George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

. (page 168 of 194)
Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 168 of 194)
Font size
QR-code for this ebook


a certain section of the Berlin public tried to
establish her claim as leading singer as against
Pauline Lucca, the then reigning favourite.
Endless quarrels ensued on their account, which
culminated at a performance of the ' Nozze,' Jan.
27, 1872, where they were both playing. On
Lucca's entiy as Cherubino she was hissed — in
consequence of which she broke her contract in
the following autumn and left for America. It
is rumoured that Mme. Mallinger having lost
her voice has become a ' dramatic ' actress, and
will appear shortly at the Konigstadter Theatre,
Berlin. [A.C.]

MALTEN, Therese, bom at Insterburg,
Eastern Prussia, was taught singing by Gustav



MALTEN".

Ingel of Berlin. She made her d^ut as PamJna
ad Agatha at Dresden in 1873, where she ha3
een engaged ever since. Her parts also include
jrmida, Iphigenia, Fidelio, Jessonda, Genoveva,
.eonora ('Trovatore'), Margaret; the heroines of
k'^agner ; the Queen of Sheba in Goldmark's
pera of that name ; the Princess Marie in
Iretschmer's ' Folkunger' on its production in
874; Fulvia on the production of Hofmann's
Anninius ' in 1877, etc. On leave of absence
18 has played in London, Berlin, Vienna, etc.
a August 1S82 she appeared at Bayreuth as
lundry, at the instance of Wagner, who had a
ery high opinion of her ability, again in 1884,
nd at Munich, where she played the same part
I private before the late King, from whom she
jceived the gold medal of Arts and Science.

She made a great impression on her debut at
irury Lane under Richter as Fidelio, May 24,
8S2, and during the season as Elsa, May 27 ;
lizabeth, June 3, and Eva, June 7. She re-
ppeared in England at the Albert Hall on the
ruduction of * Parsifal,' Nov. 10 and 15, 1884.

She possesses a voice of extraordinary com-
as.?, with deep and powerful rotes in the lower
rgister. She is an admirable actress, being
specially successful in Wagner's operas. She
as appointed chamber singer to the King of
axony in 1880, and was also chosen by Wagner
3 play Isolde at Bayreuth in 1883, though the
erformance did not take place owing to the
eath of the composer. [A.C.]

MANCINELLI, Luigi, bom at Orvieto,
'eb. 5, 1848. He was six years old when he
egan to study the piano under the direction
f his father, a distinguished amateur. At the
ge of 12 he went to Florence to be a pupil of
'rofessor Sbolci, one of the most talented Italian
ioloncellists. The boy showed great aptitude
>r the cello, and his progress was very rapid.
Vhile studying with Sbolci, he had a short
I'.irse on harmony and counterpoint from Ma-
ellini. These were the only lessons he ever had ;
e has acquired his knowledge of composition
om the study of the works of the great masters
ithout any guide.

Mancinelli's professional career began in Flo-
snce, where he was for a time one of the first
ello players in the orchestra of La Pergola,
le was engaged in the same capacity at the
i.pollo in Rome in 1874, when this theatre, by
nexpected circumstances, was left without a
onductor. The impresario Jacovacci, a popular
nd energetic manager, in order not to stop the
erformances, thought of trying the ability of
is first cello player, of whom he ha<l heard
:ivourable reports; and so Mancinelli was sud-
eidy raised from the ranks to appear as a con-
uctor. ' Aida ' was the first opera conducted
V him, and, as everything went off satisfac-
Tily, from that performance there was a new
^Juducto^ in Italy.

Thanks to his first successful attempt, in the

Dllowing year Mancinelli was engaged to be the

nusical director at Jesi during the fetes of

jpontini's centenary. On this occasion he re-

VOL. IV. FT. 6.



MANERIA.



709



vived the opera ' La Vestale,' and the admirable
execution of this grand wo^k reflected on the
conductor, who was re-engaged for the direction
of the orchestra of the Apollo. In 1876 Manci-
nelli had his first success as a composer with his
' Intermezzi ' to 'Messalina,' a drama by Pietro
Cossa. The following year he wrote ' Inter-
mezzi ' to the ' Cleopatra ' of the same author.

