with Quintana his literary labours. His first drama, "La viuda de Padilla," was produced during the siege of the city by the French. On the evacuation of Madrid, Martinez de la Rosa was elected deputy for Granada, and took a leading part in forming the constitution of 1812. When Ferdinand VII. annulled the constitution, 4th May, 1814, he was sentenced to ten years' penal servitude at Gomera in Africa, and was only recalled by the revolution of Riego in 1820. He was again elected for Granada; but having set himself, as he says, to solve the problem of reconciling liberty with order, his views soon diverged from those of his more ardent colleagues. In March, 1821, much against his own desire, he undertook to form a ministry, but in June was compelled to tender his resignation and insist on its being accepted; he was even in danger of losing his life by the violence of the mob. The French invasion compelled him to leave Spain, and for the next eight years he resided chiefly in France, where he produced a drama, "Aben Humaya," founded on the revolt of the Moors under Philip II., and wrote a life of Perez del Pulgar, which was published with a collection of poems in 1833, when the death of the king recalled him to Madrid. He was called by the queen regent to form a constitutional ministry, and promulgated the Estatuto Real, a version of the constitution of 1812. One provision of this code—that, namely, which incorporated the Basque provinces into the kingdom of Spain—led to a revolt, and he was succeeded in office by Count Toreño. His ministry is rendered famous in the history of Spain by the treaty for the abolition of the slave-trade, signed by Martinez de la Rosa and the earl of Clarendon in 1835—a treaty which was never fully carried out until the return of the former to power in 1845. He resigned office in 1836, and retired to France in 1840, but returned to join the Narvaez ministry, and left office with it in 1846. On the accession of Pius IX. he became ambassador at the court of Rome. He returned in 1851 to discharge the duties of leader of the constitutional opposition. He accepted the post of first secretary of state in the Armero-Mon cabinet of 1857, and became president of the council of state, 14th July, 1858, in the O'Donnell ministry. He was elected president of the cortes. May 26, 1860, and again, November 9, 1861. He died 7th February, 1862. His literary achievements date chiefly during the two periods of enforced exile in France. Besides those above-named, we have "El Espiritu del Siglo" (Spirit of the Age)—a history of the French revolution; an "Epistle to the Duke de Frias;" "Arte poetica;" a tragedy of the conspiracy of Venice; several other dramas; and a novel, "Isabel de Soils."—F. M. W.
MARTINI, Giambattista, well known in every part of Europe by the title of Padre Martini, a skilful composer and very erudite musician, was born at Bologna in 1706. After the period of his youth, he entered the order of St. Francis; we do not know whether he had engaged in it when his taste for erudition, and his love for antiquity, led him to undertake the travels which he extended to Asia. It was not till his return that he entirely devoted himself to music; he studied under several masters, amongst whom he himself mentions the celebrated Ant. Perti. His progress in composition was so rapid, that in 1723, when but seventeen years of age, he was appointed chapel-master to a convent of his order at Bologna, which situation he filled till his death. He exercised the functions of professor in the same art; and his school, the most learned in existence in Italy during his life, has produced a considerably larger number of great composers than any other, while artists enjoying a high reputation, and crowned with the most brilliant success, have considered it both an honour and a duty to take his advice, and to attend to his instructions—amongst these was the celebrated Jomelli. To a talent for instruction, Martini united that for composing. He wrote a vast quantity of church music, which was highly esteemed; but those compositions which had the greatest success were his duets in the fugue style, and canons for the harpsichord or organ, which are excessively difficult. These, in spite of their coldness, pleased by the purity, clearness, and good taste which characterized them. But he derived most of his reputation from his "Saggio fondamentale practico di Contrappunto sopra il Canto Fermo," or practical essay on counterpoint on a plain song, and his "History of Music." The great merit of Martini in the former work consists in his having proved how perfectly conversant he was with the excellent schools of the sixteenth and seventeenth centuries, and in having made his readers appreciate the admirable taste and judgment with which he has selected the chef d'œuvres