MANED WOLF. 791 MANETHO. nobody. It will sometimes attack deer or sheep, but lives mainly upon small rodents. It also catches birds, reptiles, insects, and even eats fruits. An interesting account of this animal in captivity, accompanied by portraits, was writ- ten by Joseph Gleeson, in the Century Magazine for September, 1902. MANES, nia'nez (Lat. nom. pi., OLat. manis, manus; good, in full, Di iluines, the good gods). A somewhat indefinite appellation given by the Romans to the powers of the lower world. In the earlier religious conception the term seems to be used without special reference to the souls of the departed and to denote rather the deities con- cerned with the realm of the dead. They are, therefore, invoked in all ceremonies which con- cern the dead, and on such occasions as the 'de- votion' of P. Decius Mus to the gods of the lower world, or in curses. Later, in Imperial times, we find them conceived as deified souls like the earlier Di parentum. and on monuments the let- ters D. M. (Dis Manibus) apparently dedicate the spot to them. Consult : Steuding, s. v. JIanes, in Roscher's Lexilcon dfr griechischen nnd ro- misfhen Mythologie (Leipzig, 1894-97), and Wis- sowa. Religion und Kultus der Komer (ilunich, 1902). MANES. Tlie founder of JIanichseism. See !M.xi : ^lAXicn.EiSM. MANET, ma'na', Edouabd (1833-83). A French genre and portrait painter, the founder of the Impressionist School. He was born at Paris, of a family of magistrates, who desired him to follow the same career. After completing his studies at the Coll&ge Rollin. at Paris, he was sent to Rio de Janeiro, in the hope of changing his determination to become a painter. Persisting in his design, upon his return to Paris in 18.50 he entered the studio of Couture, with whom he worked six years. He then traveled in Germany, Holland, and Italy, studying the old masters, especially the works of Tintoretto at Venice, whose influence is evident in a series- of religious pictures painted about this time. He eventual- ly evolved a style of his own, which broke abso- lutely with tradition, and revolutionized modern painting. One chief characteristic of this style is the substitution of actual values of color (q.v. )., as they are in nature, for the relative or corresponding values of the studio. (See Im- PBESsioxisT School of Painting.) Another was a broad execution, in which he gave the predominating local color, ignoring the minor variations, thus giving the general eifeet, to the effacement of detail and modeling. Among the best known of his early works were: the "Absinthe Drinker" (18C0), showing the in- fluence of Couture: "Boy with a Sword" (1800), iletropolitan iluseum. New York : "Guitar Play- er" (1861) ; the "Fifer:" "Le bon bock," a por- trait of the engraver Belot enjoying a glass of beer. His "Dejeuner sur I'herbe" ("Breakfast on the Grass"), in which two nude female figures were contrasted with clothed men. raised a storm of misdirected indignation. His other works in- clude: a "Dead Christ and Angels." "01-nnpia" (1805): "Music Lesson" (1870): the "Garden" (1870), his first real plein air painting: the "Railroad" (1874): "Xana" (1876): "Bar at Folies-Berg&re" (1882): ".Jeanne" (1882). He also executed a number of pastels, and engraved a series of his works (published, 1874), besides illustrating Cros's Le fleuve, Champfieury's Les chats, and Poe's Raven. Painting of so revolutionary a character raised much criticism, in which Manet's part was ably taken by his friend Zola. His frequent choice of subjects from low life also militated against his popularit}'. The Salon was usually closed against him and he was forced to hold separate ex- hibitions. He did not receive the Legion of Honor till 1882, and not until after his death was his importance fully realized. He was a highly cultured man, of great wit and social charms. His death occurred at Paris, April 30, 1883. Consult: Zola, Edouard Matiet: Etude bio- graphique et critique (Paris. 1867); and the biographies by Basire (Paris, 1884); Gonse, Gazette des Beaux-Arts, vol. i. ( 1884) : Beckwith, in Van Ih-ke, Modern French Masters (New York, 1896'). MANETENERI, ma'na-ta-na're. A tribe of Arawakan stock (q.v.) residing upon the Upper Puras and .Jurua, southern affluents of the .lima- zon, on the Brazil-Bolivia frontier. They are a river people, constantly on the move in great canoes of cedar wood. They weave cotton cloth and use iron axes and fish-hooks. MAN'ETHO (Lat., from Gk. ^aveBup, Mane- tlujn) . The most important of all classical writ- ers who have treated the history of ancient Egypt. He is said to have been a native of Sebennytus in the Delta, a high priest (of Heli- opolis or Sebennytus ) , and scribe of the temples of Egypt; i.e. a president or secretary of the priestly assemblies. He appears as representa- tive of the Egyptian priesthood and Egyptian learning under Ptolemy I., Soter, when he and the Athenian priest 'rimotheus were the only scholars able to identify as Serapis the statue of an unknown god brought from Sinope to Alex- andria. It is certain that Manetho's principo.l work, the Efit/ptian IJistorii, was written, how- ever, under Ptolemy II. Philadelphus, as it con- tains a reference to the Arsinoite nome (i.e. the Fayum ) , and must therefore be later than B.C. 273, the date of the marriage of Ptolemy II. with his si.ster Arsinoe. This history, in three books, has become famous, for it was the only work in Greek based on a full knowledge of the Egyptian sources. A more doubtful tradition states that Ptolemy II. himself selected Manetho as the Egyptian scholar who possessed the most profound Greek scholarship, and ordered him to write the history of the country. !Manetho un- doubtedly possessed as much knowledge of Egyp- tian history as could be expected of any Egyp- tian priest, and he followed chiefly the native sources, inserting occasional polemics against the errors of Herodotus and others. Xeverthe- less, his work is marred by the introduction of some mythological Greek names and other mat- ters. ]Manetho's work does not seem to have been much read outside of Egj'pt. though it played an impoitant part in the controversy between Josephus and Apion, near the end of the first cen- tury ..D. Later, the Christian chronographers made considerable use of it in arranging the biblical chronology, but it is questionable if they had the complete work. Thus we have only a few passages of the history quoted in .Josephus. and the chronological tables in Julius Africanus and