Mancinelli left Rome in 1881 for Bologna,
where he was engaged to be the Principal of the
Liceo Musicale, and at the same time the con-
ductor of the Teatro Comunale, and the Maestro
di Cappella of San Petronio, the old basilica of the
famous university town. During his stay there
he composed two Masses and many other sacred
pieces, introduced several improvements in the
Liceo, organized a symphony and quartet so-
ciety, and was the first to acquaint the Bolog-
nese with vocal and instrumental music by
foreign composers. In 1884 he gave the first
performance of his opera ' Isora di Provenza,'
which was received with great applause.

After five years he left Bologna, attracted
perhaps to other countries by the prospect of
pecuniary improvement in his position. During
the season of 18S6 he visited London, and gave
a concert, in which he conducted classical works
and some of his own compositions. The suc-
cess of this concert brought hiin an invitation
to write an oratorio for the next Norwich Festi-
val, and the engagement to conduct the Italian
Opera during the Jubilee season at Drury Lane.
His powers as a conductor received full recog-
nition ; and his oratorio 'Isaias,' executed at
Norwich in October, 1887, was unanimously
praised. He was re-engaged by Mr. Augustus
Harris as conductor for the season of 1S88 at
Covent Garden.

For the last two years Mancinelli has held the
place of miusical director and conductor at the
Theati-e Royal of Madrid. He is now at work
on a Requiem Mass which will very probably be
performed in London, and he has already been
asked to compose a second oratorio. [F.Rz.]

MANDOLINE. P. 206, add the Sonatine,
also an Adagio in Eb for the Mandoline and
Cembalo are given in the supplemental volume
for Beethoven's works (B. & H. 1887).

MANERIA. A term, applied, in the early
middle ages, to certain systematic arrangements
of the Scale, analogous to the Mixed Modes of
a somewhat later period. The roots of the
several systems comprised in the series corre-
sponded with the Finals of the Modes; each
system comprehending one Authentic, and one
Plagal Mode: consequently, the number of the
Maneria was only half that of the Modes them-
selves. Thej' were named and numbered in a
barbarous mixture of Greek and Latin, thus : —
Modes I and II were called Authentus et
Plaga, Proti ; III and IV, Authentus et Plaga,
Deuteri; Vand VI, Autlientus et Plaga, Triti ;
and VII and VIII, Authentus et Plaga, Te-
tarti : i. e. the Authentic and Plagal, of the
First, Second, Third, and Fourth Maneria.
When the number of Modes was increased, the

3A



710



MANERIA.



pedantic faction affected to regard the Maneria of
A and C as duplicates of the First and Second, at
a different pitch ; and hence originated the confu-
sion mentioned in Dodecachordon. Afterwards,
the necessary existence of six Maneria for the
Twelve Modes was freely acknowledged. [W.S.R.]
MANNS, August. Add that at the Handel
Festival of 18S3 he undertook the duties of con-
ductor at very short notice, in place of Sir
Michael Costa, who had just been taken ill.
Tlie Festivals of 1885 and 1SS8 were also con-
ducted by Mr. Manns.

MARA. P. 210 a, 1. 10, for 1766 read 1786.
MARBECK. See Merbecke.
MARC HAND, Marguerite. See Danzi.
MARCHISIO, The Sisters, both bom at
Turin — Barbara Dec. 12, 1S34, Carlotta Dec. 6,
1S36— were taught singing there by Liiigi Fab-
brica, and both made their dt^buts as Adal-
gisa, the elder (who afterwards became a
contralto) at Vienna in 1S56, the younger at
]Maflrid. They played at Turin in 1857-58, and
made great success there as Arsace and Semi-
ramide ; also on a tour through Italy, and at the
Paris Opera on the production of ' Semiramis '
July 9, i860. They first appeared in England
with great success at Mr. Land's concerts, St.
James's Hall, Jan. 2 and 4, 1862, in duets of
Pvossini and Gabussi, and made a concert tour
through the provinces with Mr. Willert Beale.
They°also made a success in ' Semiramide ' at
Her Majesty's, May i, 1S60, on account of their
exsellent duet singing, though separately their
voices were coarse and harsh, their appearance
insignificant, and they were indifferent actresses.
Carlotta played the same season Isabella in
' Robert,' June 14, and Donna Anna July 9. They
sang also at the Crystal Palace, twice at the
New Philharmonic, at the Monday Popular, etc,
Tliey sang together for some time abroad. Car-
lotta married a Viennese singer, Eugen Kuh
(1835-75), ^^^1° ^^"S '^^i'-h her in concerts, and
at iier "Majesty's in 1862 under the name of
Coselli, and who afterwards became a pianoforte
manufacturer at Venice. She died at Turin
June 28, 1872. Barbara, we believe, retired from
public life on her man-iage. [A.C.]

