Mudita, one of the five kinds of Bhawna or medi- tation in which the Buddhist priests are required to en- gage. The mudita is the meditation of joy, but it is not the joy arising from earthly possessions. It feels indifferent to individuals, and refers to all sentient be- ings. In the exercise of this mode of meditation the priest must express the wish, " May the good fortune of the prosperous never pass away ; may each one receive his own appointed reward." See Gardner, Faiths of the World, p. 497, 438.
Mudo, el (the Mute), an eminent Spanish painter who attained great celebrity because of his masterly delineations of sacred subjects, was born at Logrono in 1526. His real name was Juan Fei'nandez Navarette, or Juan Fernandez Ximeries de Naverette. He was called "el Mudo,'' after he had acquired distinction as a painter, from his having been deaf and dumb from his infancy. He showed a talent for art early in life, and first studied under Foy Vicente de Santo Domingo, a monk of the Order of Geronomytes, under whom he made such rapid progress, and exhibited so much gen- ius, that his parents, by the advice of his instructor, sent him to Italy to study with Titian, with whom he remained several years, and thoroughly imbibed his principles and manner of coloring, so that he was called by his countrymen the Spanish Titian. He remained in Itaty twenty years, visiting all the principal cities — Rome, Florence, Naples, etc.— studying the works of the most eminent painters, who entertained for him the highest res[)ect on account of his eminent abilities, per- haps heightened by his infirmity. He had already ac- quired a distinguished reputation in Italy when, in 1568, he was summoned to Madrid by Philip II to paint in the Escurial, and on his arrival he was appointed painter to the king, with a pension of two hundred ducats, in addition to the price of his worlds. He was naturally of a delicate constitution, and he had hardly commenced his labors when a severe malady compelled him to retire, with the permission of his royal patron, to his native place, Logrono, where he remained three 5^ears, during which time he painted four magnificent pictures, and carried them with him to Madrid in 1571. These were the Assumption of the Viryin, the Martyr- dom of St. James the Great, a St. Philip, and a Sf.Je- rome, which were placed in the Escurial, while the ar- tist was rewarded with five Innidred ducats, besides his pension. The head of the Virgin in the A ssumption is supposed to be a portrait of his mother, the Donna Ca- talina Ximenes, who in her youth was very beautifuL In 1575 he added four more pictures, the Nativity, Chi-ist at the Pillar, the Holy Family, and St. John writing the
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Apocalijpse, for which he received eight hundred duc- ats. In the Nativity El IVIudo successfully overcame a formidable difficulty in painting — the introducing of three lights into the picture, as in the famous Xotte of Correggio; one from the irradiation proceeding from the infant Jesus, another from a glory of angels above, and a third from a flaming torch. It is related tliat Pellegrino Tibaldi, on seeing it, exclaimed, "Oh, i belli pastori!" This exclamation gave name to the picture, and it continues to be known to this day as " The beau- tiful Shepherds" In 1576 he painted his famous jjiece o{ Ahraluun entertaininff the three Angels, for which he received five hundred ducats, lie now undertook a stupendous work, and was engaged to jiaint thirty-two pictures for the Escurial, twenty-seven of which were to be seven feet and a half in height and seven feet and a quarter in breadth, and the other five thirteen feet high and nine broad. He did not live to com])lcte this vast undertaking; he painted eight, representing the apostles, tlie evangelists, and St. Paul and St. Barna- bas; the otl)ers were finished by Alonso Sanchez Ca-llo and Luis de Carovajal. El Jludo died in 1579. His pictures are extremely inaccessible; except a small picture of the baptism of Christ in the museum at 51a- drid, they are buried in the royal solitude of the Escu- rial.
There were two other Spanish painters, of little note, called Kl Mudo— one Pedro el Mudo, and the other Diego Lopez, who must not be confounded with the illustrious Navarette.
Mueddin. See Miezzis.
Muesis. See Mvesis.
Muezzin {Mueddin) is the Arabic name of the Mohammedan official attached to a mosque, whose duty it is to summo'.i the faithful to prayer at five different times of day and night. Stationed on one of the minarets, he chants in a peculiar manner the form of proclamation. Before doing so, ho^vever, the muezzin ought to repeat the following prayer: '-Q my (iod! give me piety; purify me : thou alone hast the power. Thou art my lioneiactor and my master, O Lord. Thou art towards me as I desire ; may I be towards thee as thou desirest. My God ! cause mj' interior to be better than my ex- terior. Direct all my actions to rectitude. O God ! deign in thy mercy to direct my will towards that which is good. Grant me at the same time true honor and spiritual povertv, O thou, the most merciful of the mer- ciful." His chant (Adan) consists of these words, re- peated at intervals: "Allah is most great. I testify that there is no God but Allah. I testify that Mohammed is the apostle of Allah. Come to praj'cr. Come to security." ("'Prayer is better than sleep" is added in the morning, at the Subh or Fegr.) "Allah is most great. There is no deity but Allah!" Besides these regular calls, two more are chanted during the night for those pious persons who wish to perform special nightly devotions. The first (Ula) continues, after the usual Adan, in this manner: "There is no deity but Allah! He hath no companion — to liim bclongeth the domin- ion— to him bclongeth praise. He givcth life, and caus- eth death. And he is living, and shall never die. In his hand is blessing, and lie is almighty," etc. The second of these night-calls (Eljed) takes place at an hour be- fore dayl)reak, and begins as follows: "I extol the per- fection of Allah, the Existing forever and ever: the perfection of Allah, the Desired, the Existing, the Sin- gle, the Supreme," etc. According to an Arab tradition, the oflice was instituted by IMohammed himself, and the words (luoted for the morning prayer were added by the first muezzin on an occasion when the Prophet over- slept himself. Mohammed approved of them, and they were ever afterwards retaine<l in the morning call. The office of a muezzin is generally intrustcl to blind men only, lest they might, from their elevation [see Mina- ret], have too free a view over the surrounding ter- races and harems. The harmonious and souorous voices