Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/235

 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.

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