MARIANI, Angelo, born at Ravenna, Oct.
II, 1822, began to study the violin when quite
young, under Pietro Casolini ; later on he had
instruction in harmony and composition from
a monk named Levrini, of Rimini, who was a
celebrated contrapuntist. He was still in his
teens when he left home to see the world, and for
a certain time he continued to appear as a soloist
in concerts and as a first violin player in orclies-
tras. It was in 1844, at Messina, that he as-
sumed the baton, — which after all wa3 only the
bow of his violin, for at that time the conductor
of an Italian orchestra was named Primo Yiolino,
(Urettore dell' orchestra.

After several engagements in different theatres
in Italy, Mariani was appointed, in 1847, con-
ductor of the Court Theatre at Copenhagen.



MARIANI.

While there he wrote a Requiem Mass for the
funeral of Christian VIII. At the beginning of
1848 he left Denmark and went to Italy to fight
in the ranks of the volunteers for the freedom of
his country. At the end of the war he was
called to Constantinople, where his ability won
him the admiration of the Sultan, who made
him many valuable presents ; and Mariani, as a
mark of gratitude, composed a hymn which he
dedicated to him. In Constantinople also he
wrote two grand cantatas, ' La Fidanzata del
guerriero ' and ' Gli Esuli,' both works reflect-
ing the aspiratit)n3 and attempts of the Italiat,
movement. He returned to Italy in 1852, land-
ing at Genoa, where he was at once invited tc
be'' the conductor of the Carlo Felice. In b
short time he reorganized that orchestra so as
to make it the first in Italy. His fame sooi
filled the country and spread abroad ; he hat
offers of enfragements from London, St. Peters
burg and Paris, but he would never accep
them ; he had fixed his headquarters in Genoa
and only absented himself for short periods at ;
time, to conduct at Bologna, at Venice, am
other important Italian towns. Mariani exer
cised an extraordinary personal fascination 0.
all those who were under his direction. _ He wa
esteemed and loved by all who knew him. Fc
him, no matter the name of the composer, th
music he conducted at the moment was alwaj
the most beautiful, and he threw himself mt
it with all his soul. Great masters as well a
young composers were happy to receive h
advice, and he gave it in the interest of art an
fur the improvement of the work. At rehearsj
nothing escaped him in the orchestra or
the stage.

In 1864 Mariani was the director of the gran
fetes celebrated at Pesaro in honour of Rossin
and was himself greeted enthusiastically t
the public, which was in great part composj
of the most eminent musicians of the worl
Throughout Italy are still heard the praises
the interpretation given by him to the maste
pieces of the Italian and foreign schools. II
writer has often heard celebrated singers s:
that music which they had sung under oth
directors showed new beauties when conduct
by Mariani. On Nov. i, 1871, he introduce
' Lohengrin ' at the Comunale of Bologna, an
thanks "to his efforts, the opera was such
success that it was performed through the seas
several times a week— and he had only m
orchestral rehearsah for it ! On this occasi
Richard Wagner sent him a large photograph
himself, under which he wrote Evviva Manan
A cruel illness terminated the life of tl
great musician on Oct. 13, 1873, at Genoa, t
town which he loved so much, and which h
seen the first dawn of his world-wide celebn
The day of Mariani's funeral was a day
mourning for the whole of Genoa. His bo
was transported to Ravenna at the request
the latter city. The Genoese municipahty '
dered a bust of him to be placed in the vestib
of the Carlo FeUce ; aU the letters written j



MARIAlfL

1 by the leading composers and literary men
the day to be preserved in the town library;

portrait sent by Wa2;ner hung in one of the
ms of the Palazzo Civico ; and his last baton
ced by the side of Paganini's violin in the
ic museum.

