Page:The American Cyclopædia (1879) Volume XI.djvu/847

MORGARTEN lerick "William III. of Prussia with the >untess Auguste von Harrach, who thereupon 3eived the title of princess of Liegnitz. MORGARTEN, a hill in Switzerland, about 2 i. W. of Rothenthurrn, on the margin of the ce of Egeri, and on the E. border of the can- )n of Zug, memorable as the scene of the bat- le of Nov. 16, 1315, in which a body of 1,400 Jwiss mountaineers from Schwytz, Uri, and Fnterwalden, ill armed and undisciplined, to- lly vanquished an Austrian army of 20,000 ider the duke Leopold. The hill overlooks , narrow pass between it and the lake. When Austrians had entered this pass, a por- ion of the Swiss hurled down upon them iinense masses of rock, which killed many id threw the cavalry into confusion ; the re- lainder of the Swiss, stationed at the end of pass, then charged them, and but few >ed. This was the first victory achieved Swiss in their struggle for freedom. A lapel stands at the foot of the hill, in which srvice is performed annually on the anniver- ry of the battle. MORGENSTERN, Christian, a German painter, >rn in Hamburg in 1805, died Feb. 26, 1867. [is parents were poor, and he began life as sistant of an exhibitor of panoramas. In 1823 he was admitted to the school of paint- of Bendixen, and in 1827 he exhibited his irst work, " Oaks near a Swamp," which pro- cured for him a small stipend from the govern- ment. He spent some time in Holstein, ex- >lored Norway, attended the academy of fine at Copenhagen, and settled in Munich in 1830, choosing the "Heath of Luneburg" as the theme of his first work in that city. He >roduced exquisite landscapes of the moun- nns of Berchtesgaden and Salzburg-, of the )mantic castles of Alsace and the Vosges mountains, of Lakes Starnberg and Chiem, and " Heligoland. His pictures of moonlight and tormy nights on Heligoland are regarded as lis masterpieces. Shortly before his death he 3xhibited in Paris a new painting of the heath of Luneburg. He also excelled in etching. MORGHEN, Raffaelle Sanzio, an Italian engraver, )rn in Florence, June 19, 1758, died there, ipril 8, 1833. He was instructed by his father, engraver, and at 20 years of age executed series of seven plates representing masks >m the carnival of Naples of 1778. He was len placed in the school of Volpato in Rome, id in 1781 married the only daughter of his laster. In 1787 he produced his engraving of kiido's u Aurora." He visited Naples in 1790, id removed in 1793 to Florence, where he >pened a public school of engraving. His first iportant work in Florence was the print of 's Madonna flella seggiola, and in 1795 commenced the Madonna del sacco of An- Irea del Sarto, and the "Transfiguration" of aphael, the latter his most elaborate work, )mpleted in 1812. But this is considered less leritorious than his print of the " Last Sup- er " after Leonardo da Yinci, the early impres- MORGUE 829 sions of which (1800) are among the most pre- cious productions of his graver. According to his pupil Nicol6 Palmerini, to whom he gave impressions of every plate from the first out- line to the finished proof, Morghen executed 73 portraits, many of which were of living per- sonages besides the great poets and painters of Italy, 47 Biblical and religious pieces, 44 his- torical and mythological pieces, 24 views and landscapes, and 13 vignettes and crests. The Palmerini collection of his prints was purchased by the duke of Buckingham for 1,200. MORGUE (from the Languedocian morga, a repulsive face), a place for the exhibition of dead bodies of unknown persons, with a view to their identification. Such establishments existed in Paris as early as the 17th century, in connection with prisons. The one in the Chatelet was succeeded in 1804 by a separate establishment, which was enlarged in 1830 ; but this proving inadequate, another was open- ed in 1866 close by the Seine, behind the cathe- dral of Notre Dame. It consists of a central pavilion and two wings. The dead are placed inside a glazed partition, on slabs of marble, and streams of water and other means are em- ployed to delay decomposition. The average period of exhibition is 24 hours, and the greater number of the bodies are recognized. When there is evidence of death by violence, the bodies are examined in the dissecting room. The burial of the unrecognized and poor is at the public expense in special lots in the ceme- teries. The effects not claimed by relatives are retained for six months. The following table shows the number exposed in ten years : AGES. Males. Females. Total. 5 to 25 25 to 45 505 1.050 115 192 620 1.242 45 to 65 599 163 762 65 to 85 125 58 183 Total 2,279 528 2,807 Besides these, there were 94 fragments, 296 foetuses, and 197 new-born infants; the num- ber of the last has greatly increased of late years, in consequence of the suppression of deposit boxes in foundling hospitals. In the whole number there were 1,766 suicides, most of them recovered from the Seine. A majority of these were natives of Paris, of the poorest classes. The annual average is about 250 adult males and 50 females, but is much larger in time of epidemics and disturbances. It hap been exceptionally large since the Franco-Gep man war, the suicides increasing from 567 in 1872 to 660 in 1873, and to nearly 1,000 in 1874. The morgue in New York was estab- lished in June, 1866. It is on the grounds of Bellevue hospital, and is under the charge of the warden of the hospital, a keeper, and an assistant. As soon as a corpse is brought in, a full account of its recovery, when and where found, a description, and other particulars are