MULLION (corrupted from munition, front Fr. moignon, stomp of an amputated limb, from moign. from Lat. muitrus, maimed: probably influenced by popular etymology with Eng. mul let, fire-pointed ,tar), The name for a vertical architectural member used to subdivide all open ing. such as a window or the hay of a gallery, into two or Illore division: within the main framework. it was practically unknown to all ancient styles of arelliteeture. In the early Christian (especially Syrian). Byzantine. and Romanesque styles it occurs with increasing fre quency in the very simple form of a circular shaft or colonnette (sometimes a small pier). subdi viding a window into two arched openings or the bay of a gallery into Iwo arcades, It was in the I tothic style that the mullion received its true elaborate development through use of tracery combined with the ilivri•a••?• ill Iho size of window. and other open ings, necessitating the multiplication of minor members. The orthodox cathedral NVilidoW three titnIlions forming four subordinate sections. and their profiles ore varied and rich, being often a group of shafts and a emnposit ion of fillet and cavetto moldings. 'nese gothic intillions are exquisitely slender and tar removed from the heavy prea:?d hie nmIlimecolonnette, though the column. in more delicate form. was also a (lothic form moiliou The Renaissance architects abandoned the noillion, returning to the antique idea of undivided openings :Ind emtally divided arcades :11141 cflionnalif.-:. I Inly (we:I...inanity is a
single eolonnette used as a window•mullion, es pecially in early work.
rIULLNER, \ faux (1774-1S:29). A drainat ist and critic, born aI laingendorl, near \Veissenfels, saxony. Ile stilled laW in Leipzig, and Itraltieed it at NVekuelitel4 1111(1! Et-rliragtd by t ht. 1111.1V,s of severaI come..
dies skillfully e(tinpo)sed after French models, he produced in 11813 a one-act tragedy, /kr ;awn unit:tron:igste l'ubruar, in imitation of \Verner's Dcr rif rumlneanzigstc Pctiruar (1S RI), the first of thus( 'fate-dramas' with which the German stage was flooded during the following decade. Surpassing its model in the acenmulatiou of hor ror., iillner's play lacked the innate poetry which was tile redeeming feature of Werner's produc tion. Tlw same applies to his best-known work, Pie SCh1i1(1, a four-act drama, based on the story of a young who, according to a prophecy, is destined to kill his brother. This typical 'fate tragedy' was brought out ill Vienna in 181:3. and subsequently on all the principal stages of many. retaining its for many although its effectiveness was due mainly to clever technical construction. Consult: Fli?Ime, Zur Biographic und I 'ha rakteristik fiiiliners Wohlau. 1875) : and Minor, Bic 8chicksals tragii(lie in ihrcn Haupt r( rtretern (Frankfort,