floor where they have fallen from her lap; behind her, two of her attendants, one on her knees, the other standing, horror-stricken; at left, the Earls of Shrewsbury and Kent, the Sheriff of the County with the warrant, and Sir A. Melville, the last in armour, all standing. Painted in 1869. Engraved by Dorris Raab.—Art Journal (1878), 228.
MARY STUART IN PRISON, Leon y
Escosura, Fletcher Harper, New York.
Queen Mary, robed in full toilet, alone in
her chamber in Fotheringay Castle; her
bed is concealed in a canopy of splendid
embroideries; a large crucifix and a Book
of Hours denote her religion.—Art Treasures
of America, ii. 94.
MARY STUART AND RIZZIO, David
Neal, D. O. Mills, New York. Queen Mary's
first interview with David Rizzio. She is
descending a staircase, preceded by a little
spaniel and followed by ladies and courtiers,
and is surprised to see Rizzio fast asleep on
a bench at the foot, with his viol beside him.
Painted in 1876.
MARY VIRGIN, GIRLHOOD OF, Dante
Gabriel Rossetti, Lady Louisa Fielding, London.
The Virgin and St. Anne sit side by
side at an embroidery frame, while before
them stands a little angel, with rose-coloured
wings, tending the symbolic lily with child-*like
seriousness. St. Anne is a portrait of
the painter's mother; the Virgin, of his sister
Christina; the angel, of a younger sister
of the late artist, Walter H. Deverell. The
picture, his first subject piece, is signed
Dante Gabriele Rossetti, P.R.B.—i. e., Pre-Raphaelite
Brother. Exhibited in 1849;
sold for £80 to Marchioness of Bath.—Athenæum
(Jan., 1883), 22; Art Journal (1884),
150.
MARYS AT THE SEPULCHRE, Paolo
Veronese, Palazzo Pitti, Florence; canvas,
H. 3 ft. × 2 ft. 2 in. The three Marys, coming
to the tomb of Christ, are told of the resurrection
by two angels clad in white garments.
Engraved by Lasinio.—Gal. du
Pal. Pitti, ii. Pl. 27.
MARZIALE, MARCO, beginning of 16th
century. Venetian school; a follower of
Carpaccio, and later an imitator of Albert
Dürer. In 1492 he was a journeyman employed
in the Great Hall of Council, Palazzo
Ducale, Venice. His Christ and the Apostles
at Emmaus (1506), Venice Academy,
and do. (1507), in the Berlin Museum, exhibits
the arrangement of Carpaccio with
the minute details of the German school.
In the National Gallery, London, are a Circumcision
(1500), and a Madonna with Saints
(1507).—C. & C., N. Italy, i. 227; Lübke,
Gesch. d. ital. Mal., i. 544.
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MASACCIO, TOMMASO, born at Castel
San Giovanni
di Valdarno,
Dec. 21, 1401,
died in Rome
(?) about 1428.
Florentine
school; real
name Tommaso
di Giovanni
di Simone Guidi,
but called
Masaccio (Careless Thomas) from his indifference
to appearance; perhaps studied
under Masolino da Panicale. In 1421 he
was enrolled in the guild of the Speziali
(apothecaries) in Florence, and in 1422 in
that of the painters. Masaccio is to the
15th century what Giotto is to the 14th—the
founder of a new school, the opener of
a new era in painting, and the painter of
frescos which were studied by all the great
artists who came after him as models of
style, composition, treatment of drapery,
and truth to nature. Before 1421 (?) he
decorated a chapel in S. Clemente, Rome,
with frescos from the life of St. Catherine.
The next eight years were spent in painting
frescos in the Brancacci Chapel in the Carmine,
Florence, which are the chief examples
of his style and school. The entire
series was formerly attributed to him; but
modern research has shown that these frescos
were begun by Masaccio, and continued
