extravagances, Mannozzi was capable of better things when he saw fit to work seriously. Works: Portrait of a Cook, Reunion of Huntsmen, Madonna, Pitti, Florence; Venus and Cupid, Marriage of St. Catherine, Jesus served by Angels, Madonna, Uffizi, Florence.—Ch. Blanc, École florentine.
MANOAH, SACRIFICE OF, Rembrandt,
Dresden Gallery; canvas, H. 8 ft. 7 in. × 10
ft.; signed, dated 1641. Manoah and his
wife kneeling before an altar, on which their
sacrifice is burning; above the smoke, the
angel ascending (Judges, xiii. 20).—Smith,
vii. 14; Vosmaer, 458.
MANS, FREDERICUS H., died after
1687. Dutch school; landscape and figure
painter, about whose life nothing is known;
probably worked at Utrecht. His pictures
are frequently to be found in private collections
in Holland. Works: View on the
Downs (1673), Rotterdam Museum; Winter
Landscape (1668), Oldenburg Gallery;
Three do. (1677), Dresden Museum; Dutch
Landscape, Leipsic Museum; Skating on
Village Pond (1687), Vienna Museum.
MANSKIRSCH, BERNARD GOTTFRIED,
born at Bonn in 1736, died in Cologne,
March 19, 1817. Landscape painter,
pupil of his father, a painter of some repute;
accompanied his patron, the Elector
Clemens Wenceslaus of Treves, on a journey
in 1776, was in Coblentz in 1786, and
settled in Cologne about 1790. His pictures
sold for considerable sums in England,
Holland, and Switzerland. Works: Two
Landscapes in Cologne Museum.—Merlo,
Nachrichten, 269.
MANSKIRSCH, FRANZ JOSEF, born
about 1770 or 1778, died in Dantzic in
1827. Landscape painter, son and pupil of
Bernard, whom he surpassed; went to England
in 1796; was in Germany again in 1805,
when the Empress Josephine ordered him
to paint views around Aix-la-Chapelle and
on the Rhine; was called to Bonn in 1823,
afterwards went to Memel, thence to Frankfort,
Berlin, and Dantzic, where, having become
destitute, he stabbed himself. Works:
Castle Dürnstein on the Danube (1798);
Two Landscapes with Oxen; Landscape
with Gothic Ruin.—Merlo, Nachrichten,
271.
MANSUETI, GIOVANNI, end of 15th
and beginning of 16th century. Venetian
school; pupil of the Bellini in Venice.
There are extant at least a dozen of his
pictures, in several of which he nearly approaches
the excellence of Carpaccio. In
his Miracle of the Cross (1493), Venice
Academy, the short, square, rigid, and motionless
figures are mingled in the manners
of Gentile Bellini and Carpaccio. In the
same gallery are St. Mark curing Anianus
the Cobbler; St. Mark preaching in Alexandria,
in which he closely approaches Carpaccio,
and Glory of St. Sebastian (1500).
Mansueti's latest period may be studied in
a St. Jerome, and a Pietà, in the Bergamo
Gallery, and in a Christ in the Temple,
Uffizi, Florence. Charles Blanc places Mansueti
among the best painters of Gentile
Bellini's school.—C. & C., N. Italy, i. 219;
Ch. Blanc, École vénitienne; Vasari, ed. Le
Mon, v. 19.
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MANTEGNA, ANDREA, born near Padua
in 1431,
died in Mantua,
Sept. 13, 1506.
Paduan school;
history painter,
pupil of Squarcione,
who adopted
him in 1441;
worked at first
like the realists
Zoppo and Schiavone,
as his Ecce Homo, in the Communal
Gallery, Padua, shows, but afterwards came
so much under influence of the Florentine
school, which worked at Padua through Donatello
and Uccello, and of the Venetian,
through Jacopo Bellini, whose daughter
Niccolosia became his wife, that Squarcione
quarrelled with him. A fresco of SS. Bernardino
and Anthony, over the high portal
of his Basilica at Padua (1448), is his earli-
