See F. Stieve, Ernst von Mansfeld (Munich, 1890); R. Reuss, Graf Ernst von Mansfeld im böhmischen Kriege (Brunswick, 1865); A. C. de Villermont, Ernest de Mansfeldt (Brussels, 1866); L. Graf Uetterodt zu Schaffenberg, Ernst Graf zu Mansfeld (Gotha, 1867); J. Grossmann, Des Grafen Ernst von Mansfeld letzte Pläne und Thaten (Breslau, 1870); E. Fischer, Des Mansfelders Tod (Berlin, 1873); S. R. Gardiner, History of England, vols. iv. and v. (1901); JL. Motley, Life and Death of John of Barneveld (ed. 1904; vol. ii.). MANSFIELD, RICHARD (1857-1907), American actor, was born on the 24th of May 1857, in Berlin, his mother being Madame [Erminia] Rudersdorff (1822-1882), the singer, and his father, Maurice Mansfield (d. 1861), a London wine merchant. He first appeared on the stage at St George's Hall, London, and then drifted into light opera, playing the Major-General in The Pirates of Penzance, and the Lord High Executioner in The Mikado, both in the English provinces and in America. In 1883 he joined A.M. Palmer's Union Square theatre company in New York, and made a great hit as Baron Chevrial in A Parisian Romance. He appeared successfully in several plays adapted from well-known stories, and his rendering (1887) of the doubled title-parts in R. L. Stevenson's Strange Case of Dr Jekyll and Mr Hyde created a profound impression. It was with this play that he made his London reputation during a season (1888) at the Lyceum theatre, by invitation of Henry Irving. He produced Richard III. the next year at the Globe. Among his other chief successes were Prince Karl, Cyrano de Bergerac and Monsieur Beaucaire. He was one of the earliest to produce G. Bernard Shaw's plays in America, appearing in 1894 as Bluntschli in Arms and the Man, and as Dick Dudgeon in The Devil's Disciple in 1897. As a manager and producer of plays Mansfield was remarkable for his lavish staging. He died in New London, Connecticut, on the 30th of August 1907. See the lives by Paul Wilstach (1908) and William Winter (1910). MANSFIELD, WILLIAM MURRAY, IST EARL OF (17051793), English judge, was born at Scone in Perthshire, on the 2nd of March 1705. He was a younger son of David Murray, 5th Viscount Stormont (c. 1665-1731), the dignity having been granted in 1621 by James I. to his friend and helper, Sir David Murray (d. 1631), a Scottish politician of some note. Lord Stormont's family was Jacobite in its politics, and his second son James (c. 1690-1728), being apparently mixed up in some of the plots of the time, joined the court of the exiled Stuarts and in 1721 was created earl of Dunbar by James Edward, the Old Pretender.

William Murray was educated at Perth grammar school and Westminster School, of which he was a king's scholar. Entering Christ Church, Oxford, he graduated in 1727. A friend of the family, Lord Foley, provided the funds for his legal training, and he became a member of Lincoln's Inn on his departure from Oxford, being called to the bar in 1730. He was a good scholar and mixed with the best literary society, being an intimate friend of Alexander Pope. His appearance in some important Scottish appeal cases brought him into notice, and in Scotland at least he acquired an immense reputation by his appearance for the city of Edinburgh when it was threatened with disfranchisement for the affair of the Porteous mob. His English practice had as yet been scanty, but in 1737 a single speech in a jury trial of note placed him at the head of the bar, and from this time he had all he could attend to. In 1738 he married Lady Elizabeth Finch, daughter of the earl of Winchelsea. His political career began in 1742 with his appointment as solicitor-general. During the next fourteen years he was one of the most conspicuous figures in the parliamentary history of the time. By birth a Jacobite, by association a Tory, he was nevertheless a Moderate, and his politics were really dominated by his legal interests. Although holding an office of subordinate rank, he was the chief defender of the government in the House of Commons, and during the time that Pitt was in opposition had to bear the brunt of his attacks. In 1754 he became attorney-general, and for the next two years acted as leader of the House of Commons under the administration

was evidently approaching its fall, an unexpected vacancy occurred in the chief justiceship of the king's bench, and he claimed the office, being at the same time raised to the peerage as Baron Mansfield.

