ward at the floral games of Toulouse. In his disappointment at not gaining a prize he wrote to Voltaire, who promised his assistance if the young poet should come to Paris. With fifty crowns in his pocket he set off for the capital, translating as he went Pope's Rape of the Lock, which he sold for a hundred crowns, and which was his first publication (1746). The traditionary fate of the poet, however, awaited him, and his memoirs contain particulars of the poverty and misery he endured at this time. A prize poem on the glory of Louis XV. after the battle of Fontenoy was forced into sale by Voltaire, who also advised Marmontel to write for the stage. Thereupon he wrote three tragedies, "Dionysius the Tyrant," "Aristomenus," and "Cleopatra," which, coming from a young man of twenty-four, attracted considerable notice, yet were not successful on the stage. His operas, heroic poems, and odes likewise fell flat on the public ear. By the favour of Madame Pompadour he was appointed clerk of public buildings in 1753, and was employed by her to touch up dull poems, old plays, and dedications. His quarrel with Le Kain the actor, arose out of some patchwork done to Rotrou's Venceslas. In 1756 he began to write his famous "Moral Tales" for the Mercure, and published them entire in 1761. He contrived to raise a literary storm by certain critical heresies, which for a while shut the doors of the Academy against him. The gates of the Bastile, on the other hand, were opened to receive him on account of a parody, of which he was not guilty. He had the manliness not to betray the real author, though the imprisonment cost him his privilege of publishing the Mercure. In 1763 he entered the Academy. "Belisaire" appeared in 1767, and extended his reputation enormously. The "Incas," a kind of supplement to "Belisaire," and a defence of freedom of opinion in religion, appeared in 1773. His most solid and useful work is "The Elements of Literature," 6 vols. 8vo, 1787, which includes the articles on poetry and literature contributed by him to the great Encyclopædia. He was a member of the electoral assembly of Paris in 1789, but during the Reign of Terror hid himself because his moderation was suspected to be royalism. He died at Abbeville on the last day of the eighteenth century. The best edition of his works is that edited by Saint-Surin, 18 vols. 8vo, Paris, 1818.—R. H.
MARMORA. See La Marmora.
MARNIX, Philip de, Baron of St. Aldegonde, a celebrated diplomatist, and the author of several theological works, was born at Brussels in 1538. He studied at Geneva, and imbibed from Calvin the principles of the reformed religion. It is said that he was the author of the confederacy by which the lords of the Netherlands bound themselves in 1566 to oppose the Inquisition. He was employed by the prince of Orange in various important affairs; and in 1584 he defended Antwerp against the duke of Parma. He died at Leyden in 1598, when engaged in a Flemish translation of the Bible.—D. W. R.
* MAROCHETTI, Carlo, Baron, A.R.A., was born at Turin in 1805. His father having gone to reside in France, young Marochetti became a student in the Lycée Napoléon, and learnt sculpture in the atelier of Bosio, but completed his artistic training in Italy. His earliest work was a marble group of a "Girl playing with a Dog," exhibited at the Salon in 1827, which was followed in due course by others of a similar class; by a statue of Mossi, executed for the Art-academy of his native city; and by an equestrian statue of Emmanuel Philibert, which he presented to the king of Sardinia, and which was the first of a class of works on which a large measure of his celebrity depends. Having established himself in Paris, Baron Marochetti was much patronized by Louis Philippe and his court. Among other royal and government commissions were the Tomb of Napoleon at the Invalides; two or three equestrian statues of the duke of Orleans; an "Assumption" for the high altar of the Madelaine; and a bas-relief for the Arc de l'Etoile. In 1839 he was created a knight of the legion of honour: he was naturalized in 1841. After the revolution of 1848 he quitted Paris for London. Here he met with a reception no less brilliant than in the city he had left; but, as there, his celebrity was rather select than general. He had whilst in Paris executed an equestrian statue of Wellington for the city of Glasgow; but he owed his introduction to the general public to his colossal equestrian statue of Richard Cœur de Lion, which was placed near the west end of the Exhibition building of 1851. This statue has since been cast in bronze, and erected by subscription near the state entrance of the house of lords. This work established his superiority in this class of sculpture. and he has since been