the latter was surprised, and made prisoner, with a number of his men. He afterwards compelled the government to make him redress: and ever since Mocha has continued the chief emporium of this part of the world. The Dutch first established a factory there: they were followed by the French in 1708, and soon after by the English. We had nearly monopolised the small but steady trade carrying on till 1803, when the Americans became formidable rivals in the coffee trade; and soon took off the largest quantity. We believe this was the case down to the late period of the opening of the East India trade.

The country around Mocha is a dreary plain bounded by mountains, and consisting entirely of arid sand. Around the town, indeed, date trees appear in considerable numbers; but their stunted growth shows the poverty of the soil. The climate is intensely hot. The south-east wind blows here for eight months in the year over the burning sands of the interior, and, for the other four months, a north-west wind which has passed over the sands of Arabia. The appearance of the town and its three chief minarets from the sea is

handsome; all its buildings are white washed, and the dead line of the flat roofs is agreeably broken by several noble tombs. On entering the place, the filth of the streets and open spaces is sufficiently disgusting: the houses are found to be built of unburnt bricks, with little lime; and hence, if a house be awhile neglected, it becomes a heap of rubbish and mud. The dola's residence is large and lofty, having one front to the sea, and another to a square. Another side is filled up by the residence of the secretary of state, and by an extensive serai built by the Turks. The best houses are facing the sea. They have turreted tops, with ornaments in white stucco. The windows are small, and the upper ones usually circular, formed by thin strata of a transparent stone found in the neighbourhood. The interior is ill contrived, the passages being long and narrow, and the stair-cases steep. The lower ranks live in wicker huts, covered in the inside with mats, and on the outside with a little clay thatched.

The town of Mocha is supposed by lord Valentia to contain about 5000 inhabitants, and is enclosed by a wall about sixteen feet high extending for about half a mile, in nearly a straight line facing the sea. It is too thin every where to resist a cannon shot, or to bear the firing of cannon upon it; while the forts towards the sea would be levelled to the ground by a single broadside from a man of war. They chiefly serve to exclude the Wahabees, whose only mode of reducing a town is to storm it by cavalry. The garrison consists of about 200 musqueteers, and eighty horse. The staple of Mocha is coffee, of which this part of Arabia has the most excellent in the world. It is here a small shrub, rising to the height of sixteen or eighteen feet, and having leaves about five inches long and two broad. The fruit grows in clusters, and is gathered when of a deep red. Before 1803 nearly the whole quantity was conveyed from Mocha to Jidda, whence it was conveyed to Alexandria, Constantinople, and Europe. The quantity then sent to Jidda is estimated by lord Valentia at 16,000 bales of

305 lbs. each, making 4,880,000 lbs. In 1803, when the Americans began to export it on a great scale, the competition raised the price from thirty-six or forty to fifty dollars per bale. In the following years, 8000 bales were exported by the Americans, and 2000 by the British.

At Mocha are also obtained gum arabic, myrrh, and frankincense (brought from the opposite coast of Berbera in Africa); balm of Gilead or of Mecca, a resinous juice much used in the east as a cosmetic; senna; sharks' fins; rhinoceros' horns and hides; acacia; and civet. The imports from Bombay, chiefly in grain and piece goods, are of very considerable amount. From 1892 to 1806 inclusive they were as follows:

or about £914,998 sterling. The returns are al most entirely in money or bullion.

About 250 Banians or Gentoo merchants, who are subject to great oppression, carry on this trade: they do not venture to bring their families thither; but their profits are great: and it is considered more eligible to treat with them than with the Moors or Turks. The English pay a duty of three per cent. on the business done; but other foreigners five. A three masted vessel must pay, on its arrival, duty to the amount of 384 dollars. Those with two masts half. This however is not paid, unless something be sold. Presents are also necessary for permission to land. Long. 43° 20' E., lat. 13° 20' N.

MOCHA, an uninhabited island on the coast of Chili, upwards of sixty miles in circumference. It is very fertile, and was formerly settled by the Spaniards: at present it is frequented by the whalers of the United States and England, who begin fishing here, as it is well supplied with wild hogs. Lat. 38° 40′ S.

MOCHO STONE, n. s. From Mocha, and therefore more properly Mocha-stone.

Mocho-stones are related to the agat, of a clear horny grey, with declinations representing mosses, shrubs, and branches, black, brown, red, in the substance of the stone.

Woodward.

Fr. mocquer; Wel.

moccio; Gr.