Besides the works already named, and other
hestral pieces, he published several collections
!ongs, all of which are charmingly melodious :
Eimembranze del Bosforo,' ' II Trovatore
la Liguria,' ' Liete e tristi rimembranze,' 'Otto
zi vocali,' ' Nuovo Album vocale.'
ilai'iani was the prince of Italian conductors ;

of Italy he might have found his equal, but

his superior. [F.Rz.]

lAEIMOiSr, Maeie, bom in 1839 at Lifege,
! taught singing by Duprez, and made her
ut at the Lyrique as Helene on the pro-
tion of Semet's ' Demoiselle d'Honneur,' Dec.

1857 ; as Zora in 'La Perle du Bresil,' and
ima in 'Abu Hassan/ May 11, 1859. She
t played at the Op^ra Comique Maima in
jnbach's unsuccessful ' Barkouf,' Dec. ■24,

; Zerline in ' La Sirfene ' with Roger, Nov,
:86i, and GLralda in 1862. She returned to

Lyrique, and afterwards played at Brussels.
her return to Paris in 1 869 she made a very
it success at the Athenee in French versions
Ricci's ' FoUia a Roma ' and ' Crispino,' and
•di's ' Masnadieri,' Feb. 3, 1870. She played,
Drury Lane in Italian in 1871-72, and at
ent Garden in the autumn of the first year,
ina, wherein she made her debut May 4,
I, Maria (' La Figlia '), Rosina, Norina, and
irifiammante. She made at first a great
3es3 solely on account of her beautiful rich
ad voice, her brilliant execution and cer-
ty of intonation. She did not maintain the
es excited at her debut, since it was dis-
3red that she was a very meclianical actress

totally devoid of charm. The only part she
ly played well was Maria. Nevertheless she
ime a very useful singer at Covent Gar-

1874-77 ^^ ^^ t^^ above parts, Donna
ira, Margaret of Valois, etc. ; at Her Majes-
in 1878 and 1880, in IDinorah, etc.; at the
euni in 1881. She sang with success in the
;lish provinces, Holland, Russia, America,

elsewhere. She reappeared in Paris at the
ique as Giralda, Oct. 21, 1876 ; as Suzanne
rautier's unsuccessful ' La Cle d'Or,' Sept. 14,
7, and Martha, and at the Italian Opera in
last part Jan. 3, 1884. [A.C.]

lARIO. Line i,for Conte read Cavaliere.
B 3, /or Genoa read Cagliari. Add date of
;h, Dec. ji, 1883.

[ARPURG, F. "W. Add day of birth, Oct.
Line 19 from end of article, for 1744-62

1 1754-78.

[ARSCHNER, H. Correct date of birth to
■;. P. 219a, 1. 12, add date of production
Heinrich IV.' in Dresden, July 19, 1820.
e 13, add that in 1824 he was appointed
sikdirector. Line 23, for March 29 read
rch 28. Line 37 add date of production of



MARTIN Y SOLAK



711



'Templer und Jiidin,' Dec. 1829. P. 219 i, 1. 1,
add date of production of 'Der Holzdieb,' 1825
at Dresden,

MARSEILLAISE, LA. Page 219 5, last
stave of musical example, the quaver in the
second bar should be C, not B. Second line of
musical example on next page, the last note
should be a quaver, not a crotchet. In sentence
at end of article, add that another instance of
Schumann's use of the tune, though in a dis-
guised form, occurs in the ' Faschingsschwank
aus Wien.'

MARSHALL, William, Mus. D. Line 6 of
article, /or 1823 read 1825.

MARTIN, George Clement, bom Sept. i r,
1844, at Lambourne, Berks, received instruc-
tion in organ-playing from Mr. J. Pearson and
Dr. Stainer, also in composition from the latter
during the time he was organist there at the parish
church. He was appointed private organist to
the Duke of Buccleuch, at Dalkeith, in 1871;
Master of the Charities, St. Paul's Cathedral, in
1874, deputy organist at the same on the death
of Mr. George Cooper in 1876, and organist on
the resignation of Dr. Stainer in 1888. He re-
ceived the degrees of Mus. Bac, Oxon, in 1869,
Fellow of the College of Organists in 1875, and
Mus. Doc. (degree conferred by the Archbishop of
Canterbury) in 1883, and was appointed the same
year teacher of the organ at the Royal College of
Music, which post he has since resigned. His
compositions include Morning and Evening Com-
munion and Evening Service in C for voices and
orchestra ; Magnificat and Nunc Dimittis in A,
for the same; the same in Bb for voices, organ,
and military band ; the same in G for voices and
orchestra ; 7 anthems ; also a variety of com-
positions for parochial use ; songs, part songs,
etc, [A.C.]