employed to execute an equestrian statue of the queen for Glasgow, and a colossal statue of Victor Emmanuel for Turin—a work the model of which formed a prominent feature of the French Exposition Universelle of 1855, and of the Italian Exhibition, Florence, 1861. Of poetic designs, such as he first became known by. Baron Marochetti has during his residence in London exhibited a "Cupid and Greyhound," a "Sappho," and one or two more. Of busts he has produced a far greater number, this being perhaps the branch of art in which his popularity has been most shown. Among others he has exhibited busts of the queen, the prince consort, Earl Russell, the duchess of Manchester, and numerous other persons of distinction. Especially are his busts of females admired—a distinction they probably owe, in some measure, to a certain classic elevation of feature and bearing he seldom fails to impart to them, without prejudice, we may suppose, to the likeness. The baron's chief monumental works executed in London have been the costly memorial to the British soldiers buried at Scutari; the monument erected in St. Paul's to the Coldstream Guards who fell at Inkermann; that erected by command of the queen at Newport, Isle of Wight, in memory of the Princess Elizabeth, daughter of Charles I.; the bronze statue of Lord Clive for Shrewsbury; and the Melbourne tomb in St. Paul's. At present (1862) he is engaged, among other memorials, on the bronze statues of Robert Stephenson and Isambard Brunel, for the grounds of St. Margaret's, Westminster; and that of Lord Herbert of Lee for Salisbury. Baron Marochetti may now be ranked among British artists, he having taken out letters of naturalization in England, and having been in January, 1861, elected associate of the Royal Academy.—J. T—e.
MAROT, Clement, the most celebrated of early French poets, was born in 1495 at Cahors. The particulars of his life have been gathered mostly from his works, which abound in personal allusions. His father, Jean Marot, who was likewise a poet, held the office of valet-de-chambre to Francis I., and cared little about the education of Clement, who, when ten years old, was taken to Paris, and grew up in the reckless society of the dependants of a court. His early ballads and rhymed epistles are all tuned to love. The graces of his person, however, were not so eminent as his mental gifts, and he often bewails his ill-success with the fair. A disappointment of this nature drove him from the palace into the service of Nicolas de Neufville, Seigneur de Villeroy, at whose request he wrote "La Queste de ferme amour," which terminates his first considerable poem, "Le Temple de Cupidon," 1515. Once more at court, Marot recommended himself by writing verses on seasonable occasions, and in 1518 obtained an appointment in the household of Marguerite de Valois, herself a poet and lover of poets. The rapturous homage rendered by Marot to this beautiful princess, "his adorable mistress," has given rise to ill-founded suspicions of a tender intimacy between the lady and the poet. It is certain that Marot accompanied the French army into Italy, and shared the fate of his gallant sovereign at the unfortunate battle of Pavia. He soon, however, recovered his liberty, and returning to France, when Marguerite was at Madrid negotiating the liberation of her brother, was arrested for heretical opinions and thrown into the Châtelet prison, the abominations of which he depicts with vigorous strokes in a poem entitled "L'Enfer." By the interference of a friendly bishop, he was removed out of the clutches of the Sorbonne to a more tolerable confinement at Chartres, from which he was released by a royal order obtained through Marguerite. Diana of Poitiers, Henry II.'s handsome and lettered mistress, is accused of avenging on the poet some slight by betraying him to the Sorbonne. In some very spirited verses, he humorously describes his arrest at the instigation of a mistress for having "eaten bacon." In 1535, when many Huguenots were brought to the stake, Marot was accused of Calvinism. He fled to Marguerite in Bearn, thence to the court of Renée, duchess of Ferrara, which he was obliged to quit for Venice, from whence, by the king's special favour, he was allowed to return to France. Here he lived in peace for some years, until his admirable version of some of David's psalms, and the great popularity they at once enjoyed raised another polemical storm against him. He fled to Geneva in 1543, and there added other psalms to his translation. But the austerity of the pure Calvinists was too much for his lively nature. Having been reprimanded for playing a game of hazard he left Geneva for Turin, where he died in the month of September, 1544. The bibliography of Marot in Brunet's Manuel is very