μωκάω. Το imitate in derision; to

MOCK, v. a., v. n., n. s., & adj.) MOCK'ABLE, adj. MOCK'ER, n. s. MOCK ERY, n. s. MOCK'ING-BIRD, n. s. MOCK'INGLY, adv. mimic; ridicule: hence to deceive by false appearances or pretensions; delude; tantalise: as a neuter verb, to make contemptuous sport: as a substantive it signifies ridicule; contempt; sneer; gibe; mimicry: mockable is exposed or liable to derision: mocker, one who practises it; a scorner; scoffer: mockery, derision; scorn; insulting imitation or merriment; vain attempt, or show: mocking-bird, a species of parrot, renarkable for imitating other birds: mockingly, contemptuously; insultingly; delusively.

Our very priests must become mockers, if they shall encounter such ridiculous subjects as you. Id. To have done, is to hang quite out of fashion, Like rusty mail in monumental mockery.

Id.

Now reach a strain, my lute, Above her mock, or be for ever mute. Crashaw. At first every man thinks his fellow mocks him; but now, perceiving this serious confusion, their only answer was silence, and ceasing. Bp. Hall.

He will not Mock us with his blest sight, then snatch him hence, Soon shall we see our hope return. Milton.

What shall be the portion of those who have affronted God, derided his word, and made a mock of every thing that is sacred?

Tillotson.

The mock astrologer, El astrologo fingido.

Dryden.

That superior greatness and mock majesty, which is ascribed to the prince of fallen angels, is admirably preserved. Spectator.

Let them have a care how they intrude upon so great and holy an ordinance, in which God is so seldom mocked but it is to the mocker's confusion.

South's Sermons. Heaven's fuller influence mocks our dazzled sight, Too great its brightness, and too strong its light.

Prior.

MOCWANPOOR, a district of Northern Hindostan, situated between 27° and 28° of N. lat., and bounded to the south by the districts of Bettiah and Tirhoot in Bahar. The fertile valley of this name is of no great extent, not stretching further to the eastward than six or seven miles, and terminating near Nagdeo on the Hettowrah side. It yields abundance and great variety of rice, and the cultivators enjoy considerable immunities from the Nepaul government, to which the district belongs. The ancient rajah was deposed by the Goorkhalies.

MOCWANPOOR, a town in Northern Hindostan, the capital of the district of the same name, stands in lat. 27° 28′ N., long. 85° 18′ E. The hill fort is distinguishable by the naked eye from the banks of the Kurrah, and is a place of strength. When the Nepaulese were pressed by the Chinese, the regent and some of the principal chiefs despatched a great part of their valuable property to this fort; and in 1762 Cossim Ali's general, Goorgeen Khan, made an attempt on it, but did not succeed.

MODE, n. s. Fr. mode, modale; Ital. MO'DAL, adj. modo; Lat. modus, modalis. MODALITY, n. s.) Form; fashion; custom; manner; way; outward variety; degree; gradation; state as to outward things: modal is relating to the form or manner, as distinct from the essence of a subject or thing: modality, external or accidental difference.

My death

Changes the mode: for what in me was purchased,
Falls upon thee in a much fairer sort,
For thou the garland wearest successively.

Shakspeare. not with the schools their real distinction from it, When we speak of faculties of the soul, we assert but only a modal diversity. Glanville.

The duty itself being resolved upon, the mode of doing it may easily be found. Taylor's Guide.

There are certain garbs and modes of speaking which vary with the times; the fashion of our clothes being not more subject to alteration than that of our speech.

Our Saviour beheld

A table richly spread, in regal mode, With dishes piled.

Denham.

Milton's Paradise Regained. They were invited from all parts; and the favour of learning was the humour and mode of the age. Temple.

The motions of the mouth by which the voice is discriminated, are the natural elements of speech; and the application of them in their several compositions, or words made of them, to signify things, or the modalities of things, and so to serve for communication of notions, is artificial. Holder.

We are to prefer the blessings of Providence before the splended curiosities of mode and imagination. L'Estrange.

As we see on coins the different faces of persons, we see too their different habits and dresses, according to the mode that prevailed. Addison on Medals.

What modes of sight betwixt each wide extreme, The mole's dim curtain, and the lynx's beam; Of smell, the headlong lioness between, And hound sagacious on the tainted green. Pope. If faith itself has diff'rent dresses worn, What wonder modes in wit should take their turn? Id.

