$H Mu-ba= l-lidat-serua.

The daughter of Assur= -ubalid, king of Assyria, and the mother of Kara-hardas, king of Babylonia, who was slain by th= e Kassi. (1876c1)

$H Muckinder, Muckinge= r. Old English

O.E. A pocket‑= handkerchief (sc. dirty).(1883m1)

$H Mudad= .

According to Arabic historians the chief o= f a Jorhamite tribe, whose daughter Rala or Sayyida married Ishmael, the son of Abraha= m. See Samayda= . (1876c1)

$H Muecp= horites. Egypt

A nome in Lower Egypt, East of the Phatnitic branch of the Nile. The name of its chief town is not known. (1= 876c1)

$H Mueta.

Med. Lat. (Old Fr. <= span class=3DSpellE>muette)= . A watch‑tower.(1883m1)

$H Muffle.

A hollow demi‑cylinder of fire‑proof earth, closed at one end and open at the other. It is used by painters in enamel and in porcelain for firing and vitrifying the= ir colours. ILLUS. muffle(1891a1)

$H Muffler. <= /h1>

A handkerchief cover= ing the chin and throat, and sometimes used to cover the face (muffle or muzzle)= . &quo= t;I spy a great peard under her muffler." (Shakspeare.)(1883m1)

$H Muffs.

Muffs were introduce= d into England from France in the reign of Char= les II. They were previously known in England, but were subsequen= tly more common, and used by both sexes. Very little variation has occurred in their manufacture.(1883m1)

$H Mugal= li.

A king of Tubal in Asia Minor. He sent a present and tribute of hors= es to Assurbanipal, king of Assyri= a, and also one of his daughters for the harem of that monarch. (1876c1)

$H Mughe= ir. Chaldaea

The modern name of the ancient Chaldean city Ur or Calneh. (1876c1)

$H Muglias.

Arab. A kind of past= illes; a substance employed in the Middle Ages for making odoriferous beads; they = were burnt for fumigations.(1883m1)

$H Mui-e= n-hiku. Egypt

Mui-en-hiku. "The Lion of Kings." A royal surname of Amenhotep III. of the XVIIIth dynasty. See the following name. (1876c1)

Mui-en-hiku. The flabellum bearer of Amenhotep III. = of the XVIIIth dynasty. He had a son named Nohem-maschuf, which see. (1876c1)

$H Mulag= unnuna. Chaldaea

An early Chaldean king, possibly belonging to the IInd dynasty = of Berosus. (1876c1)

$H Mulctra, Mulctrale<= /span>, Mulctrum. = ;

R. and Chr. (mulgeo<= /span>, to milk). A milk‑pail for milking cows. In Christian archaeology it= is a pastoral vessel which is a eucharistic symbol.(1883m1)

$H Mule (see Mulleus)

$H Mulge= . Akkad

In Accadian mythology a form of the god Bel as "The = Lord of the Underworld." (1876c1)

$H Mulilki. Akkad

The Accadian n= ame of the city of Nipur. (1876c1)

$H Mulis-assur.

The chief of the commanders of the army un= der Samas-Rimmon or Samsi-Vul III. He subdued 500 cities and ravaged the country of the Sunbai. (1876c1)

$H Muller. Painting

(Paint.) A small pes= tle of crystal, porcelain, or marble, which is used by painters to grind their <= span class=3DSpellE>colours either on a piece of polished glass or in a porcelain saucer. The muller is generally in = the form of a truncated cone, the upper part of which is slightly convex, so = that it can be held in the palm of the hand. ILLUS. muller(1891a= 1)

$H Mullet. Heraldry

Mullet. (Her.) The r= owel of a spur borne as a charge in heraldry. Unless otherwise stated it has five points.(1891a1)

Mullets, Her. Stars generally of five, but sometimes of six or more rays. Fig. 470 is of the = date 1295, and Fig. 471 its development in 1431. Fig. 470. Mullets. Fig. 471. Mullets.(1883m1= )

&nbs= p; &= nbsp;

$H Mulleus.

Mulleus, Mule, R. (mullus, a red mullet). A red half‑boot, which on= ly certain magistrates had the right of wearing, viz. the ancient dictators, consuls, proctors, censors, and aediles.(1883= m1)

$H Mulli= as.

An Assyrian city called Abnunaki by the Accadians. (1876c1)<= /p>

$H Mullion. <= /h1>

Mullions or Munnions. Arch. The slender piers which separate a window into several compartments.(1883= m1)

Mullion. (Arch.) A t= erm applied to the stone compartments which divide the surface of windows in buildings of the Gothic and Renaissance styles. Throughout the Middle Ages mullions had a distinct outline in every century. In the greater part of = the window mullions are vertical, but in the upper part they inter‑cros= sed and form complicated curves. During the period of the Renaissance windows were divided by mullions cutting one another at right angles. The space between the mullions was filled with panels of glass held up by iron bars= . 2 ILLUS. mullion1, mullion2(18= 91a1)

&nbs= p; &= nbsp;

$H Multifoil and Multi= foiled.