From this time the chief interest of his career lies in his judicial work, but he did not wholly dissever himself from politics. He became by a singular arrangement, only repeated in the case of Lord Ellenborough, a member of the cabinet, and remained in that position through various changes of administration for nearly fifteen years, and, although he persistently refused the chancellorship, he acted as Speaker of the House of Lords while the Great Seal was in commission. During the time of Pitt's ascendancy he took but little part in politics, but while Lord Bute was in power his influence was very considerable, and seems mostly to have been exerted in favour of a more moderate line of policy. He was on the whole a supporter of the prerogative, but within definite limits. Macaulay terms him, justly enough," the father of modern Toryism, of Toryism modified to suit an order of things in which the House of Commons is the most powerful body in the state. During the stormy session of 1770 he came into violent collision with Chatham and Camden in the questions that arose out of the Middlesex election and the trials for political libel; and in the subsequent years he was made the subject of the bitter attacks of Junius, in which his early Jacobite connexions, and his apparent leanings to arbitrary power, were used against him with extraordinary ability and virulence. In 1776 he was created earl of Mansfield. In 1783, although he declined to re-enter the cabinet, he acted as Speaker of the House of Lords during the coalition ministry, and with this his political career may be said to have closed. He continued to act as chief justice until his resignation in June 1788, and after five years spent in retirement died on the 20th of March 1793. He left no family, but his title had been re-granted in 1792 with a direct remainder to his nephew David Murray, 7th Viscount Stormont (1727-1796). The 2nd earl was ambassador to Vienna and then to Paris; he was secretary of state for the southern department from 1779 to 1782, and lord president of the council in 1783, and again from 1794 until his death. In 1906 his descendant Alan David Murray (b. 1864) became 6th earl of Mansfield.

Lord Mansfield's great reputation rests chiefly on his judicial career. The political trials over which he presided, although they gave rise to numerous accusations against him, were conducted with singular fairness and propriety. He was accused with especial bitterness of favouring arbitrary power by the law which he laid down in the trials for libel which arose out of the publications of Junius and Horne Tooke, and which at a later time he reaffirmed in the case of the dean of St Asaph (see LIBEL). But we must remember that his view of the law was concurred in by the great majority of the judges and lawyers of that time, and was supported by undoubted precedents. In other instances, when the government was equally concerned, he was wholly free from suspicion. He supported Lord Camden's decision against general warrants, and reversed the outlawry of Wilkes. He was always ready to protect the rights of conscience, whether they were claimed by Dissenters or Catholics, and the popular fury which led to the destruction of his house during the Gordon riots was mainly due to the fact that a Catholic priest, who was accused of saying Mass, had escaped the penal laws by his charge to the jury. His chief celebrity, however, is founded upon the consummate ability with which he discharged the civil duties of his office. He has always been recognized as the founder of English mercantile law. The common law as it existed before his time was wholly inadequate to cope with the new cases and customs which arose with the increasing development of commerce. The facts were left to the jury to decide as best they might, and no principle was ever extracted from them which might serve as a guide in subsequent cases. Mansfield found the law in this chaotic state, and left it in a form that was almost equivalent to a

code.

mansion" is given to any large and important house in town or country; and " mansion house" to the official residence, when provided, of the mayor of a borough, particularly to that of the lord mayors of London and Dublin. From the general meaning of a conspicuously large dwelling-place comes the modern employment of the term mansions," in London and elsewhere, for large buildings composed of “flats.”

See Holliday's Life (1797); Campbell's Chief Justices; Foss's Judges; Greville's Memoirs, passim; Horace Walpole's Letters; and other memoirs and works on the period.

MANSFIELD, a market town and municipal borough in the Mansfield parliamentary division of Nottinghamshire, England, on the small river Mann or Maun; the junction of several branches of the Midland railway, by which it is 142 m. N.N.W. from London. Pop. (1891), 13,094; (1901), 15,250. Area, 7068 acres. The church of St Peter is partly Early Norman, and partly Perpendicular. There is a grammar school founded by Queen Elizabeth in 1561, occupying modern buildings. Twelve almshouses were founded by Elizabeth Heath in 1693, and to these six were afterwards added. There are a number of other charities. The industries are the manufacture of lace, thread, boots and machinery, iron-founding and brewing. In the neighbourhood, as at Mansfield Woodhouse to the north, there are quarries of limestone, sandstone and freestone. The town is governed by a mayor, 6 aldermen and 18 councillors. During the heptarchy Mansfield was occasionally the residence of the Mercian kings, and it was afterwards a favourite resort of Norman sovereigns, lying as it does on the western outskirts of Sherwood Forest. By Henry VIII. the manor was granted to the earl of Surrey. Afterwards it went by exchange to the duke of Newcastle, and thence to the Portland family. The town obtained a fair from Richard II. in 1377. It became a municipal borough in 1891.

