mode 
tone of the lowest scale to be A, the series of later scales or 
"modes " would be : 
Hypodorian, embodying mode IV. above, A. 
Hypoionian, Hypoiastian, or lower Hypophrygian (mode 
V.), 87. 
Hypophrygian (mode V.), B. 
Hypoicolian, or lower Hypolydian (mode VI.), C. 
Hypolydian (mode VI.), Cj. 
Dorian (mode I.), D. 
Ionian, lastian, or lower Phrygian (mode II. X Efj. 
Phrygian (mode II.), E. 
/Eolian, or lower Lydian (mode III.), F. 
Lydian (mode III.), Fj. 
Hyperdorian, or Mixolydian (mode VII.), G. 
Hyperionian, Hyperiastian, or higher Mixolydian (mode 
VII.), QS. 
Hyperphrygian, or Hypermixolydian (mode VIII.), A. 
Hyperseolian, or lower Hyperlydian (mode IX.), Bfr. 
Hyperlydian (mode IX.), B. 
The fact that the term made has been applied from very 
early times both to the ideal octave-forms, or true modes, 
and to the practical scales or tonalities based upon them 
has led to great confusion. Furthermore, the extant data 
of the subject are fragmentary and obscure, so that author- 
ities differ widely. (The summary here given is taken 
chiefly from Alfred Richter.) The esthetic and moral 
value of the different modes was much discussed by the 
Greeks, and melodies were written in one or other of the 
modes according to the sentiment intended to be expressed. 
(2) The Gregorian, medieval, or ecclesiastical system was 
originally intended partly to follow the ancient system. 
Several of the old modes were retained, but subsequently 
received curiously transposed names. The system was 
initiated by Ambrose, Bishop of Milan, in the latter part of 
the fourth century, perfected by Gregory the Great about 
600, and still further extended between the eleventh and 
sixteenth centuries. It exercised a deep influence upon the 
beginnings of modern music, and is still in use in the Ro- 
man Catholic Church. The ecclesiastical modes differ from 
each other both in the relative position of their "finals " or 
key-notes and in the order of their whole steps and half- 
steps. They are authentic when the final is the lowest 
tone of the ambitus or compass, and plagal when it is the 
fourth tone from the bottom. Four authentic modes were 
established by Ambrose, the four corresponding plagal 
modes were added by Gregory, and six others were sub- 
sequently appended, making fourteen in all. In each 
mode certain tones are regarded as specially important 
the final, on which every melody must end, and which is 
nearly equivalent to the modern key-note ; the dominant, 
or principal reciting-note ; and the mediant and partici- 
pant, on which phrases (other than the first and last) may 
begin and end : these are generically called modulations. 
All the modes are susceptible of transposition. Assuming 
the final of the first mode to be A, the full series is as fol- 
lows (finals are marked F, dominants D, and mediants M) : 
I. Dorian (authen- F M D 
tic) d e^f g a b^c d 
II. Hypodorian F M I) 
(plagal).. a b^c d e^f g a 
F M D 
III. Phrygian (authentic) e~f g a b~c d e 
IV. Hypophrygi- F M D 
an (plagal) . .b~c d e f g a b 
F M D 
V. Lydian (authentic) f g a b~c d e~f 
VI. Hypolydian M F D 
(plagal) c d e^f g a b-^c 
F M D 
VII. Mixolydian (authentic) . . ..g a b^c d e^f g 
VIII. Hypomixolydian M F (M) 1) 
(plagal) d e~f g a b^c d 
F M D 
IX. Eolian (authentic) .a b~c d e^f g a 
F M D 
X. Hypoajolian (plagal) e^f g a b~c d e 
F M D 
XI. *Locrian (authentic) bwc d e~f g a b 
XII. "Hypolocrian F M D 
(plagal) f g a b~c d e~f 
F M D 
XIII. Ionian (authentic) c d e~f g a b~c 
XIV. Hypoionian MFD 
(plagal) g a b^-c d e-f g 
*Not used, on account of the tritone between B and F. 
(3) In the modern system only two of the historic modes 
are retained the major, equivalent to the Greek Lydian 
and the medieval Ionian, and the minor (in its full form), 
equivalent to the Greek and medieval jEolian. These 
modes differ from each other in the order of their whole 
steps and half -steps, as follows : 
Major * _ * _ * w *_*_*_ x, * 
Minor(full or descending) * * w * *__* w * * * 
("instrumental ")..* * * * * ~ * w*w * 
(ascending) * * w * * * * * W K 
See major, minor, and scale. (b) In medieval music, a 
term by which the relative time-value or rhyth- 
mic relation of notes was indicated. TWO kinds 
of modes were recognized : the great, fixing the relation 
between the notes called "large" and "long," and the 
less, fixing that between those called " long " and "breve "; 
and each of these kinds might also be perfect, making the 
longer note equal to three of the shorter, or imperfect, 
making it equal to two of the shorter. 
8t. Measure; melody; harmony. 