Multifoiled, Arch. Having many FOILS (q.v.). This term is synonymous with POLYFOILED.(1883m1)

Multifoil. (Arch.) A term applied to an arch, which cons= ists of more than five foils or segments of circles. ILLUS. multifoi(1= 891a1)

$H Mummied Animals. Egypt

Certain animals that were either emblems of, or sacred to, gods were carefully mummified by the Egyptians. Those oftenest met with are the bull, antelop= e, jackal, hippopotamus, cat, monkey or ape, crocodile, ichneumon, hedgehog, shrewmouse, ibis, hawk, frog, toad, scorpion, beetle, snake; and the latus, oxyrhynchus, and= silurus fishes. Of these, the = Apis bulls (q.v.) were buried in sarcophagi, many of which have been discovered at Sa= kkâra. Other animals were placed in rectangular bronze or wooden cases, each surmounted by a little figure of the animal it contained; or in cases whi= ch took the shape of the animals themselves. Thus cat-coffins were cat-shape= d, with eyes of obsidian, rock crystal, or coloured paste. Large numbers of = mummied cats have been found at Bubastis,= the city where the cat-headed goddess was worshipped.

Ibises were placed in earthenware jars, while snakes and fish were often merely bandaged and laid in pits prepared for the purpose.(1902b1)<= o:p>

$H Mummies. Moum, "Wax." <= /span> Egypt [ Also see Mummy - Edit= or]

Mummies. Moum, "Wax." One of the most rema= rkable classes of Egyptian antiquities is the mummies, or dead bodies prepared by salt, bitumen, cedar oil, and other substances, so as to resist decay and= the ravages of time. The reason of the process is unknown, but is supposed to have been either sanitary, or to enable the soul, after it had passed thr= ough its transformations for 3000 or 10,000 years, to return to the body. Immediately after death the corpses of men were delivered to the eviscerators, or parachistae,= or preparers, taricheutae, and r= emoved to their establishments; a line was drawn on the right side, which was op= ened by an Ethiopian stone-knife, the viscera removed, and were either placed = in four Canopic jars dedicated to the genii of the dead, packed in separate = bags and laid with the mummy, or else were thrown into the river. The brain was extracted by a curved bronze instrument, and the body then treated accord= ing to the practice of the period, or the wealth of the family. The corpses of females were mummied at their homes. In the days of Herodotus, three modes were employed. The first, or most expensive, cost a talent, about 244l.; in which, after the prelimin= ary operations, the body was bathed in palm wine, filled with cassia and other drugs, then plunged in natron for seventy days, and finally wrapped in li= nen bandages and a cartonage. The second process cost 20 minae, or about 81l. In it the brain was removed, the viscera injected with cedar oil, and the bo= dy was steeped in natron for seventy days. An examination of different mummi= es shows, however, that there was a great difference in the mode of preparat= ion. The brain, when extracted, left the skull hollow, and sometimes the nostr= ils were plugged with pledgets; the eyes were occasionally removed, and their places supplied by others of ivory and obsidian; the hair was often remov= ed, and made into an oval packet, covered with linen and bitumen. The flank incision varied in length, and was covered by a tin plate, on which a symbolic eye was engraved. The viscera were separately embalmed, and plac= ed in Canopic jars laid outside or in the bellies of the mummies. Silver glo= ves or stalls were placed on the fingers to prevent the tearing off the nails= , or else they were secured with thread. The bodies were laid straight, the ha= nds at the sides, on the breast or groin, so as to be symmetrical for bandagi= ng. When finally prepared, the mummies were wrapped in linen bandages, principally strips of three or four inches wide, several yards in length, laid on wet, and kept level by pledgets. Remn= ants of old linen were extensively used for the purpose. As many as 700 yards = are said to have been employed for one mummy. The bandages are generally coar= sest near the body, and liner outside. Some mummies have an outer linen shroud dyed red by the carthamus tinctorius, and over that a network of porcelain bugles, amidst which figures of sepulchral deities and other emblems are introduced. On a few mummies of = the earlier dynasties and of the age of the Ptolemies, portions of the Ritual of the Dead were written on the outer bandages aft= er they had been laid on. Other mummies have leather straps crossing the shoulders and breast, and stamped at the ends with the names and figures = of kings of the XXth and following dynasties, st= anding in adoration to Osiris. A very common mode of ornamentation was the cartonage, composed of = twenty or forty layers of linen tightly pressed and glued together like pasteboa= rd, and covered with a thin layer of stucco. This was mo= delled in shape of the figure of the dead, with a pedestal. It was laced up or closed behind, and appropriately painted with colour= s in tempera, with figures of deities and inscriptions. When bandaged, the mummies were generally deposited in coffins and sarcophagi; the coffins w= ere of wood, chiefly of cedar and sycamore; and these again were either plain with inscriptions cut upon them, or else covered with a layer of stucco, painted like the cartonages, in tempera. Some= times there were three or more coffins fitting in one another, like a nest of boxes. The bodies of kings and persons of high rank or wealth were deposi= ted in massive sarcophagi, or outer stone coffins of granite, basalt, alabast= er, breccia, and other materials. These sarcophagi were either rectangular with a cover, or else in the shape of the mummied body. Some were plain, but many more were c= overed with scenes and inscriptions in relief or intaglio, chiefly extracts from= the Ritual and other religious works. Considerable variety prevails in the ra= nge of subjects selected for the ornamentation of the coffins and sarcophagi,= due to the caprices or different tastes of the relatives of the deceased. The= art was practised from B.C. 2000 to A.D. 700, and= it has been calculated that about 420,000,000 bodies may have been thus pre-prepared. The principal cemeteries were the Gour= nah quarter of Thebes, Abydos, and the plains of Sakkara. The mummies of the period of = the first six dynasties found at Sakkara are encl= osed in wooden coffins with human faces, placed in a rectangular sarcophagus, = and have only been slightly preserved, dropping to pieces on exposure to the = air, or preserving a faint odour of bitumen. At Th= ebes, under the XIth dynasty, bitumen and other dru= gs were used for the preparation of mummies, which are, however, yellow, and falling to pieces; they were deposited either in cases in shape of a mumm= y, hollowed out of the trunk of a tree, or in rectangular chests. The mummie= s of the XIIth and XIVth dynasties generally found at Thebes, are black, with flexible and dried skin, and were placed in inferior coff= ins of the same kind. Under the XVIIth dynasty the coffins renew the style of the XIth, and some= are yellow from head to foot. From the XVIIIth to= the XXIst dynasty at Memphis the mummies are black, and so dried that they break at the least touch: t= hey were placed in granite sarcophagi more or less massive. At Thebes the mummies are exquisitely ma= de; the bodies yellow, rather shining, and very flexible; deposited in wooden coffins, generally sycamore, with tenons of <= span class=3DSpellE>sunt or= acacia wood. Sometimes as many as three are used, one within the other. After th= e XXIst dynasty the mummies at Thebes continue to show the perfectio= n of the art; are enveloped in cartonages, and pla= ced in wooden coffins, rather plain, with inscriptions or else with a white grou= nd and scenes traced on them. The mummies of the cemeteries of Memphis of this period are poor and f= ew, but become better under the XXVIth dynasty, a= nd are often placed in sarcophagi of granite, basalt, and other stone. Under the= Ptolemies, the art of mummification declined. Infer= ior ones at Thebes were often buried in the soil; the jaws were tied up, and plates of gold placed on the tongue; portions of the skin were gilded, and the bodies ei= ther black or of an ashen grey colour. At Memphis = the use of stone sarcophagi still continued, and a new kind of wooden coffin = was introduced, the bottom of which was a flat board, into which fitted a vau= lted cover, with pillars at the four ends, fitted by four tenons. Under the Romans, after the first century A.D., the mummies and coffins rapidly decline. The bodies are black, heavy, and the bandages adhere so = to the liquid bitumen in which they were boiled, that they cannot be detached without an instrument, and the Hieroglyphs and pictures are coarse daubs = or illegible scrawls. The outer wrappers and bandages are decorated in anoth= er style, and encaustic portrait pictures are placed over the head, and the influence of a foreign art, itself in a state of decline, is everywhere visible. The bodies were often secured by cords with leaden or wax seals,= to protect the arrangements and amulets from plunder or violation; and, as a= t an early period, memoranda, in an encaustic ink, of the name, age, or time w= hen the deceased lived are found on the bandages. (Birch's Guide of the Br= itish Museum, Egyptian Gallery.) (1876c1)