6

MODE, in metaphysics, seems properly to denote the manner of a thing's existence: but Mr. Locke uses the word in a sense somewhat different from its ordinary signification. Such complex ideas, which, however compounded, contain not in them the supposition of subsisting by themselves, but are considered as dependencies on, or affections of substances,' he calls modes. Of these there are two sorts; First, those which are only variations, or different combinations of the same simple idea, without the mixture of any other, as a dozen or a score; which are nothing but the ideas of so many distinct units added together: these he calls simple modes. Secondly: There are others compounded of simple ideas of several kinds put together to make one complex one; v. g. beauty, consisting of a certain composition of color and figure, causing delight in the beholder: theft, which being the concealed change of the possession of any thing without the consent of the proprietor, contains, as is visible, a combination of several ideas of several kinds; and these he calls mixed modes.

MODE, in music, a regular disposition of the air and accompaniments relative to certain principal sounds upon which a piece of music is formed, and which are called the essential sounds of the mode. There is this difference between the mode and the tone, that the latter only determines the principal sound, and indicates the place which is most proper to be occupied by that system which ought to constitute the bass of the air; whereas the former regulates the thirds, and modifies the whole scale agreeably to its fundamental sounds. Our modes are not, like those of the ancients, characterised by any sentiment which they tend to excite, but result from our system of harmony alone. The sounds essential to the mode are three, and form together one perfect chord. 1. The tonic or key, which is the fundamental note both of the tone and of the mode: See TONE and TONIC. 2. The dominant, which is a fifth from the tonic. 3. The mediant which properly constitutes the mode, and which is a third from the same tonic. this third may be of two kinds, there are of consequence two different modes. When the mediant forms a greater third with the tonic the mode is major; when the third is lesser, it is minor. The major mode is immediately generated by the resonance of sounding bodies, which exhibit the third major of the fundamental sound; but the minor mode is not the product of nature; it is only found by analogy and inversion. This is equally true upon the system of Sig. Tartini as upon that of M. Rameau. This last author has

As

explained the origin of this minor mode in different ways, of which his interpreter M. d'Alembert was satisfied with none. For this reason he has founded this origin on a different principle. See MUSIC. When the mode is once deter

mined, every note in the scale assumes a mean expressive of its relation to the fundamental sound, and peculiar to the place which it occupies in that particular mode. We subjoin the names of all the notes significant of their relative values and places in each particular mode, taking the octave at ut as an example of the major mode, and of la as an example of the minor.

Major, ut re mi fa sol la si ut Minor, la si ut re mi fa

sol la

When the seventh note is only a semitone distant from the highest in the octave, i. e. when it forms a third major with the dominant, as si natural in the major mode, or sol sharp in the minor, that seventh sound is then called a sensible note, because it discovers the tonic and renders the tone appreciable. Nor does each gradation only assume that name which is suitable to it; but the nature of each interval is determined according to its relation to the mode. The rules established for this are as follows: 1. The second note must form a second major above the tonic, the fourth note and the dominant should form a fourth and fifth exactly true; and this equally in both modes. 2. In the major mode, the mediant or third, the sixth and the seventh from the tonic, should always be major; for by this the mode is characterised. For the same reason these three intervals ought always to be minor in the minor mode; nevertheless, as it is necessary that the sensible note should likewise there be perceived, which cannot be effectuated without a false relation whilst the sixth note still remains minor; this occasions exceptions, of which, in the course of the air or harmony, care must be taken. But it is always necessary that the cleff, with its transpositions, should preserve all the intervals, as determined with relation to the tonic according to the species of the mode. (See Cleff, in Rousseau's Musical Dictionary.) As all the natural chords in the octave of ut give, with relation to that tonic, all the intervals prescribed for the major mode, and as the case is the same with the octave of la for the minor mode, the preceding example may serve as a formula for the rule of the intervals in each mode. This rule has its source in the generation of harmony. If you give a perfect major chord to the tonic, to the dominant, and the sub-dominant, you will have all the sounds of the diatonic scale for the major mode; to obtain that of the minor, leaving still its third major to the dominant, give a third minor to the two other chords. Such is the analogy of the mode. There are properly only two modes; but there are twelve different sounds in

pends on the form of the subject to be taken. The process is easy where the parts are elevated only in a slight degree, or where they form only a right or obtuse angle with the principal surface from which they project; but where the parts project in smaller angles, or from curves inclined towards the principal surface, the work is more difficult. This observation, however, holds good only with regard to hard and inflexible bodies; for such as are soft may often be freed from the mould, even though they have the shape last mentioned. The moulds are to be made of various degrees of thickness, according to the size of the model to be cast; and may be from half an inch to an inch, or, if very large, an inch and a half. Where a number of models are to be taken from one mould, it is necessary to have it of a stronger contexture than where only a few are required.