MARTIN, G. W. Correct date of birth to
1828, and add that he died in great poverty,
April 16, 1881, at Bolingbroke House Hospital,
Wandsworth. [W.H.H.]

MARTIN Y SOLAR, Vicente, born at
Valencia in 1754 (whence he was known in
Italy as 'Lo Spagnuolo'), was a choir-boy in
the cathedral of his native town, and afterwards
organist at Alicante. On the advice of an
Italian singer, named Giuglietti, he went to Flo-
rence, where he was commissioned to write an
opera for the next Carnival. His ' Iphigenia in
Aulide' was accordingly brought out in 1781.
Soon after this he produced a new opera,
'Astartea,' in Lucca, as well as a ballet, 'La
Regina di Golconda.' In 1783 'La Donna fes-
teggiata ' and 'L'accortacameriera' were brought
out at Turin, and in the following year 'Iperm-
nestra' at Rome. In 17S5 he went to Vienna,
where he became acquainted with Da Ponte,
who wrote for him the libretto of ' II burbero di
buon cuore,' produced Jan. 4, 1786. Here as else-
where he speedily became the fashion, his operas,
* La capricciosa corretta,' ' L'arbore di Diana,' and
' La cosa rara ' following one another in quick suc-
cession. This last work, produced Nov. 1 1, 1786,

3 A 2



712



MARTIN Y SOLAR.



for a time thrsw ' Figaro' (produced six months
before) into the shade. [See vol. ii. p. 391 a.
Mozart's opinion of his rival's powers is given on
p. 396 of the same volume.] In the autumn of
the following year 'Don Juan' appeared, and
Martin unwittingly obtained immortality at
tlie hands of his rival, since a theme from ' La
Cosa rara ' makes its appearance in the second
finale of Mozart's masterpiece. (See also Kochel's
Catalogue, 582, 583.) In 1788 Martin was ap-
pointed director of the Italian Opera at St.
Petersburg, where he brought out ' Gli sposi in
contrasto,' and a cantata 'II sogno.' In 1801
the fashion for Italian opera passed away for a
time, and a French opera took its place. Mar-
tin, thus deprived of his post, employed the rest
of his life in teaching. He died in May
1810.1 [M.]

MARTINI IL TEDESCO ('the Gei-man'),
the name by which tlie musicians of his time knew
JoHANN Padl Aegidius Schwartzendorf, born
Sept. I, i74i,atFreistadt,intheUpperPalatinate,
who was organist of the Jesuit seminary at Neu-
stadt, on the Danube, when he was 10 years old.
From 1758 he studied at Freiburg, and played the
organ at the Franciscan convent there. When
he returned to his native place, he found a step-
mother installed at home, and set forth to seek
his fortune in France, notwithstanding his com-
plete ignorance of the language. At Nancy he
was befriended, when in a penniless condition,
by the organ-builder Dupont, on whose advice
he adopted the name by which he is known.
From 1761 to 1764 he was in the household of
King Stanislaus, who was then living at Nancy.
After his patron's death Martini went to Paris,
and immediately obtained a certain amount of
fame by successfully competing for a prize
offered for the best march for the Swiss Guard.
At this time he wrote much military music, as
well as symphonies and other instrumental
works. In 1771 his first opera, ' L'amoureu.x de
quinze ans,' was performed with very great
success, and after holding various appoint-
ments as musical director to noblemen, he was
appointed conductor at the Theatre Feydeau,
when that establisliment was opened under the
name of The'atre de Monsieur for the perform-
ance of light French and Italian operas. Having
lost all his emoluments by the decree of Aug. 10,
1792, he went to live at Lyons, where he pub-
lished his ' Melopfe moderne,' a treatise on
singing. In 1 794 he returned to Paris for the
production of his opera 'Sappho,' and in 1798
was made inspector of the Conservatoire. From
this post he was ejected in 1S02, by the agency,
as he suspected, of Mehul and Catel. At the
restoration of 18 14 he received the appointment
of superintendent of the Court music, and wrote
a Requiem for Louis XVI. which was performed