$H Mummy Brown.

(Paint.) A term denoting a rich brown pigment,= which is composed of white pitch, myrrh, and the flesh taken from ancient mummi= es. For a long time, however, mummy brown extracted from real Egyptian mummies has been very rare, as the variety which the druggists of the Levant palm= off upon Western Europe is not genuine, but is obtained from the bodies embal= med by both Jews and Christians in the Levant in bitumen and some aromatic substances. But whether genuine or not, it cann= ot be recommended to the painter, as, although it is a rich colour, it dries with difficulty, is not permanent, and may contain ammonia and particles of fat.(1891a1)

$H Mummy (human). Egypt [See also Mummies - Edi= tor]

A term probably derived from an Arab word "mumia<= /span>" - bitumen, meaning, therefore, a bitumen-preserved body.

In hieroglyphs the word is Sahu, while the verb to make into a mummy is qes, lit., "to wrap up in bandages."

Mummifying the dead was practised from the earliest ages, and was = in general use until the fourth century A.D. It had for its object the preservation of the body in order that the soul might one day return to it and revivify it. (See KHAT and SAHU.)(1902b1)

$H Mummy (pigment). &= nbsp; Egypt

Mummy. This pigment = should be made of the pure Egypt= ian asphaltum, ground up with drying oil or with amber varnish.(1883m1)

$H Mummy‑cloths. &nbs= p; Egyptian

Mummy‑cloths (Egyptian) were of fine unmixed flaxen linen, beautifully woven, of yarns= of nearly 100 hanks in the pound, with 140 threads in an inch in the warp, a= nd about 64 in the woof.(1883m1)

$H Munam= mih.

The father of Nebosar= ziltimu, a great author and astronomical compiler in the reign of Sargon I. = (1876c1)

$H Mund<= /span> Karniku Koond.

A sacred fountain in Benares, which the god Vishnu produced= with his discus, and then filled with sweat from his own body. (1876c1)

$H Munga= . "Of Bricks." Akkad

The Accadian n= ame of the month Sivan, which see. (1876c1)

$H Muniment‑rooms.

Muniment‑rooms, to be strong and fire‑proof= , were erected over porches, gateways, &c. They contained charters, archives, &c. (See CHARTER‑HOUSE.)(1883m1)

$H Munin= . "Memory." Scandinavia<= /st1:place>

In Scandinavian mythology one of the two ravens which sat upon the shoulders of the great divinity Odin, and broug= ht intelligence to him. See Hugin. (1876c1)

$H Munir= suarta.

