113 



MAROCHETTI, BARON. 



MARRAST, AR1IAND. 



114 



Marmora. He then resigned his office of minister of war, and on the 

 9th of May 1855 lauded at Balaclava with a portion of the troops. The 

 management of the Sardinian army in the Crimea, in the hutting and 

 other accommodations, as well as in matters of discipline, received 

 general approbation; and when the Russians were preparing to cross 

 the Tchernaya, General della Marmora was one of the first to observe 

 their advance, and prepare for their reception. During the battle 

 which ensued, he and his army contributed essentially to the victory 

 of the allies, and proved themselves to be not at all inferior to the 

 French and British troops. 



CARLO, MARCHESE BELLA MARMORA, oldest brother of General della 

 Marmora, was born in 1788, served in the cavalry of the French army 

 in 1812-13, became first aide-de-camp to the present king, Victor- 

 Emmanuel, and died in 1854. 



ALBERTO, CONTE DELLA MARMORA, next eldest brother, born in 

 1789, served also in the French army, became a major-general in the 

 Sardinian army in 1840, and a lieutenant-general in 1848. He has 

 constructed a valuable Atlas of Sardinia, and written in French an 

 account of the island, under the title of ' Voyage en Sardaigne, ou 

 Description Statistique, Physique, et Politique de cette lie,' Svo, 

 second edition enlarged, 1839-40, with Atlas in 4to, Paris and Turin. 



ALESSASDRO, CAVALIERE DELLA MARMORA, another brother, born 

 in 1799, became a major-general in 1848, and in 1849 a lieutenant- 

 general and chief of the general staff of the Sardinian army. He 

 died in 1855, in the Crimea, whither he had gone with the Sardinian 

 troops. 



* MAROCHETTI, BARON, an eminent Sardinian sculptor, was 

 born at Turin in 1809, but after having fairly started on his career as a 

 sculptor, he removed to Paris, where he was residing at the outbreak 

 of the revolution in 1848, and he then repaired to London, where he 

 has since for the most part remained. Baron Marochetti has been 

 singularly fortunate iu commissions for public works. His earliest 

 the equestrian statue of Immanuel Philibert, was erected in Turin ; 

 in Paris he executed for erection in that city an equestrian statue of 

 the Due d'Orluans, and a large bas-relief on the Arc de 1'fitoile, as 

 well as an 'Assumption ' for the high altar of the Madelaine ; while as 

 early as 1844 he wag employed to execute the equestrian statue of tho 

 Duke of Wellington erected by public subscription in Glasgow. His 

 first introduction to the general public of London may however be said 

 to have been made by his colossal model of ' Richard Coour de Lion/ 

 which was erected in the open air west of tho Great Exhibition 

 building, Hyde Park, in 1851. Its striking attitude and vigorous 

 execution attracted very general attention and admiration, and on the 

 close of the exhibition a subscription, headed by her Majesty and 

 Prince Albert, was set on foot for the purpose of having the statue 

 cast in bronze, and erected in some suitable spot in the metropolis as 

 a memorial of the Great Exhibition. In 1854 the model was placed 

 on a pedestal in Palace Yard, in front of Westminster Hall, with a view 

 to the erection of the bronze there, but the unsuitableness of the 

 statue for such a site was so palpable as to cause its speedy removal. 

 Since he came to England Baron Marochetti has found ample patronage. 

 He is the favourite sculptor of the court and aristocracy of England, 

 as he was of that of France. At the exhibitions of the Royal Academy 

 his chief contributions have been a ' Sappho,' 1850 ; ' Bust of Prince 

 Albert,' 1851; a 'Cupid and Greyhound,' 1854 ; and a ' Bust of tho 

 Queen,' in stained marble, 185C; besides several busts of ladies of 

 title. In 1854 an equestrian statue of the Queen from his chisel was 

 erected in Glasgow. The execution of the monument to the English 

 soldiers who were buried at Scutari was entrusted to Baron Marochetti, 

 and the model, erected in the Crystal Palace at Sydenham, was inaugu- 

 rated in the presence of the Queen and a Urge and brilliant assemblage, 

 in May 1856. It consists of a lofty granite obelisk with a winged 

 angel at each of the four corners of the pedestal, and a gilt cross and 

 circle on the top : but the most remarkable things about the monu- 

 ment are its size and its cost (17,5002.). At the same time was 

 exhibited an equally large ' Peace Trophy," as it was called, by Baron 

 Marochetti, the chief feature of which was a gilded and muslin-clad 

 goddess, erected on a huge pedestal, in the attitude of distributing 

 wreaths and crowns. The tawdry and meretricious character of the 

 trophy, and the baldness and poverty of thought exhibited in the 

 monument, were so much beyond all ordinary limits, and so entirely 

 at variance with the preliminary announcements, and the efforts made 

 to give (5cl.it to the works by the splendour of their inauguration, as 

 to excite general disappointment, and to call forth very loud expres- 

 sions of disapprobation. Nor has the disappointment been in any way 

 lessened by the Baron's ' Monument to the Officers of the Coldstream 

 Guards who fell at Inkermann,' erected in St. Paul's cathedral (Septem- 

 ber 1850), which is in no respect worthy of the subject or of tho 

 -culptor's reputation. His latest work is a monument to the Princess 

 KH/abeth, daughter of Charles I., erected (December 1856) in Newport 

 Church, Isle of Wight, by command of the queen. The style of Baron 

 Marochetti belongs to what is termed the romantic, and verges very 

 , on the theatrical. He U happiest in his representations of 

 horse*, which are always true and admirable in form, and full of 

 animation; and the riders lit their horses with case and firmness, 

 portrait busts of ladies he is also regarded as very successful, 

 imputing to them always an air of conventional dignity, to assist 

 which he generally idealises and ' elevates ' the countenance, lli.i 

 B1OO. DtV. VOU TV. 



execution is sometimes of a very superior character, indeed most of 

 his works display great breadth and mastery of handling. 



