Among works published by Maury, in addition to those mentioned, are the papers contributed by him to the Astronomical Observations of the United States Observatory, Letter concerning Lanes for Steamers crossing the Atlantic (1855); Physical Geography (1864) and Manual of Geography (1871). In 1859 he began the publication of a series of Nautical Monographs.
See Diana Fontaine Maury Corbin (his daughter), Life of Matthew Fontaine Maury (London, 1888).
MAUSOLEUM, the term given to a monument erected to receive the remains of a deceased person, which may sometimes take the form of a sepulchral chapel. The term cenotaph (κενός, empty, τάφος, tomb) is employed for a similar monument where the body is not buried in the structure. The term “mausoleum” originated with the magnificent monument erected by Queen Artemisia in 353 B.C. in memory of her husband King Mausolus, of which the remains were brought to England in 1859 by Sir Charles Newton and placed in the British Museum. The tombs of Augustus and of Hadrian in Rome are perhaps the largest monuments of the kind ever erected.
MAUSOLUS (more correctly Maussollus), satrap and practically ruler of Caria (377-353 B.C.). The part he took in the revolt against Artaxerxes Mnemon, his conquest of a great part of Lycia, Ionia and of several of the Greek islands, his co-operation with the Rhodians and their allies in the war against Athens, and the removal of his capital from Mylasa, the ancient seat of the Carian kings, to Halicarnassus are the leading facts of his history. He is best known from the tomb erected for him by his widow Artemisia. The architects Satyrus and Pythis, and the sculptors Scopas, Leochares, Bryaxis and Timotheus, finished the work after her death. (See [Halicarnassus].) An inscription discovered at Mylasa (Böckh, Inscr. gr. ii. 2691 c.) details the punishment of certain conspirators who had made an attempt upon his life at a festival in a temple at Labranda in 353.
See Diod. Sic. xv. 90, 3, xvi. 7, 4, 36, 2; Demosthenes, De Rhodiorum libertate; J. B. Bury, Hist. of Greece (1902), ii. 271; W. Judeich, Kleinasiatische Studien (Marburg, 1892), pp. 226-256, and authorities under [Halicarnassus].
MAUVE, ANTON (1838-1888), Dutch landscape painter, was born at Zaandam, the son of a Baptist minister. Much against the wish of his parents he took up the study of art and entered the studio of Van Os, whose dry academic manner had, however, but little attraction for him. He benefited far more by his intimacy with his friends Jozef Israels and W. Maris. Encouraged by their example he abandoned his early tight and highly finished manner for a freer, looser method of painting, and the brilliant palette of his youthful work for a tender lyric harmony which is generally restricted to delicate greys, greens, and light blue. He excelled in rendering the soft hazy atmosphere that lingers over the green meadows of Holland, and devoted himself almost exclusively to depicting the peaceful rural life of the fields and country lanes of Holland—especially of the districts near Oosterbeck and Wolfhezen, the sand dunes of the coast at Scheveningen, and the country near Laren, where he spent the last years of his life. A little sad and melancholy, his pastoral scenes are nevertheless conceived in a peaceful soothing lyrical mood, which is in marked contrast to the epic power and almost tragic intensity of J. F. Millet. There are fourteen of Mauve’s pictures at the Mesdag Museum at the Hague, and two (“Milking Time” and “A Fishing Boat putting to Sea”) at the Ryks Museum in Amsterdam. The Glasgow Corporation Gallery owns his painting of “A Flock of Sheep.” The finest and most representative private collection of pictures by Mauve was made by Mr J. C. J. Drucker, London.