Musyce, a damysel of cure hows that syngeth now lyhtere 
moedes or probasyons, now hevyere. 
Chaucer, Boethius, ii. prose 1. 
9. In lace-making: (a) An unusual decorative 
stitch or fashion, characteristic of the pattern 
of any special sort of lace ; especially, a small 
piece of such decorative work inserted in the 
pattern of lace. Hence, because such decorative in- 
sertions are more open than the rest of the pattern, mode 
is used as equivalent to jmir. 
3812 
The use of meshed grounds extended [1650-1720], and 
grounds composed entirely of varieties of modes were 
made. Kncyc. Brit., XIV. 185. 
(6) The filling of openwork meshes or the like 
between the solid parts of the pattern. 10. A 
garment for women's wear, apparently a man- 
tle with a hood, worn in England in the eigh- 
teenth century. 
Certain wardrobes of the third story were ransacked, 
and their contents, in the shape of brocaded and hooped 
petticoats, satin sacques, black modes, lace lappets, etc., 
were brought down in armfuls by the Abigails. 
Charlotte Bronte, Jane Eyre, xviii. 
Accidental mode. See substantial mode. Adverbial 
mode, that sort of modification of a proposition that may 
be effected by the addition of such adverbs as possibly and 
necessarily. All the mode, all the fashion ; very fashion- 
able. 
There laid out 10s. upon pendents and painted leather 
gloves, very pretty and all the mode. Pepys, Diary, I. 404. 
Formal mode. See formal. Immediate mode, a mode 
which is attributed immediately to its subject ; mediate 
mode, one which is attributed to its subject by the inter- 
vention of another mode. Intrinsic mode, in logic. See 
intrinsic. Material mode. See material. Metaphysi- 
cal mode of expression. See metaphysical. Mixed 
mode, (ff) In music. See maneria. (b) pi. In the phi- 
losophy of Locke. See def. 5 Nominal mode, that sort 
of modification of the meaning of a proposition which may 
be effected by such phrases as " it is possible that," or 
"it is necessary that." Substantial mode, a mode that 
affects a substance in so far as it is substance (as, for ex- 
ample, existence) ; accidental mode, a mode which only 
modifies an accident. = Syn. 1. Method, Way, etc. (see 
manner^), process. 
mode 1 ! (mod), v. i. [< )H0ffel. w.] To conform 
to the mode or fashion: with an indefinite it. 
[Rare.] 
He could not mode it, or comport either with French 
fickleness or Italian pride. 
Fuller, Worthies, Warwick, III. 274. 
mode 2 t, n. A Middle English form of moorl 1 . 
mode-book (mod'buk), n. A fashion-book. 
Her head-dress cannot be described ; it was like nothing 
in the mode-book or out of it. 
Mrii. Henry Wood, East Lynne, vii. 
model (mod'el), n. and a. [Formerly also mod- 
ell (= D. model = G. Sw. modell = Dan. model), 
< OF. modelle, F. modele = Sp. Pg. modelo = 
It. modello, a model, mold, < L. 'modelliis, dim. 
of modulus, measure, standard, dim. of modus, 
measure: see mode 1 , and cf. module, modulus, 
mowM 4 , mold^.] I. n. 1. A standard for imi- 
tation or comparison; anything that serves 
or may serve as a pattern or type ; that with 
which something else is made to agree in form 
or character, or which is regarded as a fitting 
exemplar. 
It is natural for men to think that government the best 
under which they drew their first breath, and to propose 
it as a model and standard for all others. 
Bp. Atterbury, Sermons, I. vii. 
[These works] are put into the hands of our youth, and 
cried up as models for imitation. Goldsmith, The Bee. 
I regarded her as a model, and yet it was a part of her 
perfection that she had none of the stiffness of a pattern. 
H. James, Jr., Louisa Pallant, ii. 
2. Specifically (a) A detailed pattern of a 
thing to be made ; a representation, generally 
in miniature, of the parts, proportions, and 
other details to be copied in a complete pro- 
duction. 
Hollandes state, the which I will present 
In cartes, in mappes, and eke in models made. 
Gascoigne, Voyage into Holland (1572). 
A dozen angry models jetted steam : 
A petty railway ran. Tennyson, Princess, Prol. 
A little model the Master wrought, 
Which should be to the larger plan 
What the child is to the man. 
Longfellow, Building of the Ship. 
(6) In the fine arts: (1) A living person who 
serves a painter or sculptor as the type of a 
figure he is painting or modeling, or poses for 
that purpose during the execution of the work ; 
also, one who poses before a class to serve as 
an object to be drawn or painted. (2) In sculp- 
ture, also, an image in clay or plaster intended to 
be reproduced in stone or metal. (3) A canon, 
such as the sculptural canons of Polycletus and 
Lysippus, or the fancied rigid canons for the 
human form in ancient Egypt. See doryphorxs 
and Lysippan. 3. A plan or mode of forma- 
tion or constitution ; type shown or manifest- 
ed ; typical form, style, or method : as, to build 
a house on the model of a Greek temple; to 
form one's style on the model of Addison. 