MARO'T, CLE'MENT, was born at Cahors in 1495. He entered 

 the service of the Duchess of Alencon as page, but afterwards followed 

 Francis I. to Italy, and was wounded and taken prisoner at the battle 

 of Pavia. On his return to Franco he wrote poetry for Diana of 

 Poitiers, the king's mistresa, who showed him favour; but having 

 presumed too much upon his familiarity with her, she discarded him, 

 and he was soon after put in prison, through her agency as some have 

 believed, in 1525. During his imprisonment he wrote his ' Knfer,' a 

 satire against the lawyers, and he revised his ' Roman de la Rose.' 

 When Francis I. returned from his Spanish captivity, Marot was 

 released, and re-appeared at court. Margaret, queen of Navarre, was 

 much pleased with him; but aa usual his vanity made him too pre- 

 sumptuous, and he fell into disgrace. He then turned Calvinist, and 

 went to Geneva; but soon finding himself in an atmosphere little 

 suited to him, ho returned to Lyon, abjured Calvinism, and served 

 again under Francis I. in the Italian campaign of 1535. Some years 

 afterwards he published a French version of part of the Psalms, which 

 was read with pleasure; but the Sorbonne condemned it, and Marot 

 took refuge at Turin, where he died iu poverty in 1544. He wrote 

 epistles in verse, elegies, satires, ballads, rondeaux, and epigrams. His 

 style has the simplicity of his age, united with grace and poetical 

 fancy. He left a natural son, Michel Marot, who was also a poet. The 

 works of both father and sou were published together at Lyon in 4 

 vols. 4to, 1731. 



MARPURG, FRIEDRICH WILHELM, a very eminent writer on 

 the theory of music, was born in 1718 at Sechausen in Prussia. 

 According to M. Fayolle he was a counsellor of war to Frederick II. 

 of Prussia, but his friend Gerber says that he was secretary to one of 

 that king's ministers ; both however agree that he latterly held the 

 office of director of the lotteries at Berlin. Little more is known of 

 his personal history than that early in life he passed a considerable 

 time in Paris which probably led to his adoption of the theory of 

 liameau, though he was by no means a slave to it that his learning 

 was considerable, his industry indefatigable, his morals exemplary, 

 and his manners engaging. In 1793 M. Gerber spent some weeks with 

 him at Berlin ; he then possessed all the vivacity of youth, and his 

 conversation was witty and agreeable. Shortly after this he began 

 to show symptoms of mental as well as bodily decay, and died early 

 in 1795. Marpurg is one of the most estimable didactic writers on 

 music that Germany has produced. " He was perhaps," Dr. Burney 

 remarks, " the first German theorist who could patiently be read by 

 persons of taste, so addicted were former writers to prolixity and 

 pedantry." Among his works are two which claim particular notice 

 his ' Manual of Harmony and Composition ' (' Haudbuch fur dem 

 general-bass,' &<x), and his ' Trait^ de la Fugue et du Contrepoiut.' 

 The first is exceedingly methodical and clear, and may be considered^ 

 a musical Euclid. The second would be the best treatise on fugue and 

 canon that has appeared, were it not lamentably deficient in method and 

 arrangement, and also too much devoted to instrumental music, to the 

 exclusion of that of the vocal kind ; but in a new edition of this, 

 M. Choron has remedied much of the evil of which there was such 

 ample reason to complain. Marpurg was author also of many other 

 works, all of them possessing more or less merit, a full and descriptive 

 listjof which is given in Gerber's ' Lexicon." 



MARRAST, ARMAND, who succeeded Carrel as chief editor of 

 ' Le National,' was born in 1802, in the south of France. After a 

 careful education at the College of Pont-Levoy, he went to Paris in 

 1827, and immediately commenced his career of politics by writing 

 pamphlets against the government. The pungency and playful humour 

 of these light productions drew notice upon the author, and he at once 

 made for himself a distinct position among the young politicians of 

 the day. When he arrived in the French capital, a vivid contest was 

 being waged between the practical school of philosophy, conducted 

 by Laromiguiere, and the eclectic school, presided over by Cousin. 

 Marrast entered the ranks of the former, and month after month 

 amused and excited the public by the light artillery of his pleasant 

 brochures against Cousinisme. 



In 1830 Marrast established the newspaper ' La Tribune.' It became 

 the organ of the ultra-liberal party, and as such organ it was constantly 

 quoted by foreign as well as French journals. It contained very bitter 

 articles against the government of Louis Philippe, and the fines to 

 which it was condemned, together with the law expenses attending its 

 defence, put an end to its publication after a few years. Armand 

 Marrast, on one occasion, was called to the bar of the Chamber of 

 Deputies on account of two articles in ' La Tribune.' On another 

 occasion he was arrested and sent to prison as one of the conspirators 

 concerned in the ' complot d'AvriU" He was soon released, when ho 

 published his celebrated pamphlet, 'Vingt Jours de Secret,' which 

 produced a great sensation, and much increased his popularity. 

 Proceedings wore taken against him by the ministry. Ho sought 

 refuge in England; remained several months in London, remitting 

 every week one or more letters of great ability to ' Le National,' and 

 married an English lady during his sojourn in this country. These 

 letters were the origin of that loug connection with Armand Carrel 

 and ' Lo National,' which afterwards gave to Marrast the influence 

 lie possesee over hia countrymen. He became sub-editor of ' La 



