Revolution, but was not incorporated until 1889. The principal industry is floriculture, especially the cultivation of roses. Madison is the seat of the Drew Theological Seminary; and Convent Station nearby is the seat of Saint Elizabeth's College. The borough has an excellent public library and a splendid public park, well laid out and kept in good order. It is governed by a mayor and council. The term of office of the mayor is two years. The electric-light plant and the waterworks are owned and operated by the borough. Pop. 4,658.

MADISON, S. Dak., city, county-seat of Lake County, on the Chicago, Milwaukee and Saint Paul Railroad, about 400 miles northwest of Sioux Falls. The surrounding region has good farming land, wheat and corn being the principal crops. Considerable attention is given to stock raising. Madison is an important division point on the Milwaukee system, and has flouring mill and large poultry and egg houses. The trade is chiefly in grain and livestock, but there are also a gasoline engine factory, a large creamery and marble works. Madison is the seat of a State Normal College and also has a Carnegie library. It also has an excellent system of public schools fashioned largely after the Gary plan yet not so exclusively material in all respects. The electric-light plant and the waterworks are owned and operated by the city. The city is under the commission form of government. Pop. 4,300.

MADISON, Wis., city, capital of the State, county-seat of Dane County, on the Chicago, Milwaukee and Saint Paul, the Illinois Central and the Chicago and North Western railroads, about 80 miles west of Milwaukee and 139 miles northwest of Chicago. It is between Lakes Monona and Mendota and near two other beautiful lakes, Kegonsa and Waubesa; it is 974 feet above the sea and 210 feet above Lake Michigan. The place was named in honor of James Madison. The first house was erected in 1837; and after Wisconsin, in 1836, had been organized as a Territory, this site was chosen for the capital, and work on the Capitol was begun in 1837. The place was chartered as a city in 1856. Madison is situated in an agricultural region and has commercial interests with a number of the larger cities, also with the small towns and villages in Dane and adjoining counties. Its chief manufactures are boots and shoes, agricultural implements and tools, flour, electrical machinery, wagons and carriages, blank books and law books, hospital furniture and fixtures, horse collar pads, dry batteries, cement stave silos, rennet extract, art glass, relief maps and models, boats, candy, cigars, beverages, lantern slides. It is a famous summer resort because of its climate, lakes and scenery. The drives are remarkable - about 30 miles of road in the vicinity are macadamized, kept in repair and beautified by popular subscription. Madison is noted for its educational institutions, chief of which is the University of Wisconsin. Opposite the university is the State Historical Society headquarters, the most beautiful building in the city next to the Capitol. It is Renaissance-Ionic, of Bedford limestone, and the original cost was $1,000,000. It contains a valuable collection of historical mementos and the famous reference library of the society, about 245,000 volumes. It is considered one of

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the best historical libraries in the United States. The libraries of the Wisconsin Academy of Sciences, Arts and Letters and of the State University are also in this building. The city free public library is housed in a building of its own, a gift from Andrew Carnegie. Just outside the city limits are the Sacred Heart Academy (a boardhg school for girls), a branch of the Battle Creek Sanitarium, the State Fish Hatchery and the State Hospital for the Insane. The public and parish schools maintain a high standard. Some of the other prominent buildings are the new State Capitol, just being completed at a cost of between $6,000,000 and $7,000,000, which is surrounded by a beautiful 14-acre park, a building of Bethel granite, in the ItalianRenaissance style, with the second highest dome in the United States; the county courthouse and jail, a government building, soon to be replaced by a new one, for which Congress has appropriated $550,000; and some 24 churches. It is a favorite educational convention city. The university summer school, held each year, attracts a number of students. The government is vested in a mayor, whose term is two years, and a council. The city owns and operates the waterworks. Pop. about 30,000.

MADISON BARRACKS, N. Y., United States military post in Jefferson County, on Black River Bay, near Sackett's Harbor, and 10 miles from Lake Ontario. The post occupies about 108 acres and possesses in addition a rifle range of 868 acres at Stony Point. It was established in 1813.

