MUMMY lish Cottage (1828), Royal Collection ; First Voyage (1833) ; The Last In (1835), Fail- Time (1809-40), Crossing the Ford (1842) ; Snow Scene, Sea-shore Scene, National G;il- lery, London ; Fight Interrupted (181G), (living a Bite (1836), Toy-Seller (1837), Open your Mouth and Shut your Eyes (1838), Seven Ages (1838), First Love (183!)), The Sonnet (1839), Choosing the }]'<;l<Iin<j Clown (1840), The Butt (1848), Blackheath Park (1852), and others, South Kensington Museum ; Whitsonian Contro- versy (1844), Baring Collection; Burchell and Sophia (1849) ; Bathers, National Gal- lery, Edinburgh. Stephens, Memorials (London, 1807) ; Ottley ; Redgrave ; Cat. Nat. Gal. ; Sandby, i. 355 ; Art Journal (1804), 05 ; L'Artiste (1883), i. 235. MUMMY, BURIAL OF A (Les funcrailles d'uue momie), Frederick A. 1'ridyman, J. G. Bennett, New York. Funeral procession of the sacred bull Apis, in ancient Egypt. Salon, 1877. MUNARI. See Pdlegrinn da Modeiia. MUNKACSY, MIHALY (Michael), born at Munkacs, Hungary, Oct. 10, 184G. Real name Mich a c 1 Lieb. Genre and history paint- er ; for six years appren- ticed with a carpenter at Arad before enabled to devote himself to art, which he first studied under a portrait painter at Gyula ; became pu- pil of Vienna Academy, then in Munich of Franz Adam, under whose guidance he made rapid progress and won three first prizes ; went in 1807 to Diisseldorf and, incited by Knaus and Vautier, devoted himself to genre painting, and in 1809 at once established his fame with the Last Day of a Condemned Man, one of the scenes in popular life of his native country, which for years he con- tinued to depict with singularly impressive truthfulness and a sombre blackish colour- ing. In 1872 he removed to Paris, where
his works found great favour ; in 1876 he be- gan to take his subjects from Paris life, and I with his Milton entered upon a new field, adopting also a new method of colouring. | Medals: Paris, 1870; 2d class, 1874; of Honour, 1878 ; Vienna, 1882 ; L. of Hon- our, 1877 ; Officer, 1878 ; Member of Mu- nich Academy, 1881. Works : Proposal ; Easter ; The Bride ; Last Day of a Con- demned Man (1869), Mrs. W. P. Wilstach, Philadelphia ; Hungarian Encampment, Wrestler's Challenge, H. C. Gibson, ib. ; Dying Brigand, A. J. Autelo, ib. ; Night , Revellers ; Drunken Tailor ; Wood Land- scape in Autumn ; Afternoon's Luncheon ;
- Women picking Lint ; In the Kitchen ; At
Dawn ; Wounded Honved ; Vagabonds Seized ; Artist's Studio ; Episode in Negro War (1874) ; Village Rooster (1875) ; Pawn- broker's Shop, Miss C. L. Wolfe, New York ; Moral of the Bottle, William Astor, ib. ; In- terior with Lady at Table, W. Rockefeller, ib. ; Hay-Field, Erwiu Davis, ib. ; Widow's Mite, J. C. Runkle, ib.; Afternoon Call, M. K. Jesup, ib.; The Two Families, W. H. Vanderbilt, ib. ; Peasants at Church, Hawk Collection, ib. ; Milton dictating Paradise Lost (1878), Lenox Gallery, ib. ; Story of the Battle, W. T. Walters, Baltimore ; Visit to Young Mother (1879) ; Christ before Pi- late (1881) ; Pawnbroker's Shop (1882) ; Christ on Calvary (1883-84) ; Last Moments of Mozart (1885). Muukacsy visited New York in 1886, when his Christ before Pi- late was exhibited there. Academy (1882), i. 328 ; (1885), i. 193 ; Allgem. K. C., x. 263, 374; Gartenlaube (1870), 475; Gaz. des B. Arts (1870), iv. 43 ; (1873), viii. 39 ; (1870), xiv. 22 ; (1878), xviii. 204 ; (1881), xxiii. 485-490; (1884), xxix. 509; Elustr. Zeitg. (1871), ii. 251 ; (1872), ii. 84 ; (1874), i. 175 ; (1881), ii. 283 ; (1882), i. 301 ; Kunst- Chronik, vi. 142 ; x. 643 ; xvi. 452 ; xvii. 196, 257 ; xix. 359 ; xxi. 443 ; La Ilustra- cion (1882), i. 51, 347, 402 ; (1884), i. 214, 228, 331, 344 ; ii. 67 ; Miiller, 385 ; Reber, iii. 409 ; Zeitschr. f. b. K, ix. (Mittheilung- en, ii. 52) ; xvii. 251. 314