MANSFIELD, a city and the county-seat of Richland county, Ohio, U.S.A., about 65 m. S.W. of Cleveland. Pop. (1890), 13.473; (1900), 17,640, of whom 1781 were foreign-born; (1910 census), 20,768. It is served by the Pennsylvania (Pittsburg, Ft Wayne & Chicago division), the Erie, and the Baltimore & Ohio railways. It is built on an eminence (1150 ft.), and has two public parks, a substantial court-house, a soldiers' and sailors' memorial building, a public library, a hospital and many fine residences. It is the seat of the Ohio state reformatory. Mansfield has an extensive trade with the surrounding agricultural country, but its largest interests are in manufactures. The total factory product in 1905 was valued at $7,353,578. There are natural gas wells in the vicinity. The waterworks and the sewage disposal plant are owned and operated by the municipality. Mansfield was laid out in 1808, and was named in honour of Lieut.-Colonel Jared Mansfield (1759-1830), United States surveyor of Ohio and the North-west Territory in 18031812, and professor of natural and experimental philosophy at West Point from 1812 to 1828. Mansfield was incorporated as a village in 1828 and was first chartered as a city in 1857. It was the home of John Sherman from 1840 until his death. MANSION (through O. Fr. mansion, mod. maison, from Lat. mansio, dwelling-place, stage on a journey; manere, to remain), a term applied in early English use to the principal house of the lord of a manor. By the Settled Land Act 1890, § 10, subsec. 2, repealing § 15 of the act of 1882," the principal mansion house ... on any settled land shall not be sold or exchanged or leased by the tenant for life without the consent of the trustees of the settlement or an order of the court." The principles guiding an English court of law for making or refusing such an order are laid down in In re the Marquess of Ailesbury's Settled Estate

MANSLAUGHTER (O. Eng., mannslacht, from mann, man, and slacht, act of slaying, sleán, to slay, properly to smite; cf. Ger. schlagen, Schlacht, battle), a term in English law signifying unlawful homicide without malice aforethought " (Stephen, Digest of the Criminal Law, Art. 223). The distinction between manslaughter and murder and other forms of homicide is treated under HOMICIDE.

MANSON, GEORGE (1850-1876), Scottish water-colour painter, was born in Edinburgh on the 3rd of December 1850. When about fifteen he was apprenticed as a woodcutter with W. & R. Chambers, with whom he remained for over five years, diligently employing all his spare time in the study and practice of art, and producing in his morning and evening hours watercolours of much delicacy and beauty. In 1871 he devoted himself exclusively to painting. His subjects were derived from humble Scottish life-especially child-life, varied occasionally by portraiture, by landscape, and by views of picturesque architecture. In 1873 he visited Normandy, Belgium and Holland; in the following year he spent several months in Sark; and in 1875 he resided at St Lô, and in Paris, where he mastered the processes of etching. Meanwhile in his water-colour work he had been adding more of breadth and power to the tenderness and richness of colour which distinguished his early pictures, and he was planning more complex and important subjects. But his health had been gradually failing, and he was ordered to Lympstone in Devonshire, where he died on the 27th of February 1876.

A volume of photographs from his water-colours and sketches, with a memoir by J. M. Gray, was published in 1880. For an account of Manson's technical method as a wood engraver see P. G. Hamerton's Graphic Arts, p. 311.

MANŞÜR (Arab. "victorious "), a surname (laqab) assumed by a large number of Mahommedan princes. The best known are: (1) ABU JA'FAR IBN MAHOMMED, second caliph of the Abbasid house, who reigned A.D. 754-775 (see CALIPHATE: § C, §2); (2) ABŪ TAHIR ISMA'IL IBN AL-QAIM, the third Fatimite caliph of Africa (946-953) (see FATIMITES); (3) ABŪ YŪSUF YA QUB IBN YUSUF, often described as Jacob Almanzor, of the Moorish dynasty of the Almohades, conqueror of Alfonso III. in the battle of Alarcos (1195); (4) IBN ABÎ 'ĀMIR MAHOMMED, commonly called Almanzor by European writers, of an ancient but not illustrious Arab family, which had its seat at Torrox near Algeciras. The last-named was born A.D. 939, and began life as a lawyer at Cordova. In 967 he obtained a place at the court of Hakam II., the Andalusian caliph, and by an unusual combination of the talents of a courtier with administrative ability rapidly rose to distinction, enjoying the powerful support of Şubḥ, the favourite of the caliph and mother of his heir Hisham. The death of Hakam (976) and the accession of a minor gave fresh scope to his genius, and in 978 he became chief minister. The weak young caliph was absorbed in exercises of piety, but at first Manşür had to share the power with his fatherin-law Ghalib, the best general of Andalusia, and with the mother of Hisham. At last a rupture took place between the two ministers. Ghalib professed himself the champion of the caliph and called in the aid of the Christians of Leon; but Manşür, anticipating the struggle, had long before remodelled the army and secured its support. Ghalib fell in battle (981); a victorious campaign chastised the Leonese; and on his return to Cordova the victor assumed his regal surname of al-Manşür billah, and became practically sovereign of Andalusia. The caliph was a mere prisoner of state, and Manşūr ultimately assumed the title as well as the prerogatives of king (996). Unscrupulous in the means by which he rose to power, he wielded the sovereignty