MADISON RIVER, a stream in Montana which has its rise in the Rocky Mountains, at an elevation of 8,300 feet. It flows north through Madison County and unites with the Jefferson Fork of the Missouri, at Three Forks. It flows through several picturesque valleys and deep cañons; its whole course is about 230 miles.

or

MADISON SQUARE GARDEN, a large building in New York City, occupying a block square between Madison avenue and 4th avenue, and 25th and 26th streets. It contains an amphitheatre seating 20,000 people, and is popular for horse shows, dog shows, circuses and political and religious meetings. The building also contains a theatre, concert hall, restaurant and roof-garden. It is built of buff brick and terra-cotta and is surmounted by a great tower 300 feet in height, modeled after the Giralda at Seville. It is one of the largest buildings in the city devoted to amusement.

MADISONVILLE, Ky., city, county-seat of Hopkins County, on the Louisville and Nashville and the Kentucky Midland railroads, about 125 miles southwest of Louisville. It is in a rich agricultural region, tobacco being one of the principal productions. Coal and natural gas are in the near vicinity. The chief manufacturing establishments are a tobacco factory, tobacco stemmeries, lumber and planing mills and flour mills. A coal mine nearby and the natural gas contribute to the prosperity of the city. The city owns the electric-light plant, the waterworks and the sewage system. Pop. 4,966.

MADISONVILLE, Ohio, former village in Hamilton County, now absorbed by Cincinnati, and forming a residential suburb of that city..

MADLER, mā'dler, Johann Heinrich, German astronomer: b. Berlin, 29 May 1794; d. Hanover, 14 March 1874. He was educated at the University of Berlin. He became a professor and one of the governing faculty at the Berlin Normal School and was associated with William Beer in an extended series of lunar observations. He was professor at the Observatory of Berlin in 1836-40, and from 184065 he was professor and director of the observatory at Dorpat, Russia. The superb equipment of the observatory enabled him to make observations with an accuracy never before attained and he now devoted himself principally to the fixed stars. He published a map of the moon in four sheets which surpassed anything then published, and which still retains a high reputation, in 1834-36. Author of 'Populäre Astronomie) (1841); 'Die Centralsonne) (1846); Die Eigenbewegungen der Fixsterne (1856); Allgemeine Selenographie (1857); 'Geschichte der Himmelskunde) (2 vols., 187273), etc.

MADNESS. See INSANITY.

MADOC, măd'ok, Welsh prince, who, in consequence of some civil dissensions, went to sea with 10 ships, and 300 men, in 1170, and discovered America. He made a second voyage to and from this unknown land, but finally was lost to the knowledge of his countrymen. The story is to be found in Lloyd and Powell's 'Cambria) (1584), and Hakluyt gives an account of the voyages in his collection. In Owen's 'British Remains the legend is referred to. Later travelers have imagined that they had discovered traces of these early immigrants in different parts of the country, and we have had stories of white Indians and Welsh Indians, etc. (Consult Humboldt's 'Personal Narrative, Book IX, note A). Southey made Madoc the subject of an epic poem. Stephens, in Madoc, an Essay on the Discovery of America in the 12th Century' (1893), asserts that the story of Madoc is a baseless fable.

MADONNA IN ART, The. In the early days of Christianity the teaching of the Church was largely carried on by the medium of pictures; statuary was added later. The translation of the Bible was in Latin and examples of the book were produced in parchment manuscripts emanating from the monastery scriptoria. They were very few and therefore costly. Hence it is not surprising that the clergy utilized the graphic abilities of their more talented members and other available artistic sources to portray biblical scenes in mosaics and wall paintings to impress on the minds of the populace (practically all illiterates) the teachings of their creed. The subjects to be treated were largely selected by the patrons (the clergy), and those subjects naturally were the ones most likely to appeal to the masses. The relation of Mother and Child viewed from the aspect of Divine Inspiration could not but be foremost of the subjects selected as most certain to gain popular attention and to reach the innermost sentiments of humanity. And, from the limner's standpoint, no theme could better enthuse and inspire genius to perfection of execution and the bringing forth of ecstatic pictorial expression. Again, admiration of a master's presentment of the subject obviously was cause of emulation

