with many changes in the manner of publication. On the 15th of Dec. 1792 the form was changed to 8vo and it was issued daily up to March 25, 1793, then weekly up to the 30th Pluviose of the year VII (Feb 19, 1799). The 84 volumes (eight 12mo and twelve 8vo) from the year VII to 1820 are again called the 'Mercure de France.' To this collection of 1772 volumes may be added 'Le Mercure au XIX siècle' 1823 to 27 (18 volumes); 'Le Mercure de France au XIX siècle' 1827 to 32 (18 volumes numbered 19 to 36); 'Le Mercure' 1832 (one volume numbered 37); and finally 'Le Mercure de France' Nov. 1851 to Feb. 1853, consisting of one folio and two quarto volumes.
A few words more are necessary to show the importance of the Mercure in the history of music. In founding his periodical, de Vizé gave particular attention to court news, anecdotes, and poetry, reserving only a small space for the announcement and criticism of new works. His chief aim was to flatter Louis XIV, and obtain the post of 'historiographe de France'; but as we approach the Revolution the interest and importance of the information contained in the 'Mercure' increases with every step. Analyses of new operas, programmes and reports of the 'Concerts Spirituels,' biographical notices of artists, articles on the 'Guerre des Bouffons'—the struggle between French and Italian music—lines addressed to singers or musicians, reviews of treatises on music, announcements of new music, or newly invented instruments—all these and more are to be found in these monthly volumes, which are moreover particularly easy to consult from their well-arranged indexes. A 'Choix des anciens Mercures, avec un extrait du Mercure Français' (Paris 1757 to 64, 108 volumes 12mo, generally bound in 54, with an additional volume of index), was drawn up by La Place, Bastide, Mannontel, and de la Porte, but there is still room for a collection of the matter most interesting to musicians. The writer of this article has long wished to undertake such a work, but lacking the requisite leisure hopes to see it accomplished by some one else.
[ G. C. ]
MERCY, or MERCI, Louis, an Englishman of French extraction, born in the early part of the 18th century, was an eminent performer on the flute-a-bec, or English flute, for which he composed several sets of solos. But he lived at a time when his favourite instrument was gradually becoming superseded by the Traverse, or German flute, and in the hope of averting the change he, about 1735, allied himself with Stanesby the instrument maker, in an endeavour to promote the use of a modified form of the flute-a-bec manufactured by the latter, and published 12 solos, six of which were said to be adapted to the Traverse flute, Violin, or Stanesby's New English Flute, with a preface strongly insisting on the merits of Stanesby's invention. But their efforts failed, and the flute-a-bec became a thing of the past. Mercy's solos were much esteemed in their day.
[ W. H. H. ]
MÉRIC, Madame. [See Lalande.]
MERIC, Madame de, an accomplished singer, who appeared in London in 1832, and was very successful in an unsuccessful season. She was the first singer of a moderate company, and though not a great, was far from an unpleasing, performer. She was a clever actress, with a good voice and considerable versatility of talent, rendering her very useful, as she sang in serious or comic operas, first parts or second, and in any language. While in this country, she performed in Italian, German, French, and English, and could have done so equally well in Spanish, had it been required.
She appeared in 'Der Freischütz' on its first production here with the original German words, when German opera, for a time at least, drove Italian from the London boards. Madame de Meric played also Donna Elvira to the Donna Anna of Schröder-Devrient, who rather eclipsed her; but in Chelard's 'Macbeth' she distinguished herself by singing a most cramped and difficult song with astonishing truth and precision, a feat which added much to the estimation in which she was held. She did not, however, appear again in England.
[ J. M. ]
MERIGHI, Antonia, a fine operatic contralto profondo, who was first engaged for the London stage by Handel, as announced in the 'Daily Courant' of July 2, 1729. The first part she undertook was that of Matilda in 'Lotario' (Handel), Dec. 2, 1729, in which she created a favourable impression; but her songs, when printed in the published opera, were transposed into much higher keys. This opera was followed by a revival of 'Tolomeo,' in which she sang soprano music transposed for her, and next by 'Partenope,' in which Merighi appeared as Rosmira with equal success in 1730 and 31. In the latter year she sang the part of Armida in the revival of 'Rinaldo.'
After the close of that season however her name was not found again in the bills, until 1736. The 'Daily Post' of November 18 in that year informs us that 'Signora Merighi, Signora Chimenti, and the Francesina, had the honour to sing before her Majesty, the duke, and princesses, at Kensington, on Monday night last, and met with a most gracious reception.'
In January, 1738, Merighi appeared in the new opera, 'Faramondo,' just finished by Handel after his return from Aix-la-Chapelle, and again in 'La Conquista del Velio d'Oro' (Pescetti). In April of the same season she took the part of Amastre in 'Serse,'—the last she sang in England.
[ J. M. ]
MERK, Joseph, a distinguished Austrian violoncellist, born at Vienna in 1795 [App. p.717 "Jan. 18"]. His first musical studies were directed to singing, the guitar, and especially to the violin, which last instrument he was obliged to abandon (according to Fétis) in consequence of an accident to his arm. He then took to the cello, and under the tuition of an excellent master, named Schindlöckers, speedily acquired great facility on the instrument. After a few years of desultory engagements he settled at Vienna as principal cellist at the Opera (1818), professor at the newly
