MOBES. 6-17 MODJESKA. locrian, exhibit the compass of a perfect fifth or fourth. In these two modes the pculachord represents the eompass of a diminished fifth, the teti'ac-hord that of an atigmeiilcd fouilli (trito- nus). Uoth these intervals were stron<;ly con- dennied by musical theoiy, and hence these two modes were rejected as impure, and therefore impracticable. In every mode four notes have a special sig- nificance, just as the tonic, dominant, and sub- dominant have in our modern scales. These notes are: (1) The final; (2) the dominant; (3) the mediant; (4) the participant. The final is the tone on which every melody ends. By means of this tone the mode in which any melody is written is determined. If it moves within the range of the final and its octave, the mode is authentic: if it moves below or above the final, the mode is plagal. Tlie dominant of every authentic mode is found a fifth above the final; of every plagal mode a third below the dominant of its corresponding authentic mode. The only tone which can never serve as a dominant is B. Whenever B would occur, C i-^ substituted for it. The reason for this change is that B always forms a dissonant interval with F, either an aug- mented fourth or a diminished fifth. The me- diant derives its name from the fact that in the authentic modes it always lies midway between the final and the dominant: it is always the third tone of the mode. In the plagal modes the position of the mediant is rather unsettled, owing to tile necessity of obtaining a convenient tone for cadences, as in the case of the dominant, and for the same reason B can never appear as a mediant. C is invariably substituted. The participant in the authentic modes lies either between the final and the mediant, or between the mediant and the dominant. If. however, two notes lie between the mediant and the dominant, either tone may serve as the par- ticipant. In the plagal modes the participant is always the same as the dominant of the cor- responding authentic mode. Since each plagal mode begins a fourth below its corresponding authentic, this dominant (participant of the plagal ) is the same as the lowest tone of the plagal mode. Here, again, B is barred and C substituted. Likewise F can never be partici- pant, the next higher tone (G) being substituted. While every melody must end upon the final, it may begin upon any one of the four just-men- tioned tones. But anV phrase except the last of a melody may also end upon these tones. Hence they are also called cadences or modula- tions. As in a long melody a feeling of monotony would be produced by the constant employment of these modulations, two or more tones are ad- mitted. The final, dominant, mediant, and par- ticipant are called regular modulations, and the additional tones con-ceded modulations. One of the most frequent of these conceded modulations is the seventh tone of the mode. This always appears an octave lower than the true pitch, on account of a license permitting the extension of every authentic mode by one tone below its final and of every plagal mode by a sixth above the final. In order to bring melodies within the range of certain voices it sometimes happens that they are written a fourth higher or a fifth lower than the regular mode. Such trans- position is always indicated by a B flat in the signature. In these cases the true final will be either a fourth below or a fifth above the closing note. According to their range melodies are classed as perfect, imperfect, and super/luous. A perfect melody moves within the range of the mode in w hich it is written ; an imperfect melody does not exhaust the entire range; a superlluous melody exceeds the range either above or below. Some melodies exhaust the complete range of both the authentic and its corresponding plagal mode; these are said to be written in a mixed mode. See Gkeek Music; Plain Chant; and for an explanation of the two modes in use at present, see Ma job; Minoh. MODESTO. A city and the county-seat of Stanislaus County, Cal., "7 miles south by east of Sacramento ; on the Tuolunuie Uiver and on the Southern Pacific Uailroad (.Map: California, C 3). It has some manufactures, and a trade in grain, fruit, and wool, being the centre of an extensive and productive region, the fertility of which is developed by an elaborate system of irrigation. The court house and the county hos- pital are tine structures. Population, in 1890, 2402; in 1900, 2024. MODICA, mo'de-ka. A city in the Province of Syracuse, Sicily, C.3 miles by rail southwest of the city of Syracuse, in a fertile and beautiful valley 1445 feet above the sea (Map: Italy, .J 11 ). The principal products are grain, wine, oil, cheese, butter, cattle, and mules. There are a public library, a hospital, and an infant asylum, a gym- nasium, technical schools and a technical insti- tute, and a theatre. Population (commune), in 1881. 41,231; in 1901, 48.0G2. MODIFICATION OF TEMPO. See Tempo. MODIL'LION (OF. modillion, modiglion, Fr. modilUon. from It. modiqlione, modillion, from Lat. modulus, model). An ornamental bracket much used in classic architecture, especially in the cornices of the Corinthian and Composite styles. It is so called only when used in a long series — not singly — and is usually small. Larger and single brackets are called consoles. MODIOLOIDES, nio'di-.'i-loi'dez (Neo-Lat. nom. p!., from Lat, modiolu.'s, nave of a wheel -+- Gk. eUos, eidos, form). One of the very earliest fos-sil clams known, found in rocks of Lower Cambrian age. See Fordilla; Pemcypoda. MODISff, Lady Bettv, A character in Colley Cibber's Careless Husband, a charming woman of fasliion, who, though coquetting with Lord Foppington, is in love with Lord Morelove. Mrs. Oldfield acted the part so successfully as to win unusual praise from the author. MODJESKA, m6-jes'ka, Helena (1844—). A noted actress, of Polish origin, since 187(i a resi- dent of the United States. She was the daughter of Michael Opido. a musician, and was bom in Cracow, October 12, 1844. ]Iarried in 18C0 to a manager named Modrzejewski. from the contrac- tion of whose name comes that by which she is known, she became in 18tl5 the leaditig actress in the theatre of her native city. Three years later she was married to her second husband. Count Bozenta Chlapowski, and became the star of the Imperial Theatre of Warsaw. Political difllculties and ill health led her with her hus- band to go in 1870 to California, where they established a Polish colony. This did not suc- ceed, and after only a few months' study of Eng-