It [a proposition] hath much the model and frame of our 
oath of allegiance, but with some modification. 
Donne, Letters, cxxvi. 
The church remains according to the old model, though 
it has been ruined and repaired. 
Pococke, Description of the East, II. i. 138. 
modeling 
The cathedral at Saltzhurg is built on the model of saint 
Peter's at Rome. 
Pococke, Description of the East, II. ii. 213. 
The ship was of a model such as I had never seen, and 
the rigging had a musty odor. 
G. W. Curtis, Prue and I, p. 147. 
4. A mechanical imitation or copy of an ob- 
ject, generally on a miniature scale, designed 
to show its formation: as, a model of Jerusa- 
lem or of Cologne cathedral ; a model of the 
human body. Hence 5. An exact reproduc- 
tion ; a facsimile. [Bare.] 
I had my father's signet in my purse. 
Which was the model of that Danish seal. 
Shak., Hamle^ v. 2. 60. 
6f. An abbreviated or brief form. See mod- 
ule, 1. 
This gave occasion to the deputy governour to write that 
treatise about arbitrary government, which he first ten- 
dered to the deputies in a model, and finding it approved 
by some, and silence in others, he drew it up more at 
large. Winthrop, Hist. New England, II. 283. 
The New Model. See New Model. 
II. a. 1. Serving as a model. 2. Worthy 
to serve as a model or exemplar; exemplary: 
as, a model husband. 
There is a model lodging-house in Westminster, the pri- 
vate property of Lord Kinnaird. 
Mayhew, London Labour and London Poor, I. 345. 
Model doll, a large figure, more or less resembling the 
human form, sometimes of life-size, dressed in any fashion 
which it may be desired to exemplify, and serving as a 
model of dress. Such model dolls were formerly much 
used. 
model (mod'el), r. ; pret. and pp. modeled or 
modelled, ppr. modeling or modelling. [Formerly 
also modell; < F. modeler = Sp. Pg. modelar = 
It. modellare, model ; from the noun : see model, 
.] I. trans. 1. To form or plan according 
to a model ; make conformable to a pattern or 
type ; construct or arrange in a set manner. 
By what example can they shew that the form of Church 
Discipline must be minted and modeU'd out to secular pre- 
tences ? Milton, Reformation in Eng., ii. 
Those, mighty Jove, mean time, thy glorious Care, 
Who model Nations. 
Prim, First Hymn of Callimachus. 
The camp seemed like a community modelled on the 
principle of Plato's republic. 
Quoted in Prescott's Ferd. and Isa., i. 14. 
[Nothing] justifies even a suspicion that vertebras are 
modelled after an ideal pattern. 
H. Spencer, Prin. of Biol., 210. 
2. To mold or shape on or as on a model ; give 
form to by any means : as, to model a hat on a 
block; to model a ship; specifically, in drawing 
or painting, to give an appearance of natural 
relief to. 
Every face, however full, 
Padded round with flesh and fat, 
Is but modell'd on a skull. 
Tennyson, Vision of Sin, iv. 
3. To make a model of ; execute a copy or rep- 
resentation of; imitate in form: as, to model 
a figure in wax. 
When they come to model heaven 
And calculate the stars. Milton, P. L., viii. 79. 
Many a ship that sailed the main 
Was modelled o'er and o'er again. 
Longfellow, Building of the Ship. 
II. vntrans. 1. To make a model or models ; 
especially, in the fine arts, to form a work of 
some plastic material : as, to model in wax. 2. 
To take the form of a model; assume a typical 
or natural appearance, or, in a drawing or paint- 
ing, an appearance of natural relief. 
The face now begins to model and look round. 
F. Fowler, Charcoal Drawing, p. 44. 
modeler, modeller (mod'el-er), n. One who 
models; especially, one who forms models or 
figures in clay, wax, or plaster. 
modeless! (mod'les), a. [< mode 1 + -fess.] 
Measureless. 
Using suche mercilesse crueltie to his forraine enimies, 
and such modelesse rigour to his native citizens. 
Greene, Carde of Fancie (1587). 
modeling, modelling (mod'el-ing), . [Ver- 
bal n. of model, t>.] The act or occupation 
of forming models, or of bringing objects or 
figures to a desired form; specifically, in the 
fine arts, the act of a sculptor in shaping his 
model for any piece of carving, or the art of 
shaping models; also, the bringing of surfaces 
of the carving itself into proper relief and mod- 
ulated relation ; in painting, etc., the rendering 
of the appearance of relief and of natural so- 
lidity and curvature. 
Anew school of taxidermists, with new methods, whose 
aim is to combine knowledge of anatomy and modellinff 
with taxidermic technique, arc now coming to the front, 
and the next generation will discard all processes of 
"stufnng"in favour of modelling. Encyc. Brit., XXIII. 90. 
