as a Minorite on the 11th of
September 1722. In 1725, though only nineteen years old, he received the
appointment of chapel-master in the Franciscan church at Bologna, where
his compositions attracted attention. At the invitation of amateurs and
professional friends he opened a school of composition at which several
celebrated musicians were trained; as a teacher he consistently declared
his preference for the traditions of the old Roman school of
composition. Padre Martini was a zealous collector of musical
literature, and possessed an extensive musical library. Burney estimated
it at 17,000 volumes; after Martini's death a portion of it passed to
the Imperial library at Vienna, the rest remaining in Bologna, now in
the Liceo Rossini. Most contemporary musicians speak of Martini with
admiration, and Mozart's father consulted him with regard to the talents
of his son. Abt Vogler, however, makes reservations in his praise,
condemning his philosophical principles as too much in sympathy with
those of Fox, which had already been expressed by P. Vallotti. He died
at Bologna on the 4th of August 1784. His _Elogio_ was published by
Pietro della Valle at Bologna in the same year.
The greater number of Martini's sacred compositions remain unprinted.
The Liceo of Bologna possesses the MSS. of two oratorios; and a
requiem, with some other pieces of church music, are now in Vienna.
_Litaniae atque antiphonae finales B. V. Mariae_ were published at
Bologna in 1734, as also twelve _Sonate d'intavolatura_; six _Sonate
per l'organo ed il cembalo_ in 1747; and Duetti da camera in 1763.
Martini's most important works are his _Storia della musica_ (Bologna,
1757-1781) and his _Saggio di contrapunto_ (Bologna, 1774-1775). The
former, of which the three published volumes relate wholly to ancient
music, and thus represent a mere fragment of the author's vast plan,
exhibits immense reading and industry, but is written in a dry and
unattractive style, and is overloaded with matter which cannot be
regarded as historical. At the beginning and end of each chapter
occur puzzle-canons, wherein the primary part or parts alone are
given, and the reader has to discover the canon that fixes the period
and the interval at which the response is to enter. Some of these are
exceedingly difficult, but Cherubini solved the whole of them. The
_Saggio_ is a learned and valuable work, containing an important
collection of examples from the best masters of the old Italian and
Spanish schools, with excellent explanatory notes. It treats chiefly
of the tonalities of the plain chant, and of counterpoints constructed
upon them. Besides being the author of several controversial works,
Martini drew up a _Dictionary of Ancient Musical Terms_, which
appeared in the second volume of G. B. Doni's _Works_; he also
published a treatise on _The Theory of Numbers as applied to Music_.
His celebrated canons, published in London, about 1800, edited by Pio
Cianchettini, show him to have had a strong sense of musical humour.
MARTINI, SIMONE (1283-1344), Sienese painter, called also Simone di
Martino, and more commonly, but not correctly, Simon Memmi,[1] was born
in 1283. He followed the manner of painting proper to his native Siena,
as improved by Duccio, which is essentially different from the style of
Giotto and his school, and the idea that Simone was himself a pupil of
Giotto is therefore wide of the mark. The Sienese style is less natural,
dignified and reserved than the Florentine; it has less unity of
impression, has more tendency to pietism, and is marked by exaggerations
which are partly related to the obsolescent Byzantine manner, and partly
seem to forebode certain peculiarities of the fully developed art which
we find prevalent in Michelangelo. Simone, in especial, tended to an
excessive and rather affected tenderness in his female figures; he was
more successful in single figures and in portraits than in large
compositions of incident. He finished with scrupulous minuteness, and
was elaborate in decorations of patterning, gilding, &c.
The first known fresco of Simone is the vast one which he executed in
the hall of the Palazzo Pubblico in Siena--the "Madonna Enthroned, with
the Infant," and a number of angels and saints; its date is 1315, at
which period he was already an artist of repute throughout Italy. In S.
Lorenzo Maggiore of Naples he painted a life-sized picture of King
Robert crowned by his brother Lewis, bishop of Toulouse; this also is
extant, but much damaged. In 1320 he painted for the high altar of the
church of S. Caterina in Pisa the Virgin and Child between six saints;
above are archangels, apostles and other figures. The compartmented
portions of this work are now dispersed, some of them being in the
academy of Siena. Towards 1321 he executed for the church of S. Domenico
in Orvieto a picture of the bishop of Savona kneeling before the Madonna
attended by saints, now in the Fabriceria of the cathedral. Certain
frescoes in Assisi in the chapel of San Martino, representing the life
of that saint, ascribed by Vasari to Puccio Capanna, are now, upon
internal evidence, assigned to Simone. He painted also, in the south
transept of the lower church of the same edifice, figures of the Virgin
and eight saints. In 1328 he produced for the sala del consilio in Siena
a striking equestrian portrait of the victorious general Guidoriccio
Fogliani de' Ricci.
Simone had married in 1324 Giovanna, the daughter of Memmo (Guglielmo)
di Filippuccio. Her brother, named Lippo Memmi, was also a painter, and
was frequently associated with Simone in his work; and this is the only
reason why Simone has come down to us with the family-name Memmi. They
painted together in 1333 the "Annunciation" which is now in the Uffizi
gallery. Simone kept a bottega (or shop), undertaking any ornamental
work, and his gains were large. In 1339 he settled at the papal court in
Avignon, where he made the acquaintance of Petrarch and Laura; and he
painted for the poet a portrait of his lady, which gave occasion for two
of Petrarch's sonnets, in which Simone is eulogized. He also illuminated
for the poet a copy of the commentary of Servius upon Virgil, now
preserved in the Ambrosian library of Milan. He was largely employed in
the decorations of the papal buildings in Avignon, and several of his
works still remain--in the cathedral, in the hall of the consistory,
and, in the two chapels of the palace, the stories of the Baptist, and
of Stephen and other saints. One of his latest productions (1342) is the
picture of "Christ Found by his Parents in the Temple," now in the
Liverpool Gallery. Simone died in Avignon in July 1344.
Some of the works with which Simone's name and fame have been
generally identified are not now regarded as his. Such are the
compositions, in the Campo Santo of Pisa, from the legend of S.
Ranieri, and the "Assumption of the Virgin"; and the great frescoes in
the Cappellone degli Spagnuoli, in S. Maria Novella, Florence,
representing the Triumph of Religion through the work of the Dominican
order, &c. (W. M. R.)