Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/212

 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.

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