of that period. His "History of Music" is a work that proves his immense reading and prodigious erudition. It is a succession of essays written with a complete knowledge of the subject; but the design is defective, and the arrangement without method. He proposed to comprise it in five volumes, but would have extended it to five times the length had he finished it according to the plan on which he set out. With a view of pursuing his labours, he amassed an enormous quantity of materials. All the Italian libraries enriched him with their precious manuscripts. His friend Botrigari bequeathed to him his grand collection, which contained many rare works, and the generosity of the famous Farinelli, who furnished him with considerable funds, enabled him to obtain all the materials that were to be procured. These, united, formed a library of seventeen thousand volumes, of which three hundred were manuscript. They occupied four rooms. In the first were the MSS., the second and third contained the printed books, and the fourth was filled with the works of composers of all ages and countries. "No history of music," says Dr. Burner, "had been attempted in Italy since that of Bontempi appeared in 1695, till Padre Martini, in 1767, published in 4to the first volume of his "Storia della Musica," upon so large a scale, that though the chief part of his life seems to have been dedicated to it, only three volumes were published before his decease." In 1769 the Padre drew up and gave to his disciples a tract entitled Compendio della theoria de numeri peruso del musico di F. Giambattista Martini. In this are defined the principal calculations and ratios in the division of the monochord and in temperament. The sweetness, simplicity, and modesty which formed the character of Martini, his eagerness to communicate to all who desired it the treasures of science and of erudition he possessed, have conciliated universal esteem and veneration. The great Frederick, to whom he sent in 1762 his "History of Music," answered him with a letter written with his own hand, accompanied by a snuff-box and his portrait enriched with diamonds. All those whom the love of the arts conducted into Italy visited him in passing Bologna, and quitted him with sentiments of admiration and gratitude. He was attacked in 1774 with the dropsy in the chest, according to Dr. Burney, who about that time discerned in him symptoms of that disease, and he died August 3, 1784.—E. F. R.
MARTINI, Giovanni, P. E., a musician (known as Martini the German), was born in 1741 at Freystatt, a small town in the Upper Palatinate. He studied early in life music and the Latin language, and at the age of ten had made such progress in the former, that he was appointed organist to the Jesuits' seminary of the town of Neuburg on the Danube, where he continued for six years. In 1758 he went to the university of Freiburg in Brisgau, where he studied philosophy and acted as organist to the Franciscans. Having at this time decided on the musical profession, he resolved to travel; and uncertain where he should go, it is said that he was induced to mount to the top of his house, which was situated between the town gate leading to France and that to Italy, and to throw a feather in the air, with a determination of following the direction in which it should be blown. As it flew towards the French gate, he followed that route, and arrived in France in 1760. He first stopped at Nancy, where his talent for music, together with the frankness of his character, procured him numerous friends. Here he perfected himself in his art, and had an opportunity of examining, step by step, the construction of an organ with fifty stops then in the course of erection by Dupont at the cathedral of Nancy. It was this which gave him the idea of his work entitled "Ecole d'Orgue," which was first published at Paris in 1804. At Nancy Martini was greatly patronized by Prince Stanislaus, whose death in 1764 determined our young musician to visit Paris. The day after his arrival at this city, he was requested by some acquaintance to compose a march for one of the regiments of Swiss guards. He did so the same evening, and the following morning it was taken to the duke of Choiseul, who had fixed that day to give a prize for the best new march. The duke was so pleased with it when played on parade, that he remitted to Martini a rouleau of twenty-five louis, and appointed him an honorary officer of his regiment of hussars, which gave the young musician the honour of belonging to the corps without the trouble of performing any of its duties. He next made himself known by some trios and quartets, and by several sonatas and concertos for the pianoforte, which he caused to be published. He then was charged with the composition of a grand mass; this he himself considered