^ The article In Mendel's Lexicon, from which many of the above
facts are talten. contains several gross mistakes, such as the
Btatement that ' Don Juan' was brought out before 'La cosa rara'
(in wliich case it vrould have been difficult for Mozart to have used
one of the themes from the latter oprra in the former !i, and the
Inclusion among works by him. of the book of canons with piano-
forte accompaniment, published by Birchall in Loudon, aud edited
by Ciauchettini. These are by Padre Martini.



MASON.

at St. Denis, Jan. 21, 1816. Very shortly afl
wards, on Feb. 10 of the same year, he di
Besides the operas mentioned above he wr
' Le fermier cru sourd ' (1722) ; ' Le rendez-w
nocturne' (1773); 'Henri IV.' (1774);
droit du Seigneur' (1783); ' L'amant sylpl
(1795); 'Annette et Lubin ' and 'Zim^i
(1800). In the department of church music ]
wrote several masses, psalms, requiems, etc.
cantata written for the marriage of Napole;
with Marie Louise exists, besides much chamli
music, but Martini's best-known composition 1
probably the charming song 'Plaisii' d'amoui
(Mendel's Lexicon, etc.) [J'l

MARTUCCI, Giuseppe, born Jan. 6, 181
at Capua, was first taught music by his fath
a military bandmaster, and later received :
struction at the Conservatorio, Naples (i8(3
72), in pianoforte playing from Cesi ; in harmc
from Carlo Costa, in counterpoint and coinpc
tion from Paolo Serrao and Lauro Rossi,
became a pianoforte teacher at Naples, but em
after played with great success at concerts
Rome and Milan. He visited London and D
lin in 1875, playing at Arditi's concert in
George's Hall, June 14, and elsewhere,
visited Paris in May, 1878, and introduced th
with great success a quintet for piano and stri
which had gained the prize of the Society
Quartette at Milan earlier in the year, besi
other compositions of his own. Rubinstein,
cording to a contemporary,^ expressed himsel
the highest terms of Martucci, especially a
composer. He was appointed a professor of
piano at the above Conservatorio in 1880, i
director there of the Societk del Quartette, 1
conductor of the orchestral concerts institi)
by the Prince of Ardore, introducing there
the first time in Naples the works of Beel
ven, Mozart, Mendelssohn, Schumann, Berl
Brahms, and Wagner, in addition to work
the old Italian school. He gave similar ore'
tral concerts with great success at the Ti
Exhibition in 1884, was for a short time dire
cf the Societkdel Quartette, Bologna, and beof
director of the Liceo Musicale there in l!
which post he still holds. His compositiont
elude an oratorio, orchestral works, two <
eertos (one of which he has played at Na|
Rome, Bologna, and Milan, 18S7), quintets
piano and strings, sonatas and smaller piecei
violin or cello with piano, trios for the 8
instruments, sonatas for organ, a lyric p
for voice and piano, and about 150 v/orki
piano solo, inclusive of sonatas, fugues, oa;
cios, scherzos, tarantellas, barcaroles, airs
variations, 'Moto Perpetuo,' op. 63, etc. [i

MARXSEN, Eduard. Add date of di
Nov. 18, 1SS7.

MASNADIERI, I. Line 3 from end of
cle, for the Huguenots read Die Rauber.

MASON, Rev. W. Correct date of bir
1724, and that of death to April 7, 1794.

SL'Art Musical, May 23, 1S73,



MASQUE.

MASQUE. Line 1 3 of article, for 161^ read
12-13.

MASS. P. 232 a, 1. 12 and 13 from bottom,
'er Tbact add in Appendix, and for Seqcence
xd Seqcentia.

Since the article on Bvrd was written for this
)pendix, the British Museum has acquired a
• of four part-books (Superius, Medius, Tenor,
S8Us)_of the second edition (1610) of Byrd's
adualia. This copy is interleaved with the



Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 168 of 194)