obliterated frescos, executed in 1397, in the style of Taddeo Bartoli. These works, which are minutely described by Bonaini (Not. Med., 53), are third rate in quality, as are his pictures in the Academy and in S. Domenico, Pisa.—C. & C., Italy, ii. 172; Vasari, ed. Le Mon., ii. 31; xi. 175.
MARTINO DA UDINE. See Pellegrino
da San Daniele.
MARTYR, BURIAL OF A, Edward Armitage,
private gallery, London; canvas, H.
12 ft. 6 in. × 9 ft. 7 in. The body of a
young Christian, slain in the arena, at
Rome, is being lowered into the Catacombs,
where it is received by the sorrowing relations;
in the background, upon a staging,
stands a workman, ready to put it into its
last resting-place, one of the oven-like receptacles
in the wall.—Royal Academy, 1885.
MARTYR, CHRISTIAN, Paul Delaroche,
private gallery; canvas, H. 4 ft. 9 in. × 5 ft.
10 in. Martyr in time of Diocletian. The
body of a young girl, the hands bound, floating
down the Tiber by night, the aureola
which lights her face reflected in the water;
in background, the prow of a galley, and
two figures watching from the bank. Subject
said to have been suggested by a dream.
Painted in 1855. Exhibited in 1857, after
his death. Engraved by Rousseaux. At
Delaroche sale, to Goupil, 36,000 francs.
At same sale, a smaller sketch, 2,400 francs.
Replica, in small (face and hands by Delaroche,
remainder by C. F. Jalabert), W. T.
Walters, Baltimore.
MARTYR'S TRIUMPH (Triomphe du
Martyr), Adolphe William Bouguereau, Luxembourg
Museum; canvas, H. 11 ft. 3 in. ×
13 ft. 2 in. The body of St. Cecilia, crowned
and decked with the palms of martyrdom,
is borne to rest in the Catacombs. Bouguereau's
fame dates from the exhibition of this
picture.—Salon, 1855.
MARTYRS, CHRISTIAN, François Léon
Benouville. Scene in the arena of the
amphitheatre at Rome, with an immense
audience gathered to witness the death of
Christian martyrs by wild beasts. The barriers
have just been opened and the victims
are coming forward, brutally pushed
by the slaves of the circus and by soldiers.
Exposition universelle, 1855. Original
sketch in water-colours, Salon of 1852,
Luxembourg Museum.—Larousse, x. 1290.
By Gustave Doré, Doré Gallery, London. Scene at night in the Coliseum, the long ranges of seats deserted by the crowd which has lately witnessed a festival of slaughter; in the arena lions and tigers are feeding on the mangled corpses of the Christian martyrs, while from the star-lit heavens a troop of white-robed angels are descending. Salon, 1874.—Claretie (1884), 124.
By Jean Léon Gérôme, W. T. Walters, Baltimore; canvas, H. 2 ft. 10 in. × 4 ft. 11 in. Scene in the Circus Maximus, Rome, with Christians exposed to wild beasts, which are represented as just coming into the arena from their dark dens and pausing in astonishment at the light and the great mass of people surrounding them; in the middle distance are prisoners fastened to crosses and smeared with pitch, destined to be burned alive.
MARY OF EGYPT, ST., Tintoretto, Scuola
di S. Rocco, Venice; canvas. Similar
in plan to its companion piece, the Magdalen,
opposite, except that St. Mary has her
back turned to the spectator and the tree by
the brook is a palm instead of a laurel.—Ruskin,
Stones of Venice, iii. 331.
MARY STUART AND ELIZABETH,
Wilhelm von Kaulbach, private gallery, Berlin;
canvas. Scene from Schiller's "Mary
Stuart" (Act iii., Scene 4). A stormy interview
between the two queens; Elizabeth,
at right, with clinched fists, is gazing fixedly
at Mary, who, restrained by an attendant,
is talking angrily, with one hand raised; behind
Elizabeth are two courtiers, with sorrowful
faces and downcast eyes, the unwilling
witnesses of the scene.
MARY STUART LISTENING TO HER
DEATH-WARRANT, Karl von Piloty, private
gallery. Mary sits at right, with down-*cast
eyes, her rosary and breviary on the
