Page:The New International Encyclopædia 1st ed. v. 14.djvu/193

MUSCULAR SYSTEM. 157 MUSEUM. entiated part, which also siirrounds tliem in the form of a sheath and contains the nuclei. KiBLlociBAPHY. Parker and Haswell, Text- Book of Zoology (London, 1897) ; A. Lang. Text- Book of Comparatire Aitalomy, parts i. and ii. (ib., 1891-96) ; Wiedershcini. Comjxirativi: Anato- vui of Vertehratis, Knglisli adaptation, by W. N. Parker (ib., 1897) ; Gegenbaur; Harmer (ed- itor). Cambridge Xatural Hislory, vols. i.-x. (ib., 189.')-1902). MUS'CULUS, Wolfgang (properly Muslin) (1497-15C3). A German reformer and theologian, born at Dieuze in Lorraine. At fifteen he en- tered a Benedictine cloister at Lixheini. but left it fifteen years afterwards, having been turned to Protestantism by Luther's writings. In 1531 he became pastor at Augsburg, and for .seventeen j-ears was prominent in that city, ilusculus was "long an eager partisan of union between the Lutheran and Reformed churches and took part in the Wittenberg Agreement (15.36), and in the colloquies of Worms and Ratisbon (1540-41). At the time of the Augsburg Interim (1548) he went to Switzerland, and in 1549 became pro- fessor of theology at Bern. His views were more strongly Calvinistic in his later years, and with Calvin and Vermigli he may be reckoned as a leader of the sixteenth-century Reformation. Consult Grote, 11". Musculus (Hamburg, 1855). MUSEE SOCIAL, m'2&' sft'syal' (Fr., Social !Museum), The. An organization whose object is to furnish the public with infnrniaticm regard- ing movements having for their aim the im- provement of the moral and material situation of the laboring classes. It resulted from the in- terest in the social science exhibition at the Paris Exposition of 1889, but was not formally inaugu- rated until March 25, 1895. The Comte de Cham- brun has given the institution an endowment of over 2,000,000 francs. Special collections of all matters pertaining to labor, trades unions, old- age pensions, housing reform, etc.. are made and indexed for ready reference. Studies of labor conditions in various countries have been under- taken, and the results published in monographs. Although young, the ^Mus^c has proved of great usefulness. It was very active in preparing the excellent exhibit of social economy in the Ex- position of 1900. The more important publica- tions of the Musee are contained in the Biblio- theqiir du Musee fioeial. It issues a small monthly 'cireulaire' containing general matter pertaining to labor. MUSES (Lat. Musa, Gk, MoCo-a, Mousa; con- nected with imvla, mania, madness). In Greek niythologv', the inspirers of song and nmsic. In the Homeric epic their personality an<l nundier are vague, the poet now invoking but one Muse, now a number; only in a very late passage in the Odyssey are nine mentioned. In the Theogony of Hesiod the canonical number, nine, and names appear. Originally probably nymphs of fountains on !Mount Olympus, they seem to have been worshiped first in Pieria. whence the cult spread southward and established itself on Mount Helicon at Ascra, and in Tliespia". We also hear of shrines at Del])hi and at Athens, both on the Ilissus and on the ^Museum Hill, which thus obtained its name. There are grounds for believing that, like the Charites and Hora>. the Muses were originally three, biit nine was their number on Helicon, and this became universally accepted, as well as the tradition that they were the daughters of Zeus and Mnemosyne ( Memory ) . In art the Muses are frequently represented. On the Francois vase, an Attic work of the early sixth century B.C., they appear at the marriage of Peleus and Thetis, with Calliope playing on a Pan's pipe at the head. Later artists used them freely, especially in connection with .pollo, or tlie mythical poets Orpheus and Thaniyris. On the basis 'by Praxiteles at Mantinea they are repre- sented as present at the contest between Apollo and Marsyas. It is to be noted, however, that while there is a tendency to develop definite artistic types for some of the figures, the division of the several branches of poetic art among the Muses and the adoption of fixed attributes to dis- tinguish them is a product of a comparatively late period in the Roman Empire. Even the Hesiodic names did not designate the functions of the Muses, and in the popular usage seem to have been but little employed. The functions of the Hesiodic Muses were thus assigned in the later writers: Clio, history; Calliope, epic poetry; Polyhymnia, the pantomime; Euterpe, music of the flute; Terpsichore, nielic poetry and the dance; Erato, the choral lyric; Melpomene, tragedy; Thalia, comedy; Urania, astronomy. Some variations in this classification are found. Consult: Deiters, Ueber die ^'€rek)■ung der Musen bei den Griechen (Bonn. IStiS) ; Bie, Die Musen in der antiken Kimst (Berlin, 1887). See also the articles on the individual Muses. MUSES' LOOKING-GLASS, The. A play by Thomas Randol]ih published in Poems ivith Muses' Looking-Olass and Ainynlas, 1638. It was performed some time earlier at Cambridge, and is mentioned by Sir Aston Cokain as the "Enter- tainment." It consists of witty dialogues be- tween personifications of the vices and virtues in the presence of two Puritans, and sliows the infiuence of Ben .Jonson on the author. An altered version, entitled the Mirrour, appeared in 1758. MUSEUM ( Lat. m useum, from Gk. ixovcthv, mouseion, temple of the Muses, place for study, museum, from MoO<ra, Jlousa, Muse). An insti- tution for the preservation, study, and exhibition of objects of art or those of natural origin. The term was originally applied to a place or temple sacred to the Muses, but a little later was be- stowed on institutions for the pursuit of the higher branches of learning, such as art and philosophy, the first recorded use of the word for this purpose being the famous Museum of Ptolemy Soter at Alexandria. Tlie application of the word to institutions for the preservation and exhibition of works of art or specimens of natural history is comparatively recent, as are the institutions themselves, and seems to have come into vogue with the systematic gathering of objects for public exhibition. Such collections were originally known as cabinets; and while the term was to some extent restricted to small pri- vate collections, it was also given to many of very considerable size, such as the State Cabinet of Natural History at Albany, N. Y. The germ of the modern museum has been thought by some to lie in votive otTerings placed in pagan temples or deposited in churches, and in objects of sacred or historical interest pre- served in churches and monasteries. And it may be said that one of the earliest references to the preservation of specimens of natural history is