there; the hostility of Squarcione has been assigned as the cause. The rest of his life was passed in Verona, Mantua and Romechiefly Mantua; Venice and Florence have also been named, but without confirmation.

It may have been in 1459 that he went to Verona; and he painted, though not on the spot, a grand altar-piece for the church of S. Zeno, a Madonna and angels, with four saints on each side. The Marquis Lodovico Gonzaga of Mantua had for some time been pressing Mantegna to enter his service; and the following year, 1460, was perhaps the one in which he actually established himself at the Mantuan court, residing at first from time to time at Goito, but, from December 1466 onwards, with his family in Mantua itself. His engagement was for a salary of 75 lire (about £30) a month, a sum so large for that period as to mark conspicuously the high regard in which his art was held. He was in fact the first painter of any eminence ever domiciled in Mantua. He built a stately house in the city, and adorned it with a multitude of paintings. The house remains, but the pictures have perished. Some of his early Mantuan works are in that apartment of the Castello which is termed the Camera degli Sposi-full compositions in fresco, including various portraits of the Gonzaga family, and some figures of genii, &c. In 1488 he went to Rome at the request of Pope Innocent VIII., to paint the frescoes in the chapel of the Belvedere in the Vatican; the marquis of Mantua (Federigo) created him a cavaliere before his departure. This series of frescoes, including a noted "Baptism of Christ," was ruthlessly destroyed by Pius VI. in laying out the Museo Pio-Clementino. The pope treated Mantegna with less liberality than he had been used to at the Mantuan court; but on the whole their connexion, which ceased in 1490, was not unsatisfactory to either party. Mantegna then returned to Mantua, and went on with a series of works-the nine temperapictures, each of them 9 ft. square, of the "Triumph of Caesar -which he had probably begun before his leaving for Rome, and which are now in Hampton Court. These superbly invented and designed compositions, gorgeous with all splendour of subject-matter and accessory, and with the classical learning and enthusiasm of one of the master-spirits of the age, have always been accounted of the first rank among Mantegna's works. They were sold in 1628 along with the bulk of the Mantuan art treasures, and were not, as is commonly said, plundered in the sack of Mantua in 1630. They are now greatly damaged by patchy repaintings. Another work of Mantegna's later years was the so-called "Madonna della Vittoria," now in the Louvre. It was painted in tempera about 1495, in commemoration of the battle of Fornovo, which Ginfrancesco Gonzaga found it convenient to represent to his lieges as an Italian victory, though in fact it had been a French victory; the church which originally housed the picture was built from Mantegna's own design. The Madonna is here depicted with various saints, the archangel Michael and St Maurice holding her mantle, which is extended over the kneeling Gianfrancesco Gonzaga, amid a profusion of rich festooning and other accessory. Though not in all respects of his highest order of execution, this counts among the most obviously beautiful and attractive of Mantegna's works-from which the qualities of beauty and attraction are often excluded, in the stringent pursuit of those other excellences more germane to his severe genius, tense energy passing into haggard passion.

Vasari eulogizes Mantegna for his courteous, distinguished and praiseworthy deportment, although there are indications of his having been not a little litigious in disposition. With his fellow-pupils at Padua he had been affectionate; and for two of them, Dario da Trevigi and Marco Zoppo, he retained a steady friendship. That he had a high opinion of himself was natural, for no artist of his epoch could produce more manifest vouchers of marked and progressive attainment. He became very expensive in his habits, fell at times into difficulties, and had to urge his valid claims upon the marquis's attention. After his return to Mantua from Rome his prosperity was at its height, until the death of his wife. He then formed some other connexion, and became at an advanced age the father of a natural son, Giovanni

Andrea; and at the last, although he continued launching out into various expenses and schemes, he had serious tribulations, such as the banishment from Mantua of his son Francesco, who had incurred the marquis's displeasure. Perhaps the aged master and connoisseur regarded as barely less trying the hard necessity of parting with a beloved antique bust of Faustina. Very soon after this transaction he died in Mantua, on the 13th of September 1506. In 1517 a handsome monument was set up to him by his sons in the church of S. Andrea, where he had painted the altar-piece of the mortuary chapel.