of contemporaries and future artists to produce, if possible, more inspired conceptions of the subject. A natural sequence of these accumulated impulses was the prolific production and reproduction of the Madonna in as many aspects and forms as the differences in genius itself. Hence the innumerable examples of the lovely theme which have present existence. No single subject has been treated so prolifically and from so many viewpoints as this of the divine Madonna. In order to bring within a limited space some intelligible review of such a vast and profound subject the examples are usually divided into different classifications according to the method of treatment of the theme, the different episodes of the entrancing story, etc. Thus we get the Madonna "enthroned," the Madonna "in Gloria," and the "Annunciation," the "Nativity," "Adoration of the Magi," "Flight into Egypt," etc. The earliest depiction of the Madonna is a subject of controversy. Legend tells us Saint Luke, Evangelist, painted pictures of the Holy Virgin, and there are several extant drawings which are claimed to be from his pencil. The Virgin as orante, usually termed the "Intercessor," with arms outstretched in Oriental form of supplication, is most generally accepted as the first method of treatment as found in mosaics and on glasses of the 4th or early 5th century, some with the name "Maria" inscribed. An early Assyrian manuscript of the 7th century in the chapel of Venantius has such an orante depiction. On ancient Christian sarcophagi the representation of the Holy Virgin is very rare, but in the mosaics of Santa Maria Maggiore (middle of the 5th century) we have the Virgin and Child in medallions on the triumphal arch, and on the spandrils of the arch are the Annunciation, Presentation in the Temple, Adoration of the Magi, Journey of Christ with Mary and Joseph to Jerusalem. Of about the same date is a painting seen in Saint Agnes catacomb, in which the Holy Virgin seated stretches forth her hands in prayer. By 736 the Iconoclasts created much destruction of all kinds of biblical depiction from Byzantine artists, but by 787 comes the revival and the Virgin again appears as orante, veiled and aged. In the early representations of the Virgin appears a golden background representing glory and majesty; this gives way later to backgrounds of the angelic host. With the advance or development of the Madonna theme Cimabue (13th century) produced the "enthroned" Madonna, and this great early Florentine master was soon followed with Guido's Siena picture of the subject. And with the arrival of these talented masters the Byzantine stiffness and prescribed rigid rulings of the Greek Church forbidding natural depiction disappears and the human form and garb take on the suppleness of flesh and clothing. It is the beginning of free and highly-developed art, and as such is usually the phase chosen as the first classification with which to deal with detailed descriptions of the theme of the Madonna in Art.

The Madonna Enthroned. In its early conception the subject depicts the "Queen of Heaven" (Regina Cali), seated in the sky, surrounded by the saints and angels. An early example is Simone's picture in the Siena Council Hall; the Virgin in Campo Santo, Pisa, is another. As Queen of Heaven, having homage

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paid her, she is crowned first then veiled. this conception of the subject the throne is supposed to be a heavenly throne and symbolic of dignity and divinity. Mary is usually garbed in a red tunic as symbol of love and with a blue mantle signifying Heaven. The Child is vested in a tunic till the 15th century, but then generally appears undraped. The Babe generally holds up a hand in blessing, but in the 6th century mosaic of the enthroned Madonna in the Basilica of San Apollinare Nuovo, Ravenna, Mary raises her hand in blessing. The first human figures we see around the throne are the saints, especially John Baptist, the Apostles and the patrons of the particular church to which the work of art is dedicated. Saint John is represented as a child generally bearing a reed cross; at times, as messenger, he has wings. Later patriarchs, prophets, sibyls are in attendance about the throne. known examples are very many and but few can be mentioned. That of Fra Bartolommeo (Baccio della Porta, 1469-1570) is in the Pitti Gallery, Florence; Andrea del Sarto's Madonna di San Francesco in the Uffizi Gallery there stands on a pedestal throne with harpies at its corners (hence sometimes termed "Madonna of the Harpies"). Luini's Madonna in the Brera, Milan, is seated on a coping. Perugino's Madonna (Vatican, Rome) is one of this master's best works and depicts the Virgin seated on a carved and inlaid architectural marble throne. Pinturiccio's Madonna in the chapel of Saint Andrea, Perugia, has the child Saint John standing at the throne's foot. Raphael's Ansidei Madonna (London National Gallery) is reading a book while Saint Nicholas and Saint John Baptist are in attendance at the two sides. The English government paid £72,000 in 1885 for this wonderful painting. Other enthroned Madonnas of Raphael are the Madonna of Saint Anthony (owned privately) and the Baldacchino Madonna (Pitti Gallery, Florence). Among the early exponents of the enthroned depiction were Vivarini, Bellini and Cima; Girolamo dai Libri's altar-piece in San Giorgio Maggiore, Verona, is noteworthy, and Venice is perhaps richest in Madonna creations. Later masters to paint this subject were Titian, Tintoretto and Veronese. Of the early type Cima's picture in the Venice Academy takes about first position; the Madonna is seated on a marble throne having a pillared portico. Palma's beautiful altar-piece in Vicenza is noteworthy among enthroned Madonnas. Bellini excelled in this style and the examples deserve their renown. Ruskin calls his painting in the Venice Academy "One of the greatest pictures, ever painted in Christendom in her central art' power." The Virgin is accompanied by three saints on each side and three choristers below. His Frari Madonna (Venice) has three compartments, the Virgin occupying the central one. His San Zaccaria Madonna, in spite of its fine execution and beauty of conception and grouping, was created when the artist was over 80 years old. Next we come (late in the 15th century) to Giorgione (who lived only 34 years) who has two Madonnas, one in the Madrid Gallery, the other in Castel Franco. In the latter the throne is exceptionally high, the upper step being above the heads of the accompanying Saints Liberale and Francis. This shows great depth and refinement of feeling

