Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/228

 By Paolo Veronese, Madrid Museum; canvas, H. 4 ft. 2 in. × 6 ft. 6 in. A semi-*circular table spread in a sumptuous room opening into a garden, at which sit ten persons, two of whom, Jesus and the Virgin, occupy the middle; eight servants attend. Bought for Philip IV. from collection of Charles I. of England.—Cat. Museo del Prado.

MARRIAGE Á LA MODE, Hogarth, National Gallery, London; six pictures, canvas, each H. 2 ft. 3 in. × 2 ft. 11 in. A series representing profligacy in high life, or the effects of a marriage in which rank and wealth are the sources of attraction. The peer is neglectful and profligate, the lady faithless; the husband is killed in a duel by her paramour, who is hanged for the murder, and the suicide of the lady by poison closes the tragedy. 1. The Marriage Contract. Engraved originally by G. Scotin (1745); also by Earlom; J. Garner. 2. Shortly after Marriage. Engraved originally by B. Baron; also by Earlom; T. E. Nicholson; and others. 3. Visit to the Quack Doctor. Engraved originally by B. Baron; also by Earlom; C. Mottram; and others. 4. The Countess' Dressing-Room. Engraved originally by S. F. Ravenet; also by Earlom; Armstrong; and others. 5. The Duel and Death of the Earl. Engraved originally by S. F. Ravenet; also by Earlom; T. E. Nicholson; and others. 6. Death of the Countess. Engraved originally by G. Scotin; also by Earlom; J. Mansell; and others. The paintings were finished in 1744; sold by auction, June 6, 1750, to Mr. Lane, of Hillingdon, for 110 guineas; passed by bequest to Colonel Cawthorne, who sold them (1797) for £1,381 to Mr. Angerstein, with whose collection they were purchased for the National Gallery in 1824.—Cat. Nat. Gal. (1882); F. de Conches, 115; Ch. Blanc, École anglaise; Nichols, Anecdotes; Ireland, Hogarth.

MARRIAGE, SPANISH (Le mariage espagnol or La Vicaria), Mariano Fortuny, Mme. de Cassin, Paris. Sometimes called Mariage dans la vicaria de Madrid, although it does not represent the vicaria of Madrid nor any existing sacristy, the painter having chosen the material for his background from several churches, especially from the Cathedral of Granada and from a church in Rome. Represents a wedding party gathered to sign the marriage contract in a large sacristy, the walls of which are hung with Cordovan leather, and which is separated from the church by an open grille in the rococo style. Lamps are suspended from the ceiling, and pictures and Venetian mirrors adorn the walls, against which stand heavy oaken benches and a book-case filled with missals and antiphonaries. The groom is about to affix his signature to the contract in the place pointed out by the scrivener. A priest stands beside the table, and two others are seated, writing. The two principal women, the bride and her mother, are portraits of Mlle. Isabel de Madrazo, the painter's sister, and of Mme. Fortuny. Another of the ladies is said to be a portrait of the Duchess Colonna; Meissonier is said to have posed for the officer with the sabre, and Henri Regnault for another of the attendant gentlemen. Begun in Rome, finished in Paris in 1869. Exhibited in 1870 by Goupil, who purchased it and sold it to Mme. Cassin.—Davillier, Fortuny, 55; Gaz. des B. Arts (1875), xi. 276; L'Art (1875), i. 370.

MARS, Velasquez, Madrid Museum; canvas, H. 5 ft. 10 in. × 3 ft. A nude figure, seated, with blue drapery covering middle, a helmet on his head, and armour at his feet. Probably painted after the artist's second journey to Italy (1651). Drawing in Royal Institution, Gijon. Engraved by G. R. Le Villain.—Curtis, 19; Gal. Esp.; Madrazo, 635.

MARS AND RHEA SYLVIA, Nicolas Poussin, Louvre; canvas, H. 2 ft. 6 in. × 4 ft. 9 in. Sylvia, daughter of Numitor, reclining asleep against a hillock, holding the vase with which she has come to draw water from the Tiber; behind her, a cupid asleep,