A king of the Arazias= ai, who together with 1070 of his soldiers was slain by = Samas-Rimmon III., king of Assyria, who destroyed his cities, and carried his wife and family into captivity. (1876c1)

$H Mun-khet-isi. Egypt

An Egyptian lady, the mother of the royal scribe Pet-amen, which see. (1876c1)

$H Munnions. Arch., for MULLIONS (q.v.). (1883m1= )

$H Munth= ukh. Or Munthkh= . Etruria

An Etruscan guardian spirit who seems to h= ave watched over the health. She sometimes had a dove on the right arm. Corssen compares her with the Greek Graces. She was winged, wore a necklace, and had a box of cosmetics and pencil in her han= ds. (1876c1)

$H Muntin.

A vertical piece of = wood or iron, which forms part of the framework of a door or bay.(1891a1)

$H Muntu= -hik-hopsef.

A son of Rameses II. of the XIXth dynasty. (1876c1)

Muntu-hik-hop-sef. Or Mentu-hik-hop-sef. A son of Rameses III. of the XXth dynasty. (1876c1)

$H Muntu= -hik-hop-sef. Or Mentu-h= ik-hop-sef.

$H Muntu= -hotep. Egypt

The consort of Antefaa II. of the X= Ith dynasty. (1876c1)

$H Mupallidat-serua. "She that is quic= kened by Serua."

An early Babylonian princess. See Mu-bal-= lidat-serua. (1876c1)

$H Muraddas.

A city in South-eastern Assyria, which was conquered by Tiglath Pileser I. (1876c1)

$H Mural and Mural Arch. &n= bsp;

Generally, on a wall= ; as ‑ Mural Arch. An arch against a wall, frequent in the aisles of mediaeval buildings.(1883m1)

$H Mural Decoration.

Nearly all the arts = have been called into requisition for the purpose of decorating wall surfaces.= The ancient Egyptians and Assyrians employed low reliefs= in marble for this purpose, and many specimens of their work are still extant. Walls have been covered with thin slabs of marble, brilliantly enamelled tiles, stucco, mosaic, stamped leather, a= nd paper. Then they have been painted in every age and in every country. It = is from the painted walls of Po= mpeii that we gain our scanty knowledge of Greek painting, and this method of m= ural decoration continued through the Middle Ages, and indeed still survives. There are, however, very few pre‑Reformation mural paintings in existence. For at the triumph of Protestantism these interesting examples= of art were ordered to be destroyed, and replaced by texts and allegories. T= he usual method at the present time of decorating walls is to cover them with wallpapers. This practice seems to have been generally adopted in the 18th century, though it was not unknown before. The design is printed on the p= aper from wooden blocks, cut in relief, a separate block being used for each <= span class=3DSpellE>colour. The best kind of papers are printed by hand= , but the cheaper kind are printed in machines.(1891a1)

$H Mural Crown.

Mural Crown (Her.) represents masonry, and is embatt= led. (See CORONA.)

Fig. 472. Mural crown.(1883m1)

$H Mural Monument.

A tablet fixed to a = wall, &c.(1883m1)

$H Mural Painting. <= /span> (See FRESCO, TEMPERA, &c.) (188= 3m1)

$H Murdu= s.

The true name of the = Kassite deity Kharbat. He was identified by the Assyr= ians with the Bel of the Babylonians. (1876c1)

$H Murex.

R. (1) A Triton's ho= rn or conch; (2) murex ferreus, a caltrap, thrown down to hinder the advance = of cavalry, its long spikes being so arranged as to pierce into the horses' feet, and so disable them. (See CALTRAPS.)(1883m1)

The murex is strictly speaking, a shell‑fish, but in art it generally denotes a twisted s= hell‑shaped trumpet, which was one of the attributes of the Tritons. Our illustration= is taken from an antique gem. ILLUS. murex(1891a1)

$H Mur-k= au. Egypt

An Egyptian officer in the XIIth dynasty. His wife's name was Uaemma. Nothing = else is known respecting him. (1876c1)

$H Mur-m= az-a.

An Assyrian pilot in the reign of Sennache= rib. (1876c1)

$H Murrey.

(Her.) A term used i= n old heraldry books for sanguine (q.v.)(1891a1)

O.E. A reddish purpl= e or mulberry colour. The livery of the House of York.(1883m1)

$H Murrhea (See Murrhina<= /span>)

$H Murrhina.

Murrhina, Murrhea, and Myrrhina, R. Murrhine vases; they are spoken of by = Pliny, and have given rise to interminable treatises and discussions, with the s= ole result that no light whatever has been thrown on the nature of these vase= s.(1883m1)

Murrhine Vases. Murrhine va= ses were first brought to Rome in the time of Pompey. They were highly valued by the Romans, who paid fabulous sums for them. Pliny describes them as brilliant, iridescent, an= d of various colours. Many opinions have been set = forth as to the material of which they were composed. Some say they were of jad= e, others of opal, while others again hold that they were Chinese porcelain.(1891a1)

$H Murrhine Glass. (See GLASS.) (1883m1)

$H Murrhine Vases. (See Murrhina<= /span>)

$H Muru<= /span>.

