Page:The New International Encyclopædia 1st ed. v. 14.djvu/130

MULLER. 102 MULLER. edition in Greek and German of .Eschylits's Eu- minidts (Gottingen, 1S33) gave rise to a lieree controversy with (iottfried Hermann and his school, while his eritieal editions uf Varro, l)c Lingua Lutina (l^-ipzijr, 18:i.i), and »stus. Dc Siytiilieutionc Viihoium (ill.. 1839), were long standards and are still valnalde. For his biog- raphy, eonsult ¥. Ranke (Berlin, 1870). MULLER, Lkopold (18.34-02). An Austrian genre painter, Ixirn in Dresden, of Austrian jmrents. He was a pupil of Karl Blaas and of Christian Ruben at the Aeademy in Vienna. (_)bli<jed to support his family after his father's death, he worked eight years as an illustrator for the Vienna /'iV/ino. Continuing his studies subsequently, he visited repeatedly Italy and Egj'pt, and made his name favorably known through a series of scenes from popular life in Italy and Hungary. Afterwards he displayed his eoloristic talent to greater advantage in Oriental subjc<-ts, such as "Arabian Jloney- Changers," "Pilgrims to Mecca Resting," "Be- douins in Camp," "Camel Mart," "Young Copt Woman" (New Pinakothek, Munich). Other works include "The Inundation in ienna. 18G'2:" "Old Little Matron" and "Last Task of the Day" (both in the Vienna JIuseum) ; and "Sol- diers in the Thirty Years' War" (Prague Gal- lery ) . MULLER, LuciAN (1836-98). A German Latinist. He was born at Jlerseburg, and stud- ied at the universities of Berlin and Halle. In 1870 he was made professor of the Latin lan- guage and literature at the PhilologicoHistori- eal Institute at Saint Petersburg. His works, which display great erudition and critical acu- men, are marred by his bitter attacks on eminent scholars whose opinions dilVcr from his own. They include his famous [)r /iV Mcirica Poitarum hatinorum prwirr I'liiutiim rt Terenlium (2d ed. 1804) ; editions for the liililiolhecii Tcuhiirriaiia of Horace (2d ed. 1870); of CafuVus (1870): and other Latin jKiets; editions of lAidliiis (1872): Phirdrus (1877): Knniits (1884); ywriiis (188.51 ; Horace's Odr.t and Epodcx. with Gennan commentaries (1882): and Horace's Sniirrx and E/iistlrx (1841-43). His treatise entitled Ein norazjubilaiim (1802) contains a short autobiography. MULLER, Max. Sec Mi'LLEB, Friedrich Max, MULLER. Morten (1828—). A Norwegian Innil-cape painter, born at Holmestrand on the Christiania Fjord. After studying in Diisseldorf (1847-50), first under Tideniand and Gude, then at the .'eademy under Schirmer. he lived in Stockholm, and" in 1800 went to Christiania, where he conducted a school for painting, sub- vent ioned by the Government. In 1871 he re- nioveil again In Diisseldorf. and in 1874 was nnide n member of the Stuckholm .Vcadi'iny and Court painter. The rugged grandeur of the f jnrds and mountainous woodland fastnesses of his native country are the favorite subjeets of his eliar- aeterislle landscapes, in which he combines a romantic eoni'ejition of nature with purely real- istic color elTects. Representative examples arc n "View on Christiania Fjord" (18.5.5). and "Kn- trnnce Into Hardanger Fjonl" (both in the Na- tional Gallery. Christiania); "Pine F'orcst in Norway" (I8l!0. Hamburg Gallery): "Romsdal Fjord" (1870) : and "Forest Lake by Moonlight" (1802). MULLER, Otho Fkiedekik (1730-84). A Danish zoJilogist, burn in Copenhagen. His con- tributions lo the knowledge of Infusoria are es- j)eci;illy valuable. He wrote: Fauna Inscctorum Eriedrichsdaliana (1704); Flora Friedrichsduli- ana (1707); ^'ermium J'crrcslrium et Flin-i<tli- Hum, sen Aiiimdlinin Jnfusorium, Heliiiiiilhiro- rum et Testaceorum non Marinorum ,Succincta Hi.storia (1771); Zoiiloyica Danica (1779-1800). MULLER, Otto (1810-04). A German nov- elist. He was liorn at Schottcn, Hesse: was for some time connected with the Court lilirary at Darmstadt, and edited news])apers at Frankfurt and Mannheim. In 1854 he established the Franhfurter .l/«sei(»i. He was the author of (J)uirlotte Ackcrmann (1854); Der StadtschuU- hci.is von Frankfurt (3d ed. 1878), treating of (ioethe's grandparents ; Aus Pctrarcas alien Tagcn (1801); Uer Majoratsherr (1873); and t^cliallcn auf Uiihen (1881). Consult the biug- raphy, by Schulte vom Briihl (Stuttgart, 1805). MULLER, Peter Era,smu.s (1776-1834). A Dani-h liieulogian and antiquary. He was born at Copenhagen, and studied at the luiiversity there, passing liis theological exaniinaliun in 1701, -After spending some time in the tierman universities, he visited France and England. Re- turning, he wrote numerous works; was apjioint- ed professor of theology' at the University of Copenhagen in 1801. and in 1830 became Bishop of Zealand, the higliest ecclesiastical dignity in Dcnnuxrk. He was an eminent thenlogian. and his theological works, including that on the Cliris- tian moral system (1808) and uther volumes, are very higlily valued. But his literary reputation rests u])on his essays on Danish and Norse an- tiquities, of which the mo.st valualilc are: Oni del islamlske Sprogs Vigliglwd (1813); Kritisk Vn- dersiigclse af Uanmarks og Gorges Sagnhistorie (1823-30) ; and, above all. his tiagahihiiothek, or I.ihrani of the Sagas (1810-18). MULLER, Victor (1820-71). A German his- torical ]iainter, born in Frankfort. First in- structed there at the Stadel Institute by Steinle, he studied afterwards at the Antwerp Academy and under Couture in Paris. Soon, however, he became a follower of Courbet. whose technique, the reverse of Couture's, he adopted, and sulisc- qucntly helped to promote in Germany. In 1858 he returned to Frankfort, where he .soon at- tracted attention with a scries of pictures, thor- oughly realistic in euncc|>tion ami of great colur- istie charm, but scarcely understood by a public accustomed to the sentimental trend of (lie Diisseldorf school of that period. He therefore, in 1800. removed to Munich, where such revo- lutionary departures frum traditional treatment as the "Slcejiing Wood-Nymph" ( 1803), or "Hero and Leander." were more likely to be apjin'riatcd. Out of a cycle frum Sliakesjiearc. which lie painted there. "Ilainlct in the (Jraveyard" (1800) is surpassed only by the "Balcony Scene in Romeo and .luliet" (New Pinakothek. Mu- nich). To his inllui'nee as a eolorist was due not only the introduction of the tune-element into the paintings of the Munich school, but also the truer concept ion of historical characters and n more wholesome observation of nature among the younger generation of artists.