- chio, but Zanetti thinks him more probably a
disciple of Giovanni Bellini. He was an agreeable colourist and a fair designer. Among his works in Venice are a Descent from the Cross, and Christ between SS. Peter and John, Academy; Woman taken in Adultery, S. Giorgio Maggiore; and Christ between SS. Peter and Andrew, S. Giovanni e Paolo. The Woman taken in Adultery, Palazzo Corsini, Rome, attributed to Titian, is by Marconi (C. & C.); same subject in Berlin Museum, and Hermitage, St. Petersburg.—Ch. Blanc, École vénitienne; Burckhardt, 725.
MAREC, VICTOR, born in Paris; contemporary.
Genre and portrait painter, pupil
of Jean Paul Laurens. Medal, 3d class,
1885; 2d class, and prix du Salon, 1886.
Works: The Little Patient (1885); Morning
after Pay-Day (1886).
MARÉCHAL, CHARLES LAURENT,
born at Metz in Feb., 1801. Genre painter,
pupil of Regnault. Usually painted in water
colour or on porcelain and glass. Has
had many pupils. Medals: 3d class, 1840;
2d class, 1841; 1st class, 1826, 1842, and
1855; L. of Honour, 1846; Officer, 1855.
Works: Job (1826); Washerwomen, Ravine,
Harvest (1835); Sisters of Mercy, Hungarian
Woodsmen (1840); Little Gitano, Little
Student, Study of Heads (1841); Masaccio
as a Child, Pfeiffer House (1841); The Cluster,
Herodias (1845); Lawyer, St. Clotilde,
St. Valeria (1853); Priest, Student, Galileo
in Velletri (1855); Columbus brought back
from the New World (1857); Young Girl,
Sisters of Misery, Shepherds, Portrait of
Marshal Ney, Metz Museum. Has executed
decorative works in the Ministry of State
and in the New Louvre. His son and pupil,
Charles Raphaël, is also a genre painter;
Medal, 2d class, 1853.—Bellier, ii. 28; Larousse.
MARÉES, GEORG DE, born at Stockholm
in 1697, died in Munich in 1776.
Portrait painter, pupil of Peter Martin Meytens,
whom he assisted fourteen years, during
which time he also painted the royal
family of Sweden, and the senators. He
went in 1724 to Amsterdam, then to Nuremberg,
where he studied at the Preussler
Academy, and won the friendship of Kupetzky;
thence to Rome via Munich, Innsbruck,
Padua, and Venice, where he painted miniatures,
and completed his studies under Piazetta;
after a short stay at Augsburg, settled
in Munich, where he became court-*painter,
and painted more than fifty portraits
of Bavarian Princes. Works: Portrait of
himself at the Easel, do. of a Physician,
Portraits of the Painters Albrecht and Beich,
do. of Bavarian Princes and Princesses (31),
Schleissheim Gallery.—Nagler, iii. 360.
MARES, PIERRE DES, a Burgundian
painter, who flourished in the beginning of
the 16th century. His style resembles that
of the master of the Holy Kith-and-Kin.
Works: Crucifixion (1517), St. Maurice refusing
to sacrifice to an Idol, Beheading of
St. Maurice, Old Pinakothek, Munich.
MARESCALCO, IL. See Buonconsiglio,
Giovanni.
MARGARET, ST., Raphael, Louvre;
wood, transferred to canvas, H. 5 ft. 10 in.
× 4 ft. St. Margaret, standing and holding
a palm, has one foot on the monster, which
lies, with open mouth, upon its back. Painted
about 1518, probably for Francis I. or
for his sister Marguérite de Valois, and according
to Vasari, almost entirely by Giulio
Romano from Raphael's design. Cleaned
by Primaticcio in 1530; again in 1685, and
later much damaged by restoration. Engraved
by P. Thomassin (1589) from a poor
copy; also by G. Rousselet; L. Surugue;
Desnoyers.—Vasari, ed. Mil., v. 525; Cab.
Crozat, i. Pl. 7; Landon, Musée, iv. Pl. 21;
Gruyer, Vierges de Raphael, iii. 590; Passavant,
ii. 260.
By Raphael (?), Vienna Museum; wood, H. 5 ft. 4 in. × 4 ft. 1 in. A repetition of the St. Margaret in the Louvre, excepting that the Saint holds a cross in her hand instead of a palm, and looks at the dragon instead of at the spectator. Probably by Giulio Romano after a drawing by Raphael.