A city in Syria, which was conquered = by Shalmaneser II., who afterwards erected a palace th= ere. (1876c1)

In Zendic myth= ology the third dwelling-place of the Iranians, or their second residence after leaving Aryanem-Vaedjo. It was the Margiana of the Greeks. (1876c1)<= /p>

$H Murus.

R. Walls as defences and fortifications, in contradistinction to paries, = the wall of a building. Fig. 473 represents a portion of the walls of Megalopolis. (See MOENIA.) Fig. 4= 73. Walls of Megalopolis.(1883m1)

<= /o:p>

$H Mus.

In Chaldean astronomy a name of the planet Mercury, as one of the twelve stars of the West. (1876c1)

$H Mu-sa= l-lim-maruduk.

A Chaldean pri= nce, the son of Ukani, who paid tribute to Shalmaneser I., king of Assyria. (1876c1)

$H Mu-sa= l-lim-ninip.

The governor of Bile, in the reign of Vul-nirari III. and Assurdan III. He was eponym of the years B.C. 793 and 766, in both of which years = took place expeditions to Media. (1876c1)

$H Muscarium.

R. (musca, a fly).

(1) A fly‑flap= . Hence

(2) The tail of a ho= rse.

(3) A case in which = papers were shut up in order to preserve them from fly‑stains.(1883m1)

$H Muses.

The daughters of Zeu= s and Mnemosyne, and the patronesses of music and the fine arts. They were nine in number, and each had one branch of art under her control. In early Greek works of art the Muses are represented together as nine maidens similarly attired, and each holding a musical instrument or a roll of manuscript as their attribute. They are led by Apollo, who is hen= ce called Musagetes. In later art they have each= their separate attributes, suggested by the branch of art, such as history, tragedy, comedy, &c., which is regarded as their own.(1891a1)

Muses, the personifi= cations of the liberal arts, are represented conventionally as follows: ‑ <= o:p>

Calliope. The Muse of epic poetry; a tablet and stylus, sometimes a roll.

Cleio. The Muse of history; seated in an arm‑chair with an open roll = of paper, sometimes with a sun‑dial.

Euterpe. The Muse of lyric poetry; with a double flute.

Melpomene. The Muse of tragedy; with a tragic mask, the club of Hercules, and sword; crowned with the vine‑leaves of Bacchus, and shod in the cothurnus; often heroically posed with one foot on a fragment of rock.

Terpsichore. The Muse of choral dance and religious song; with lyra and plectrum. As the Muse of religious poetry, her expression is dignified and earnest.

Erato. The Muse of erotic poetry and soft Lydian music; sometimes has the l= yre, sometimes is represented dancing, always gentle and feminine in expression.

Polyhymnia. The Muse of the sublime hymn and divine tradition; usually appears without any attribute, in an attitude of meditation; sometimes the inscription = 9K1?KG[=3DMUTHOUS] (of the myth).

Urania. The Muse of astronomy; points with a staff to a celestial globe. (Lachesis, one of the Parcae, has the same attributes.)

Thaleia. The Muse of pastoral life, of comedy, and of idyllic poetry; appears with the comic mask, a shepherd's staff, and a wreath of ivy, or basket; sometimes dressed in a sheepskin.

The Muses are sometimes represented with feathers on their heads, alluding to their contest with the Sirens, whom they stripped of their wing feathers, which they wore as ornaments. (Hirt. Mythologisches Bilderbuch, p. 203.)(1883m1)

$H Museum.

Museum. A public building in w= hich a collection of works of art, belonging especially to ancient times, is gathered together and classified for the purpose of intelligent study. Th= e British Museum and the South Kensington Museum= are the most celebrated institutions of the kind in England.(1891a1)=

Museum, Gr. and R. (= 9@LF,Ã@<[=3DMouseion]). Lit= erally, a temple of the Muses. The term was afterwards applied to an establishment founded by Ptolemy I., called Soter, at Alexan= dria in Egypt, in which scholars and literary men were maintained at the public expense.= In a villa, it was a grotto or retreat to which people retired for meditation.(1883m1)

--- $H Museum, British.

The British Museum was established in 1754, on the site which it occupies at present. A nucl= eus was formed by the collection of Sir Hans Sloane, the Cottonian library, and the Harleian manuscripts. The collection of Sir William Hamilton, acquired by purchase in 1772, was the foundation of the Department of Antiquities. In 1802 a large collection of Egyptian antiquities were acquired, and some years later were purchased t= he Townley Marbles. The magnificent sculptures from the Parthenon, known as the Elgin Marbles, were obtained in 1816, and seven y= ears later the library of George III. became public property. The enlargement = of the building was then inevitable, and the Museum, as we know it to‑= day, was designed by Sir Robert Smirke. In 1857 Mr. Sidney Smirke built the Reading‑room, t= he plan of which was suggested by Sir Anthony Panizzi. Important additions have been made every year to the British Museum, which, besides a vast library, includes a collection of artistic objects = from all countries, and belonging to all ages; nor must the admirable departme= nt of prints and drawings be forgotten. Between the years 1880 and 1883, the Natural History Collections were removed from Bloo= msbury, and placed in a separate building in Cromwell Road, now known as the N= atural History Museum.(1891a1)

--- $H Museum, South Kensington.