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in the drooping head and dreaming eyes. While the queenly aspect of these Italian pictures is never displayed with a crown as is frequent on the mosaics dating from the 8th to the 11th century, except in the pictures by Giovanni da Murano and Carlo Crivelli (Venetian school), the Holy Virgin in German art is frequently crowned when enthroned, as in Holbein's Madonna at Darmstadt, that by Van Eyck at Frankfort and that by Memling at Bruges, and Schongauer's at Munich. In the enthroned Madonna of Quintin Matsys in the Berlin Gallery the Virgin is kissing the Child and the northern tendency is vividly displayed in the accessory of the stand containing food. Of modern artists whose enthroned Madonna creations are worthy of mention should be cited Bouguereau, Ittenbach, etc.

The Annunciation.- The angel's announcement to the Spiritual Bride is a subject as prolifically depicted in Christian art as any other. It was a theme displayed everywhere, in every village, street, church or dwelling, in painting or carving. Early we find it in the mosaics, as on the arch of the Santa Maria Maggiore. The attitudes of the Virgin differ in periods or in accordance with the individual conception of the artists. In some the angel stands before the young virgin who kneels in pious submission, or the angel kneels in some; or again, as in Giotto's work, in Padua, both kneel. Later artists picture Our Lady in the Annunciation often as a crowned queen, bejeweled, but in modern work the Virgin and surroundings are treated with simplicity and mystic symbolism is given to the subject. While it is usual that but one announcing angel appears on the scene, Andrea del Sarto, Tintoretto, Francia and Fra Bartolommeo give an angelic choir. Usually the Holy Dove is seen flying toward Mary from the Father. Pisanello's Annunciation in Verona pictures the most beautiful innocence in girlish beauty. Beautiful purity is expressed in the works of Fra Angelico; that in the Oratorio del Gesù, at Cortona, accompanied by the colonnade and scene of Eve's expulsion as accessories, is extremely impressive. In the Uffizi Gallery is a Boticelli Annunciation depicting the angel paying the deepest obeisance at Mary's feet while the Holy Maid stretches out her hands in surprised humility. Other well-known Annunciations are by Simone Martin in the Uffizi, Fra Filippo Lippi, Carlo Crivelli (National Gallery, London), where the scene is produced in a surrounding of magnificent architectural decoration, while Perugino (in Montefalco picture) shows utter simplicity. Paolo Veronese depicts fear as the Virgin shrinks back at the message. Northern creations reveal their source by bringing in such accessories as a spinning wheel, couches, etc. Jan van Eyck places the Holy Virgin by an altar in an alcove with an open book to rest her arm on, her face averted toward the heavenly messenger, who is in a cope and carries a sceptre. Albert Dürer's series of the life of the Virgin depicts in the Annunciation Mary as a German Hausfrau, surrounded by many architectural accessories. In the National Gallery, London, we find Rosetti's work affording very simple treatment in modern depiction, and Burne-Jones gives the scene in a finely constructed painting.

The Nativity.- In the works of the masters