MODELS OF LIVING PERSONS. Besides the models which are taken from inanimate bodies, it has been frequently attempted to take the exact resemblance of people while living, by using their face as the original of a model, whence to take a mould; and the operation, however disagreeable, has been submitted to by persons of the highest ranks in life. A considerable difficulty occurs in this, however, by reason of the person's being apt to shrink and distort his features when the liquid is poured upon him; neither is he altogether without danger of suffocation unless the operator well understands his business. To avoid the former inconvenience it will be proper to mix the plaster with warm instead of cold water, by which means the person will be under no temptation to shrink; and, to prevent any danger of a fatal accident, the following method is to be practised:- Having laid the person horizontally on his back, the head must first be raised by a pillow to the exact position in which it is naturally carried when the body is erect; then the parts to be represented must be very thinly covered over with fine oil of almonds by a painter's brush; the face is then to be first covered with fine fluid plaster, beginning at the upper part of the forehead, and spreading it over the eyes, which are to be kept closed, yet not so strongly as to cause any unnatural wrinkles. Cover then the nose and ears, plugging first up the meatus and torii with cotton, and the nostrils with a small quantity of tow rolled up, of a proper size, to exclude the plaster. During the time that the nose is thus stopped, the person is to breathe through the mouth in this state the fluid plaster is to be brought down low enough to cover the upper lip, observing to leave the rolls of tow projecting out of the plaster. When the operation is thus far carried on, the plaster must be suffered to harden; after which the tow may be withdrawn, and the nostrils left free and open for breathing. The mouth is then to be closed in its natural position, and the plaster brought down to the extremity of the chin. Begin then to cover that part of the breast which is to be represented, and spread the plaster to the outsides of the arms and upwards in such a manner as to meet and join that which is previously laid on the face: when the whole of the mass has acquired its due hardness it is to be cautiously

lifted without breaking. After the mould is constructed it must be seasoned with linseed oil, litharge, &c.; and when the mould is cast it is to be separated from the model by means of a small mallet and chisel. The eyes, which are necessarily shown closed, are to be carved, so that the eye-lids may be represented in an elevated posture; the nostrils hollowed out; and the back part of the head, from which, on account of the hair, no mould can be taken, must be finished according to the skill of the artist. The edges of the model are then to be neatly smoothed off, and the bust fixed on its pedestal.

When models are made of such large objects, that the model itself must be of considerable size, it is vain to attempt making it in the way above described. Such models must be constructed by the hand with some soft substance, as wax, clay, putty, &c.; and, it being necessary to keep all the proportions with mathematical exactness, the construction of a single model of this kind must be a work of great labor and expense, as well as of time. A beautiful model was made, in wood, of the New Town of Edinburgh, before it was begun to be built. A model was also made of a bridge over the Neva, of uncommon strength as well as elegance. But, of all the models which have been undertaken by human industry, perhaps the most remarkable is that which was constructed by general Pfiffer, to represent the mountainous parts of Switzerland. It was composed of 142 compartments, of different sizes and forms, respectively numbered, and so artfully put together that they could be separated and replaced with the greatest ease. The model itself was twenty feet and a half long, and twelve broad, and formed on a scale which represented two English miles and a quarter by an English foot; comprehending part of the cantons of Zug, Zurich, Schweitz, Underwalden, Lucerne, Berne, and a small part of the mountains of Glarus; in all, an extent of country of eighteen leagues and a half in length and twelve in breadth. The highest point of this model, from the level of the centre, which is the lake of Lucerne, was about ten inches; and as the most elevated mountain represented therein rises 1475 toises, or 9440 feet, above the lake of Lucerne, at a gross calculation, the height of an inch in the model was about 900 feet. The whole was painted of different colors, in such a manner as to represent objects as they exist in nature. So minute also was the accuracy of the plan that it comprised not only all the mountains, lakes, rivers, towns, villages, and forests, but every cottage, bridge, torrent, road, and even every path. The principal materials employed in the construction of this extraordinary model were a mixture of charcoal, lime, clay, a little pitch, with a thin coat of wax; and it was so hard that it might be trod upon without damage. It was begun in 1766, when the general was about fifty years of age, and employed him till August 1785; during all which long space of time his task was not only most laborious, but even dangerous. He raised the plans with his own hands on the spot, took the elevation of mountains, and laid them down in their several proportions. In the prosecution of this employ