The South Kensington<= /st1:PlaceName> Museum was one of= the results of the Exhibition of 1851. It was intended primarily to include examples of art applied to industry, as well as a collection of such work= s as should have an interest and value for art students. But it has gone far beyond these limits, and is, in addition, the refuge of many miscellaneous objects, such as the Dynce and Forster collec= tions of books, drawings, &c., and a large number of pictures, the majority= of which belong to the Bri= tish School. The major= ity of the pictures acquired under the terms of the Chantre= y Bequest find a home at South Kensington.(1891a1)

$H Music. Egypt

No system of notation has come down to us. But there are many evidences that music was much thought of. According to Plato the rules about music were = most rigid, only certain kinds being allowed by government. Strabo confirms this, saying that "the children of the Egyptians were taught letters, the songs appointed by law, and a certain kind of music establis= hed by government, to the exclusion of every other." Diodorus does not agree with this, but admits that the Greek poets and musicians visited Egypt in order to improve their art. The origin of music was ascribed to divini= ty, sometimes to Isis, but more particular= ly to Thoth (q.v.= ). Primitive music consists chiefly of instruments of percussion, followed, = as culture progresses, by reeds and flutes. But in quite early times the Egyptians used stringed instruments of different kinds. In Theban tombs g= reat harps six feet high with many strings are depicted, which indicates an advanced knowledge of intervals. A well-known picture represents a comic procession of a donkey, a lion, a crocodile, and an ape, playing a harp, = two other stringed instruments, and the double pipes.(1902b1)

$H Musical Instruments. Egypt

Our knowledge of these is derived from the pictures on the monuments, and var= ious specimens which have been found. Of Instruments of Percussion there were two or three kinds of drums, cymbals, a form= of castanets, the tambourine, and the sistrum (q.v.). The commonest form of DRU= M is a long narrow cylinder of wood or copper, with parchment at both ends, and covered with bracing cords. It was slung over the shoulders and carried on the back while marching. It figures chiefly in military scenes. A drum similar to the modern darabooka is very occasionally represented on the tomb walls. It resembles a funnel-shaped vase of pottery with parchment strained over the wide mouth. The CYMBALS were similar to modern ones, only smaller. They were made of brass or a mixture of brass and sil= ver. The CASTANETS were in the form of slightly curved sticks of wood or ivory about a foot long, terminating in a human head. The pictures of TAMBOURIN= ES on the tomb walls do not indicate the metal rings which we associate with= the instrument. But from the way in which the performer is seen to hold it up= we may conclude that the Egyptian tambourine was provided with them.

Of Wind Instruments on= ly wooden ones have been preserved; but pictures on the monuments show troops accompanied by men with TRUMPETS. The instrument represented is a simple = one about 1 1/2 ft. long, made apparently of brass. The FLUTE was of various kinds. Sometimes it was of extraordinary length - between 4 and 5 ft. The specimens found vary from 7 to 15 ins. in length. They were made of reeds chiefly, and had three, four, and sometimes five holes. Flutes were also = made of wood, of ivory, of horn, and bone. The DOUBLE PIPE is more frequently depicted on the monuments than the flute, oftenest played by women, and sometimes while the performer dances. It was made of the same materials as the flute.

The Stringed Instruments represented on the monuments are of several kinds. Besides the HARP (q.v.) there were lyres, guitars = or lutes, and others of which we do not know the names. The lyre is of vario= us forms, and is decorated in many ways. It had from five to eighteen string= s, which were sounded by the hand or with a plectrum; and sometimes the chor= ds were touched with the left hand while the right hand played with a plectr= um. The instrument was held in various ways, occasionally under the arm. The GUITAR, or lute, is perhaps the instrument most frequently met with. It w= as played chiefly by women. The oval body is of wood, or of wood covered with leather perforated with several holes. With its long neck it must have measured about 4 ft. The three strings were fastened to the body by a triangular piece of wood or bone, and kept from contact with the neck at = the other cnd by a small cross bar.(1902b1)

$H Musicians. Egypt

There must have been two kinds of music, and their exponents belonged to very different grades in society. The higher kind, which was probably very stereotyped, was taught and performed by the priests, and was more or less religious, while the popular music which the people loved to have at their feasts was provided by paid entertainers who were usually accompanied by dancers, if indeed they did not dance themselves. That the Pharaoh enjoyed singing and musical entertainments is evident from the fact that there wa= s a functionary who bore the title "Superintendent of song and of the recreation of the king"; but the king never seems to have done parti= cular honour to any performers, nor do we hear of any musician of high rank. Th= ere were both men and women performers. (See MUSIC and MUSICAL INSTRUMENTS.)(1902b1)

$H Mu-si= g-sar.

The governor of Kirru= ri, in the reign of Samsi-Vul IV., and eponym of = the year B.C. 814, the chief event in which was an expedition to Ahsana. (1876c1)

$H Musivum.

Muvisum (opus), R. (= :@= LF= ,Ã= @<[=3Dmouseion]). This term was used by the Romans to denote a mosaic of small cubes of coloured glass or enamel, in contradistinction to LITHOSTROTUM (q.v.), wh= ich was a pavement made of real stones and marbles of different colours; but = in a more extended sense, the term Musivum denotes= any kind of mosaic. Figs. 474 and 475 show examples of various kinds. Fig. 47= 6 is a mosaic forming a border. Fig. 474. Opus musivum. Fig. 475. Opus musivum. Fig. 476. Opus musivum ‑ bordering.(1883m1)

&nbs= p; &nbs= p; =

$H Muski= .