Mantegna was no less eminent as an engraver, though his history in that respect is somewhat obscure, partly because he never signed or dated any of his plates, unless in one single disputed instance, 1472. The account which has come down to us is that Mantegna began engraving in Rome, prompted by the engravings produced by Baccio Baldini of Florence after Sandro Botticelli; nor is there anything positive to invalidate this account, except the consideration by Mantegna to the last sixteen or seventeen years of his life, which that it would consign all the numerous and elaborate engravings made seems a scanty space for them, and besides the earlier engravings indicate an earlier period of his artistic style. It has been suggested that he began engraving while still in Padua, under the tuition of a distinguished goldsmith, Niccolò. He engraved about fifty plates, according to the usual reckoning; some thirty of them are mostly accounted indisputable-often large, full of figures, and highly studied. Some recent connoisseurs, however, ask us to restrict to seven the number of his genuine extant engravings-which Roman appears unreasonable. Among the principal examples are Triumphs pictures), "A Bacchanal Festival," (not the same compositions as the Hampton Court Hercules and Antaeus,' Marine Gods," "Judith with the Head of Holophernes," the Deposition from the Cross," the "Entombment," the "Resurrection," the "Man of Sorrows," the " Virgin in a Grotto." Mantegna has sometimes been credited with the important invention of engraving with the burin on copper. This claim cannot be sustained on a comparison of dates, but at any rate he introduced the art into upper Italy. Several of his engravings are supposed to be executed on some metal less hard than copper. The technique of himself and his followers is characterized by the strongly marked forms of the design, and by the oblique formal hatchings of the shadows. The prints are frequently to be found in two states, or editions. In the first state the prints have been taken off with the roller, or even by handpressing, and they are weak in tint; in the second state the printing press has been used, and the ink is stronger.

The influence of Mantegna on the style and tendency of his age was very marked, and extended not only to his own flourishing Mantuan school, but over Italian art generally. His vigorous perspectives and trenchant foreshortenings pioneered the way to aspect of a remote age with some approach to system and consistency, other artists: in solid antique taste, and the power of reviving the he distanced all contemporary competition. He did not, however, leave behind him many scholars of superior faculty. His two legitimate sons were painters of only ordinary ability. His favourite pupil was known as Carlo del Mantegna; Caroto of Verona was another pupil, Bonsignori an imitator. Giovanni Bellini, in his earlier works, obviously followed the lead of his brother-in-law Andrea.

The works painted by Mantegna, apart from his frescoes, are not numerous; some thirty-five to forty are regarded as fully authenticated. We may name, besides those already specified-in the Naples Museum, "St Euphemia," a fine early work; in Casa Melzi, Milan, the "Madonna and Child with Chanting Angels" (1461); in the Tribune of the Uffizi, Florence, three pictures remarkable for scrupulous finish; in the Berlin Museum, the " Dead Christ with two Angels "; in the Louvre, the two celebrated pictures of mythic allegoryParnassus and "Minerva Triumphing over the Vices"; in the National Gallery, London, the " Agony in the Garden," the " Virgin and Child Enthroned, with the Baptist and the Magdalen," a late example; the monochrome of "Vestals," brought from Hamilton Palace; the "Triumph of Scipio" (or Phrygian Mother of the Gods received by the Roman Commonwealth), a tempera in chiaroscuro, painted only a few months before the master's death; in the Brera, Milan, the "Dead Christ, with the two Maries weeping," a remarkable tour de force in the way of foreshortening, which, though it has a stunted appearance, is in correct technical perspective as seen from all points of view. With all its exceptional merit, this is an eminently ugly picture. It remained in Mantegna's studio unsold at his death, and was disposed of to liquidate debts.

concerning Mantegna of late years. See the works by Maud Crutwell Not to speak of earlier periods, a great deal has been written (1901), Paul Kristeller (1901), H. Thode (1897), Paul Yriarte (1901), Julia Cartwright, Mantegna and Francia (1881). (W. M. R.)

MANTELL, GIDEON ALGERNON (1790-1852), English geologist and palaeontologist, was born in 1790 at Lewes, Sussex. Educated for the medical profession, he first practised in his native town, afterwards in 1835 in Brighton, and finally