A Hittite tribe, which overran Assyria during the weak state of the empire under= Bel-kudur-uzur and Assur-dan. They were defeated, and their king Kiliteru s= lain, by Tiglath Pileser I. (1876c1)

$H Muslin.

Muslin, originally e= steemed for the beauty with which gold was woven in its warp, took its name from = the city of Mousull in Turkey in Asia.(1883m1)

$H Muson= . Egypt

A chief town in the C= ynopolite nome of the Heptanomos. (1876c1)

$H Musquet.

A long heavy match&#= 8209;lock gun, introduced from Spain in the Dutch wars of the 16th century, which eventually displaced the harquebus. (See SNAPHAUNCE and WHEEL‑LOCK.)(1883m1)

$H Musquet‑rest.

A staff with a forke= d head required to support the musquet. It was trail= ed by a string from the wrist.(1883m1)

$H Mustarde Villars.

O.E. Either (1) a ki= nd of cloth, probably so named from Moustier de Villiers, near Harfleur= ; or else (2) (as Stowe says) "a colour, now = out of use." Mustard was a favourite colour for li= veries and official dresses in the 15th century.(1883m1)

$H Musta= rilu. Chaldaea

In Chaldean astronomy a name of the planet Jupiter. (1876c1)

$H Mustelil. "The Brilliant." Chaldaea

In Chaldean astronomy the name of the planet Venus. (1876c1)

$H Musuri.

A king of Moab. He was rendered tribu= tary to Assyria by Esa= rhaddon. (1876c1)

$H Mut. (See Vulture) (1883m1)

Mut. A goddess, the second of the Theban triad, where she is the wife of Amen-Ra and the mother of Khensu. Her name signifies "the mother," = the vulture which stands for it also meaning "mother." She is called "mistress of the gods, lady of heaven, eye of Ra." Amen-hetep III. built a temple to her in Asher, the chief centre of her worship, which is a little south of = Karnak. She is represented as a woman wearing the vulture cap and the double crown. Sometimes she is figured wi= th a lioness' head. ILLUS. Mut.(1902b1)

Maut. Or= Mut. A chief Egyptian goddess, the wife of Amen Ra, and the second member of the great Theban triad. She was considered as the mother goddess par excellence, or the great rec= eptive female principle; and she was generally represented as seated upon a thro= ne, wearing either the Pschent, or sacred double crown, or else the body and plumes of a vulture as her headdress. She was dressed in a long robe, oft= en richly ornamented, and she held in her right hand the usual Crux-ansata, = and in her left the papyrus staff of the goddesses. Her chief titles were, "The Mother," "The Lady of Heaven," and "The Reg= ent of all the Gods." The vulture was both her symbol and her sacred ani= mal. Her analogues were in some of her attributes the Hera and Kybele and Thermuthis of the Greeks, and possibly the Bonadea of the Romans. (1876c1= )

$H Mutag= gil....

The Rabsaki of= Vul-nirari III., and eponym of the year B.C. 799, t= he chief event in which was an expedition to Lulimu. (1876c1)

$H Mutag= gil-assur. "Trusting in Assur."

The governor of Gozan= , in the reign of Sargon II. He was eponym of the year B.C. 706. (1876c1)

$H Mutag= gil-nebo. "Trusting in Nebo."

An early king of As= syria. He was the son of Assurdan I., and rebuilt the royal palace of Nineveh= . Nothing else is known respecting him. (1876c1)

$H Mutag= gil-nusku. See Mutaggil-nebo. (1876c1)

$H Mutallu.

The son of Tarhulara<= /span>, king of Gaugama. He murdered his father, who = was a faithful ally of the Assyrians, and then ascended the throne, and began a revolt against Sargon II. The king of Assyria soon, however, invaded Gaugama, and conquerin= g Mutallu, sent him and his family into captivity, and placed an Assyrian governor over the capital city Ma= rqasi. (1876c1)

$H Mutariz-assur.

The Rabsaki of= Samsi-Vul III., who invaded and conquered for his m= aster the whole of the districts of Nahiri and 500 = towns in the neighbourhood of Lake Van, bringing back with him much spoil, tribute, and many chariot horses. (1876c1)

$H Mutatio.

R. Literally, change. The Romans gave the name= of mutationes to the posthouses for relays of horses establish= ed along the high roads for the service of the state.(1883m1)

$H Mutch.

O.E. An old woman's = close cap. (Fairho= lt.)(1883m1)

$H Mute.

Fr. This term, deriv= ed from the Latin mu= ta, is employed by ancient authors as synonym for belfry, turret, o= r bell‑tower.(1883m1)

$H Mut-em-ua. Egypt

Co-heiress, with her sister Khut, of Amen-hetep II., wife of Thothmes IV. and mother of Amen-= hetep III. She is represented standing to the left = of the king her son in the Colossi at Thebes, a= nd on the walls of the temple= of Luxor.(1902b1)

$H Mut-h= at-ankhes. Egypt

The second wife of Os= orkon II. of the XXIInd dynasty. (1876c1)

$H Muthon I. and II. Tyre

Kings of Tyre,= of whom nothing except their names is known. Muthon is another form of the Tyrian royal name Mathan. (1876c1)

$H Muthon III.(?) Tyre

The son of Abdelim. Together with his brother Gerashtoreth, he was elected co-king or suffete of Tyre, upo= n the death or deposition of Habbar, the high-pries= t of Melkarth. He and his brother reigned for six years,= after which a sole royalty was established by Baalator. (1876c1)

$H Muthon IV. Tyre

The son and successor of Hiram III., king = of Tyre. He was reigning about the time of the expedition of Xerxes against Greece. (1876c1)

$H Muthum. Egypt

A chief town of the A= ntaeopolite name in the Thebaid of Upper Egypt. (1876c1)<= o:p>

$H Mut-iritis.

Mut-iritis. = Or Maut-iritis. A daughter of Pianki, an obscure king of the XXIVth dynasty. (1876c1)

$H Mut-snat-em. Egypt

A lady of royal birth at the close of the = XVIIIth dynasty, who married H= orus Haremhebi, and ruled both in consort with him= and also in her personal right. She is supposed to have survived her husband.= Her birth and pedigree are at present unknown. (1876c1)

$H Mutule.

(Arch.) A kind of mo= dillion, of considerable size, peculiar to the Doric order. It is sometimes quite plain and sometimes covered with rows of guttae (q.v.). ILLUS. mutule(1891a1)

Arch. In a general s= ense, any stone or wooden projection which stands out beyond the surface of a w= all, such as a rafter, for instance. In a more restricted sense, it denotes an architectural ornament characteristic of the Doric order, consisting of a square block placed at equal intervals above the tri= glyphs and metopes in a Doric cornice. In the Corint= hian order mutule= s are replaced by modillions.(1883m1)

$H Muza<= /span>.

A great sea-port of ancient Arabia whence Indian goods were imported to Syria and Egypt. It is now called Maushid. (1876c1)=

$H Muzaz= ina.

A chief of the city of Bunasi in the land of Nizir or Armenia. He was conquered by Assurnazirpal. (1876c1)

$H Muzaz= ir.

A district to the South of Armenia, conque= red, together with fifty of its chief towns, by Shalmanes= er II. (1876c1)

The great sacred city of Ararat, containing the temples of the national deities Haldi= and Bagmasti, which were plundered and burnt = by Sargon II., king of Assyria. On hearin= g the news of that calamity the brave king Urza of Armenia lost hope, and committed suicide. (1876c1)

$H Muzri. Egypt

An Egyptian colony settled in the valley of the Euphrates. They were defeated and subdued by Shalmaneser I., king of Assyria. (1876c1)

$H Muzur.

The Semitic name of the land of Egypt, called by the Accadians = Maganki. (1876c1)

A district to the extreme North of Assyria, now called Jebel Maklub<= /span>. It was conquered by Tiglath Pileser I. (1876c1)

$H Muzzle. Architecture

(Arch.) An architectural decor= ation representing the muzzle of an animal, whether real or fabulous. The muzzl= es of lions are frequently employed in the decoration of fountains or gutter= s, jets of water issuing from the openings thus formed. ILLUS. muzzle(1891a1)

$H Myas-= hormos. Egypt

An Egyptian port on the Troglodytic coast = of the Red Sea. (1876c1)

$H Mycephoris. Egypt

According to Herodotus a nome in Egypt held by the Calasirian class of warriors. (1876c1)

$H Mycer= inus. Egypt

The Greek form of the royal name Men-ker-a, which se= e. (1876c1)

$H Mygale. Egypt

The shrew mouse which was sacred to the goddess Sekh= et, and was worshipped at the city of Bubastis.(1876c1)

$H Mynchery.

A.S. A nunnery. The = word survives in local dialects, and is applied to the ruins; e.g. of the anci= ent mynchery at Littlemore, near Oxford.(1883m1)<= /p>

$H Myology.

That branch of anato= my which includes the study of muscles. The living model does not always give the artist sufficient guidance. As the model gets tired the muscles relax, and after a while no longer display the tension which they should have in act= ion. The artist must then fall back on his knowledge of anatomy, and by this m= eans imagine what his model can no longer represent to him.(1891a1)=

$H Myrtle Crown.

Myrtle Crown for blo= odless victors. The myrtle was sacre= d to Venus. It flourished on the sea‑coast of Italy and Greece. The wood is very hard, and is used for furniture, ma= rquetry, and turning. Another myrtle wood from Van Diemen's Land is beautifully veined for cabinet work.(1883m1)

$H Myrrhina (See Murrhina<= /span>)

$H Myth.

Gen. (:Ø2@H[=3Dmuthos], lit. t= hat which is spoken). The name given to obscure traditions handed down from remote antiquity, antecedent to written or precise history; opposed to legendary record (which can be read).

$H Mythology.

The greater number of subjects affected by ancient sculptors and painters were suggested by the= ir mythology, i.e., by the fabul= ous history of their gods, goddesses, and heroes. An account of the chief amo= ng these deities, with the attributes by which they may be recognised, will be found under separate headings. Mediaeval and modern artists too h= ave often sought their inspiration in classical mythology, especially in times like the present, when there has been a sort of classical revival.(1891a1= )

--- $H Mythology. Egypt

See RELIGION.(1902b1)